Carbon Copy: Easy to Transfer Underglaze Images

Carbon Copy: New Transfer Paper Makes it Easy to Transfer Underglaze Images

From screenprinting to decals, there are many ways to transfer imagery onto pottery. There’s a nifty new commercial product out now, which acts kind of like a rice paper decal, only you can customize the image. Graffito Paper, as it’s called, is kind of like the clay world’s equivalent to carbon paper. Basically, you lay the Graffito Paper onto your piece and trace any design you want over it. Et Voila! It is on your pot.

Our own Jessica Knapp recently tested out this cool new tool in our “Ceramic Test Kitchen.” In the January/February 2012 issue of Pottery Making Illustrated, she shares her results. I thought I’d give you a sneak peek today!


Very cool…



Antique Verre Eglomise, Distressed Italian sample on the bench – Nick Garrett

Palazzo Parma – restoration and inspiration

The Palazzo reception room freshly lined walls and cleaned ceilings with fine retouching.

The perfect place to find inspiration and new product concept.

The inspirational setting furnished plenty of ideas for my new Verre Eglomise commissions.

Above Day 4:  White Gold Verre Eglomisé glass panel backed up and looking authentically aged.

Case:  4 Day sample making – Verre Eglomisé panel

Inspiration arrives for the new samples

Let’s face it it’s all about inspiration… and if you haven’t got it coursing then the chances are the work will reflect it.

The sample I am preparing is tricky.  It has been replicated from an original panel located in an 18th century Palazzo in central Parma and is one of 5 ceilings I re-touched, that house pretty much enough timeless classic Italian motif to last 5 centuries… or certainly fill my new portfolio.

The problem has been getting hold of the right gelatin and enamels – without them, it can’t be done.

Restored chest 18 century – cleaned, touched-in, beeswax polished

New Samples:  Verre Eglomisé – Aim and objective

I want to create a sample that becomes the original… it must be subtle and have finesse, but importantly I also want it to have some rhythm – afterall Parma is home to the Meastro Giuseppe Verdi.

It must be clear enough for the awaiting crew to accept but also bring to them the importance of the delicate nature of this type of brushwork.

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