Paul Scott

printworkshop
Guldagergrd 2006
Day 1:
Monoprint with ceramic tissue.

1. For this technique you blend ceramic col-

our, underglaze or oxides, with water and
paint it on a glass surface.

2. Then you apply a piec of potters tissue

or newspaper on the glass.

3. Then you draw your motive on the paper.

4. The motive can be transfered to laether

hard clay from the paper by use of finger or
credit card.

5. The ceramic colour can be reused by

putting a little water on the brush and
painting the glass with the colour again and
again.
This is an example of an industrially pro-
duced plate where the tissue has been torn.
Monoprint with ceramic tissue
on glazed ceramics or glass.

As before you paint your motive on ceramic

tissue or newspaper.
But to be able to transfer the motive to the
glazed surface, it is necessary to make the
surface sticky.
For this you can use spraymount, hairspray,
coca cola or other sticky things.
It is necessary to experiment with the kiln
to reach the right temperature. You want the
colour to melt into the glaze or glass and
avoid it evaporating. It is good to start at
around 50 degree lower than the glaze firing
top temperature and then slowly work your
way up.
My monoprint experiments
Monoprint with photocopier.

You can print directly on wet clay with a

photocopy.The photocpier or printer must
have ironoxide in the ink and you must be
able to open the mashine before the paper
runs through the hot sealing roles. You can
see if the ink contains iron oxide by burn-
ing a piece of paper with the ink on it. If
the ink turns dark brown like corroded iron
the technique will work.The copied motive
can be transfered directly to the wet clay.
The colour is dark brown if fired with-
out glaze until 1250*.Later it is shown how
to use the technique on glazed ceramics or
glass.
Monoprint with commercials.

Use a cheap glossy magazine with adds or pa-

per from the photocopier or printer.
The colour mix is oxide, stains or under-
glaze and water. The consistancy has to be
found by experimenting.
Paint across the paper with a wide brush.
Where there is laquer on the paper, the col-
our crawls away, leaving a sort of grafic im-
age.
The technique is a little hard to master.
Day 2:
Screen printing
Tuesday Paul taught us some nice
trix in photoshop.
Then we were given some wooden
frames and teh mesh to make our
own printing frame.We were shown
how to do it.
We were also talking about which
paper to print on. Paul talked
about the professional transparent
with totally black ink and semi-
transparent paper( which we used),
tracing paper if you want to draw
your own motif and finally normal
paper smeared in food oil to make
it semitransparent.
Monoprint with engobe/ slip

The engobe was made of porcelain

be cause we used porcelain as our
clay. It was mixed with a large
amount of underglaze colour.
You can paint on newspaper and
transfer to leatherhard clay.
The technique works really well
and it allows you to transfer mo-
tifs to rounded objects be cause
the newspaper isnt stiff.
Other techniques

The engobe can be painted to a

plaster surface. When the image
is finished, it is a good idea to
paint a layer of slip on both the
plaster and the slap of clay, be-
fore you sqeeze them together.
To make a relief effect you can
scratch into the plaster surface.
You can either sqeeze the clay
straight into it, or first paint
the relief with colour slip and
then scrabe the excess colour slip
off.
My experiments with newspaper
My experiments with plaster
Day 3:
Ink for stamp printing

For leather hard surfaces you can

use glycerin mixed with underglaze
colour or stains.
For glazed surfaces or glass it is
better to use stand oil and lin-
seed oil mixed together. You mix
the stand oil and powder first.
Make sure you put in as much pow-
der as possible until the mix is
almost not smooth anymore. Then
you apply just a little linseed
oil to make the mix smooth but
still thick.
The rest of the day we were shown
a lot of pictures of other cerami-
cists working with decoration.
Examples of prints with glyc-
erin on leather hard and bisque
fired surfaces.
Linolium print with stand - and
linseed oil

The colour mix for stamps can also

be used for other types of print-
ing like fx linolium prints.
On leather hard it is possible to
print directly. On Glazed surface
it is better to transfer to paper
first.
Wooden blocks

You can also use wooden blocks.

If you want to print on a glazed
surface you have to transfer the
print to paper and then the ceram-
ic surface.
My experiments

I used a wooden block, cutting

into an eraser and leaves.
Day 4:
Screenprinting.

Today we fixed the motif on the

frame with light. Paul showed us a
primitive and easy way to do it.
The pictures show which materials
we used.
The photoemulsion he uses is not
particularly sensitive to light
but there are different options.
You have to see what works for
you.
 Screenprinting.

You pour a couple of spoons of

emulsion in the trough and run the
trough up the frame mesh one time.
Turn the frame and repeat.In all
you should run the trough up three
times.
See photo.
When the frame is dry you expose
it to the light. Then you run to
the shower to wash away the emul-
sion that is still soft.
First you soften it with the water
1 and keep turning the frame untill
the whole motif is visible.
2 4

3 5
The lighting table
The lighting table is made from
two tables, a box of carton and
a plate of glass. Paul Scott uses
a UV lamp but it is also possible
to use an 500W lamp. The lamphold-
er is a normal working lamp.The
frames are exposed to light for
four minutes.First we put the mo-
tif on the semitransparent pa-
per. Then we lay down the frame,
front down. On top of it we put a
dark piece of paper and a piece of
heavy glass and some heavy books.
Decals/transfer.
The decals were printed using the
frame. The frame was taped to the
table. You could also use hing-
es if you have a permanent work-
ing area.The decal was loosely
glued to the table, but it can
also be done with a bit of masking
tape.You can use masking tape on
the frame to stop the colour from
running out.You can use different
types of colour mixes but the best
ons are the smelly ones.
Decals/transfer.

If you use colour mixed with oil

you have to clean it with terpen-
tine.
When the print is dry you cover it
with cover coat. Cover coat is the
laquer that makes it possible to
transfer the print to the plate.
It is toxic and smelly so use a
mask and air cleaner.
The cover coat is applied with a
telephone card or a sqeegee.
Decals/transfer.

To transfer the print to the ce-

ramic surface you have to put the
decal into some luke warm water
until the laquer and print becomes
loose.
You take the whole piece of paper
and transfer it to the surface pa-
per side down. Then you remove the
paper from underneath the print.
The frame

The frame can be used for all the

techniques we have learnt.Just use
the colour mix that fits with the
technique.

You can print on paper and trans-

fer to ceramic surface.
Just experiment.
My experiments

Print transfered from frame to pa-

per and then to bisque fired sur-
face. Underglaze colour mixed with
acrylic media.
Day 5:
More about Decals.

This is another technique for mak-

ing decals. You can use a decel
paper called Uwet which is already
coated with cover coat. The colour
is underglaze powder mixed with
acrylic medium and laquer.

Advantages are, it is not smelly

and you dont have to apply cover
coat.
But the acrylic colour dries ouy
faster than the oilbased, so you
have to watch out for the frame.
You cannot make a photocopy with
the Uwet paper, but you can with
normal decal paper.
See pictures.
Photocopy on decal paper
If you have access to a photocop-
ier with iron oxide ink, you can
also print on decal paper.
You can apply cover coat and use
it as a normal decal or you can
apply spraymount to the glazed
surface and transfer the picture
directly. The paper has to be wet.
After a while you can remove the
paper. This technique works really
well on a glazed surface and not
so well on leather hard.
Example on leather hard clay
Litography.
You can make lithography with any
kind of photocopy.
This is how to do it:
1. Use three bowls of water. In
one you pour a few drops of gum-
mi arabicum.The other one is for
washing your sponge with dirty wa-
ter. The third one is for washing
with cleaner water.
2. You put the photocopy on a
plate of glass(Paul Scott didnt)
and make it wet wiyh the water and
gummiarabicum.
3. Then you apply the ink made of
standoil.
4. The motif is transfered to the
ceramic surface.
5. done
Litography example with ordi-
nary but heavy weight paper
Litography example with offset
paper

The advantage of his kind of paper

is that it is re-usable.