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The Rio Grande white wares were made along the Rio Grande and adjacent valleys, from the Taos area south to San Marcial. The hallmark of Rio Grande white wares (as for the northern ancestral Puebloan peoples as a whole, from AD 500 to 1300) is the use of black painted designs on smoothed, often slipped, and sometimes polished white or light gray backgrounds.
English tin-glazed majolica. First shown at the 1851 Exhibition by Minton & Co., Exhibit Number 74. Potteries Museum, Stoke-on-Trent, UK. The notes in this article append tin-glazed to the word meaning 'opaque white tin-glaze, painted in enamels', and coloured glazes to the word meaning 'coloured lead glazes, applied direct to the biscuit'.
Biscuit porcelain, bisque porcelain or bisque is unglazed, white porcelain treated as a final product, [1] [2] with a matte appearance and texture to the touch. It has been widely used in European pottery , mainly for sculptural and decorative objects that are not tableware and so do not need a glaze for protection.
White-ground technique is a style of white ancient Greek pottery and the painting in which figures appear on a white background. It developed in the region of Attica , dated to about 500 BC. It was especially associated with vases made for ritual and funerary use, if only because the painted surface was more fragile than in the other main ...
Wedgwood had introduced a different type of stoneware called black basalt a decade earlier. He had been researching a white stoneware for some time, creating a body called "waxen white jasper" by 1773–1774. This tended to fail in firing, and was not as attractive as the final jasperware, and little was sold. [7]
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The porous nature of (fired) biscuit earthenware means that it readily absorbs water, while vitreous wares such as porcelain, bone china and most stoneware are non-porous even without glazing. [6] The temperature of biscuit firing is today usually at least 1000°C, although higher temperatures are common. [ 7 ]
The plate is painted with an oil-and-enamel pigment. The surface is cleaned, leaving the paint in the cut grooves. The paint is then transferred to "potter's tissue", a thin but tough tissue paper, using a press. The tissue is then positioned face-down over the ceramic and rubbed to transfer the paint to the surface. [23]