The painter of porcelain uses ceramic paints which are made durable in the firing process. Actually, the paints are colored glass which is melted over or under the glaze. The decoration is thus permanently fused into the object. This peculiarity forces the porcelain painter into a very special way of painting which requires practice, skill, diligence, and experience. Porcelain painting involves artistic talent but is considered a handicraft. Over the centuries several specialties have evolved; in general, a distinction is made between painting over or under the glaze.

I use the method of “over glaze” painting although I do paint bisque objects with the same paint. The paints are transparent and need to be applied in thin layers with repeated fires to get value and depth in the subject. If paint is applied too heavily it will pop off during the fire taking the glaze with it. The kiln firings can reach temperatures of 1200 – 1300 degrees. I may paint and fire a vase 5 – 10 times. Smaller objects usually require fewer firings. There are endless variations to porcelain painting including, lusters, golds, enamels, and metallics. There are various styles as well.

I learned the traditional floral/landscape open medium technique as opposed to the European fat oil and turpentine technique, although I have done some fat oil/turp work when I lived in France. I prefer the freedom of using an open medium which allows one to work on a piece without the paints drying out before that layer is ready for firing. Currently my porcelain painting is being greatly influenced by my water color painting when it comes to subject, technique and originality.