DOI issue:
Nr. 108 (February, 1906)
DOI article:Scott, E. N.: The ceramic work of the Burslem Art School
DOI Page / Citation link: https://doi.org/10.11588/diglit.26961#0441
Ceramic Work of t he Burs lern Art School
fired at a local pottery. Certain other processes
give richer and choicer decorations, but being both
expensive and technical are only possible to
students possessing a considerable knowledge of
ceramic technique.
Exquisite results are obtainable by the use of
gold paste and sheen, perhaps enriched by touches
of enamel, but such decorations require highly
skilful handling and several firings, so
that the difficulty of production and the
risk of successful completion are greatly
increased. Examples of well-designed
pottery are here illustrated, some of them
being produced by elaborate and difficult
processes. The real beauty of the deco-
ration and the enrichment supplied by
the tasteful use of colour and the judicious
application of gold are, however, hardly
suggested in photographic reproductions.
The production of decorative tiles is
a matter of which little is known outside
the pottery districts of the country, and
some explanation of the methods adopted
may not be out of place, especially as
the Burslem School has made a reputa-
tion for itself in the matter of tile designs.
In the manufactories, tiles are as a rule
machine-made by pressing clay dust into
the form required ; but it is gratifying to
observe that the hand-made tile is now
in greater demand by the better dass of
architects, who realise that the more
artistic production is that which bears
the individuality of the craftsman, as
must necessarily be the case with the
article made by hand. The quality
distinguishable in hand-wrought metal,
as compared with the mechanically
accurate machine-worked metal, finds
its counterpart in the hand-made tile
as compared with the machine-pressed
tile. It is of course impossible to touch
upon all the possible processes, but the
methods adopted at the Burslem School
in designing and executing three kinds
of tiles may be described.
Underglaze painted tiles afford ex-
cellent opportunities for artistic expres-
sion. The Student having, in this case,
worked out his design on paper, transfers
the drawing to tiles in the biscuit state
—that is, when they have been fired
and not glazed. Upon these he draws
out his design in underglaze colours,
which are then “hardened on ” in the kiln. The
tiles are afterwards dipped in glaze and fired, the
process being then complete.
Modelied tiles of course comprise a large dass
and in producing these the usual method adopted
by the Student is as follows. Without making any
paper design, he works out his idea in clay and
then makes moulds in plaster of the unit of his
RAISED LINE TILES ßY GORDON PIMLETT
337
fired at a local pottery. Certain other processes
give richer and choicer decorations, but being both
expensive and technical are only possible to
students possessing a considerable knowledge of
ceramic technique.
Exquisite results are obtainable by the use of
gold paste and sheen, perhaps enriched by touches
of enamel, but such decorations require highly
skilful handling and several firings, so
that the difficulty of production and the
risk of successful completion are greatly
increased. Examples of well-designed
pottery are here illustrated, some of them
being produced by elaborate and difficult
processes. The real beauty of the deco-
ration and the enrichment supplied by
the tasteful use of colour and the judicious
application of gold are, however, hardly
suggested in photographic reproductions.
The production of decorative tiles is
a matter of which little is known outside
the pottery districts of the country, and
some explanation of the methods adopted
may not be out of place, especially as
the Burslem School has made a reputa-
tion for itself in the matter of tile designs.
In the manufactories, tiles are as a rule
machine-made by pressing clay dust into
the form required ; but it is gratifying to
observe that the hand-made tile is now
in greater demand by the better dass of
architects, who realise that the more
artistic production is that which bears
the individuality of the craftsman, as
must necessarily be the case with the
article made by hand. The quality
distinguishable in hand-wrought metal,
as compared with the mechanically
accurate machine-worked metal, finds
its counterpart in the hand-made tile
as compared with the machine-pressed
tile. It is of course impossible to touch
upon all the possible processes, but the
methods adopted at the Burslem School
in designing and executing three kinds
of tiles may be described.
Underglaze painted tiles afford ex-
cellent opportunities for artistic expres-
sion. The Student having, in this case,
worked out his design on paper, transfers
the drawing to tiles in the biscuit state
—that is, when they have been fired
and not glazed. Upon these he draws
out his design in underglaze colours,
which are then “hardened on ” in the kiln. The
tiles are afterwards dipped in glaze and fired, the
process being then complete.
Modelied tiles of course comprise a large dass
and in producing these the usual method adopted
by the Student is as follows. Without making any
paper design, he works out his idea in clay and
then makes moulds in plaster of the unit of his
RAISED LINE TILES ßY GORDON PIMLETT
337