How to Build Up Layers with Majolica An artist finds a way to build up layers of majolica decoration by sintering the glaze layer. Lisa Katzenstein

Majolica pottery is usually earthenware with an opaque white glaze (traditionally a lead glaze made opaque white with the addition of tin oxide) and colored overglaze decoration. But artists have come up with many new twists on the majolica technique over the years.

Lisa Katzenstein's twist is to do a lower temperature firing—a sinter firing—that adheres the glaze to the surface of the pot but does not melt it. This makes it possible for her to use multiple layers of decoration and latex resist without the glaze flaking off. In today's post, an excerpt from the September/October issue of Pottery Making Illustrated, Lisa explains her process. Jennifer Poellot Harnetty, editor.

The Form

My vases are slip cast and bisque fired to 2066°F (1130°C). Following the bisque firing, I spray on the white glaze, which provides an even surface to work on. Before I start painting, however, I fire the vase again to 1292°F (700°C) in what is known as a sinter firing. This adheres the glaze to the surface of the pot but does not melt it; without this firing, using multiple layers of color and latex resist would result in the glaze flaking off. Note: For this technique to be successful, it is important to understand your glaze and make multiple tests to gauge the temperature sweet spot, where the glaze affixes to the surface but does not melt.

Organize and Plan

Prior to painting on the sintered pot, I lay out my colors (1). I use powdered stains (from a variety of suppliers in the UK, such as Potterycrafts), which I mix with a small amount of clear glaze and water The clear glaze acts as a flux, which helps the color to melt into the white glaze.

I begin by drawing a rough design on the pot with a graphite pencil (the lines burn out in the final firing) (2). This gets the placement right, since once the process of painting begins, you can’t erase anything. 

I have always been interested in wild plants; I like to smother the vase with tangled vine designs that emphasize the shape of the pot. In the color palette for my nasturtium vase, I use a variety of greens mixed from my stains to produce new colors such as yellow with a touch of green to make yellow-green and blue with green for a teal color.

Beginning the Color Layering Process

When the drawing is finished, I start to paint using a small brush for the flowers of the nasturtium plant (3). When painting larger areas, such as a leaf, I use a small hake brush, as I find it applies a more even color (4). After I paint a leaf, I then apply a coat of latex resist over the dry color (5) so as not cover the previous leaf with the next color when I paint the leaf adjacent to it (6). 

I use a small brush for the finer details such as a stem (7), then apply latex resist once again. With the leaves and flowers completed (8), I can now move on to the background.

Painting the Background

The next step is painting the background. First, turn the vase upside down and paint the base using a hake brush to apply a thin layer of color (9). The color dries instantly since it sinks into the powdered surface. When finished, turn the piece right side up.

Next, I start with a lighter color first, in this case, yellow (10). I then paint a darker color (here a dark purple) on top of the yellow, leaving streaks where the underpainting shows through (11). There is no resist applied over the background colors.

To learn how Lisa creates detail lines that really make her work pop, check out the September 2022 issue of Pottery Making Illustrated!