All you need to know about the Chrysanthos Color Ceramic series, from application, quick design techniques, faults & issues, as well as how to fire.

1. Chrysanthos Café
Colours
application process and decorating techniques
short manual version by Christine Dehn

2. Café Colours
What are they?
Café Colours are primarily
underglazes designed to be applied under
neath the glaze onto a clay body or bisque
surface (fired clay body), and then fired in a
kiln to maturity e.g. 1080 degrees Celsius,
depending on manufacturer’s
recommendations and the type of clay
used.
Although as you will discover there are some
exceptions…

3. Café Colours
1
2
3
General Application Process
Opaque and
Soft finish
Café colours are ideal for both an opaque
finish (full cover of colour – 3 coats) and a
Translucent wash (transparent ‘see
through’
finish – 1 coat).
Depending on the surface area that you
wish
to paint it is generally a good idea to use
the
appropriate size brush for that area.
For example when you are applying colour
to a large area, it is recommended that a
‘large
mop’ or ‘soft glaze’ brush be used to apply
the paint.
Soft glaze or mop brushes are ideal as they
will
give both an even and soft ‘smooth’ cover
and finish (see images 1 & 3).
Whereas a bristle brush can create texture
and
Transfer Design

4. Café Colours
Application Techniques (1)
Full cover
An all over cover or opaque finish can be achieved with
either a mop or soft glaze Brush. Shake or stir the paint
before hand,
then fully load the brush with colour, and apply a
generous coat to the surface of the ware. Three coats
should be applied in total.
Allow each coat to semi-dry before proceeding to the next.
Ideally it is recommended that a ‘cross-hatch' technique is
applied when wishing to achieve a near flawless finish.
Application Techniques (2)
Another method used to create an even-flawless finish, is
with an ‘air gun’. The aim was to spray a light coat of colour
mixed with water, and with the aid of an air gun and
compressor the paint was sprayed evenly and effortlessly
onto the surface of the ware, giving a flawless soft finish.
This method is often still practiced in the commercial
ceramics industry achieving quick and favorable results.
Safety precautions must be followed and it is not recommended to
be practiced by pregnant women.
Application Techniques (3)
The ‘Sponge Technique’ is a favorable technique or
application method used by ‘first time’ ceramic painters, as
its easy, and achieves good, interesting and favorable
results. Using either 1 colour or several different colours, the
colour is applied using a soft sea sponge. The sponge is
dipped into the colour and then applied to the surface of the
ware using a pouncing motion for an even colour application.
Opaque finishes

5. Café Colours
the wash ‘transparent’ technique
A transparent or translucent finish can be achieved
via applying ‘1’ coat only of the Café Colours, to create
this effect.
If a wash or very pastel ‘watery’ effect is desired then
apply large
amounts of water, or more than usual to the colour and
mix to a watery consistency.
Using a relatively large soft, round or square shader brush
(depending on the surface area to be covered), allow the
brush to soak or be saturated with the pre-mixed colour,
then apply to the ware, taking extra care not to create any
unwanted runs or bleeding of the colour.
This could take some practice and its a good idea to practice this
method beforehand on some unwanted clay or bisque ware. If
working on a piece such as a vase, it would be advisable to lay it flat
whilst applying this ‘watery’ paint to the surface.
Wash technique on Crystallite Glaze

6. Café Colours
Sponge “Stencil work & Stamping”
For this step most soft sponges like a sea sponges, make ideal
shapes, templates or stencils. With a scissors cut the sponge into the
shape you wish to create.
Apply desired colour to a tile, mix with a little water to create a smooth
cream consistency.
Dip the sponge into the colour, making sure the entire surface of the
shape is saturated in colour, then gently place the sponge onto the
bisque surface area and lightly with your finger press the sponge into
the ware.
Remove the sponge carefully by gently peeling the sponge off.
Sponge “Overall cover”
As mentioned earlier, The ‘Sponge Technique’ is a favorable
technique or application method used by ‘first time’ ceramic
painters, as its easy, and achieves good, interesting and favorable
results.
Using either 1 colour or several different colours, the colour is
applied using a soft sea sponge.
Apply 1 or more colours onto a tile mix each colour with a little
water, but do not allow the colours to mix into one another.
Dip the sponge into the colour(s) and then apply to the surface of
the ware using a ‘pouncing’ motion for an even colour application.
Cover the entire area with colour creating a smooth yet textured
finish.

7. Café Colours
Bubbling Effect
For this step add to a tall container a little water, a drop of
detergent and some colour.
Place the item on a turn table or banding wheel for easier
application.
Stir the mixture and with a straw begin to blow creating soapy
bubbles. Then either scoop or allow these soapy bubbles to fall
onto your item, beware of runs.
Add more or other colours, if desired and continue until happy
with the result.
Allow item to thoroughly dry before glazing.
This technique is very popular with children.
Splatter & Stipple
Fairly straight forward and simple task of either splattering or
stippling colour onto your ware.
This can be achieved with either a toothbrush or hard bristle
brush.
Apply your chosen colour(s) to a tile and add water only if
necessary. Saturate your brush with colour and with your finger
brush gently against the brush flicking colour onto your ware.
Again be aware of too much colour or water on your brush,
which could result in runs or too much splatter.
For best results start with very little colour and gradually build up.

8. Café Colours
Banding
This can be a tough technique to attempt for the first time. But
with
practice, you will make perfect.
Place item on to a banding or potter’s wheel.
Mix colour to a milky like consistency so the colour will freely
cover the area.
Using a soft large glaze or mop brush saturate the brush with
colour and whilst turning your item on the wheel apply the colour.
Many coats will be required to achieve a good even opaque
finish.
Sgraffito
This method is fairly simple but needs to be done soon after the
last coat has been applied and allowed to dry a little, as this could
cause the paint to crack or split if too dry.
Using a skewer or stylus made of wood or metal, begin carving
or incising into the top colour to reveal the original clay body
underneath.
Once completed brush away the dust particles from the sgraffito
with a bristle brush. This is very important prior to glazing.
Creating a
banding effect
with a` banding
or potter’s wheel
Using a wooden
or metal skewer
and incising
or carving
through
the surface
to reveal the
clay or colour
underneath
Samples of sgraffito

9. Café Colours
Brushwork & handpainting Detail & line work
For opaque finish apply 2 to 3
generous coats, allowing each
coat
to dry in between.
Apply a small amount of colour to a tile and mix with water to an
‘ink’ like consistency. With a detail or fine liner brush apply 1
coat using the tip of the brush. The brush should be washed in
water frequently and re-loaded with colour often for a best
results.

10. Café Colours
Majolica
The method to paint ‘Café Colours’ over a ‘white non-moving
glaze’. Once fired a soft pastel finish is achieved, as with the
famous Italian glaze decorations. Although it’s a fairly straight
forward and simple technique, it may take a ‘few’ practice runs
before accomplishing the desired result.

Apply 3 coats of white non-moving (White Superior Glaze), to
the bisque ware and allow to dry thoroughly before applying any
colour.
Applying colour is similar as to a wash or transparent finish. Add
more water to the colours than usual and mix thoroughly.
With a soft round brush apply the colour to the glazed surface.
Taking care not to create any colour bleeds or runs, blot with
tissue paper if this occurs and add more colour to the mix.
Satin Cafe
To create a satin or low sheen finish to your ware, refer back to
the earlier notes in regards to ‘full cover or opaque finish.
Adding 3 generous coats to your ware and firing as
recommended by the glaze manufacturer….e.g. 1000O
C and
soak time for approx 30-40 minutes, although a test should be
done before hand to achieve best results.
Generally this technique will not render your items to be food
safe, but the overall result is striking..

11. Café Colours
Final Notes
Antiquing
This is one of the simplest and ‘fun’ techniques to try on ceramics. Although
there is one problem, you need an item with texture or raised surfaces like the
one in the image – left. Transparent glazes will give the best result simply by
applying to a textured item, or…...
Apply chosen colour to a tile and add water (more than usual) and mix.
With a soft glaze brush apply the colour to the ware, taking care to fill colour
into any gaps or crevices.
Using a ‘barely damp’ sponge wipe away colour from the ware until you reach
the desired effect. Wash your sponge frequently to avoid a ‘muddy’ finish.
It is always advisable to add a little
Water or ‘brushing medium’ to the “Café Colours” prior to painting . A few drops and mix
well onto a tile or palette, will help with a better finish.
Avoid dipping the brush into the paint container as this could promote contamination.
Allow each coat to dry in between applications.
Use appropriate size brush for the surface area for good even results.
Always clean brushes in warm soapy water and allow to dry bristle/ferrule of brush
standing up.
For a gloss finish, glaze items either with dipping or brush on glaze and fire.
For satin finish fire item to 1000o
C and allow to soak for approximately 30-40 minutes for
best results (follow glaze/firing recommendations by the manufacturer). Or use low sheen
glazes.
Kilns fire differently, always do your own pre-test fires to determine best results.
Always stilt items for firing and use cones every now and again to ensure that kiln is
firing to correct temperature.

12. Café Colours
Wax n Glaze
This is one of the simplest and ‘fun’ techniques to try on ceramics.
Apply colour to your ware as per usual.
Once dry apply the wax with a sea sponge. To create a similar
effect as seen in the image on the left, pour a generous amount
of was to a tile and with sea sponge with large holes, place the
sponge into the wax and carefully apply to your piece. Avoid
covering the entire area with wax and leave sections bare and not
covered with the wax.
Allow to dry thoroughly before glazing. Wax will fire off in the kiln.
Wash sponge in warm soapy water to remove all traces of the
wax.
Designed to create a ‘3D’ dimensional textured effect. Ideal
for creating a ‘leadlight effect’ or ‘embossed’ design work on
the surface of ceramic wares. Generally this is a simple
procedure, the difficulty here is usually with the ease or
functionality of the ‘syringe’ or ‘nozzle’ used to apply the slip
trail.
Although considered ‘food safe’ once glazed it is not
recommended to be applied to the inside of food containers.
3D texture and dimension

13. Café Colours
Café Gallery
Items completed using ‘Café Colours’

14. Café Colours
Glazes and decorating Products
Chrystallites
Fantasy Glazes
3D Trail Glaze
(alias slip trail)
Similar to Fantasy Glazes, with the exception of a matt finish
with clear shiny flecks or specks. Ideal for decorative and
textured finishes. These products are not suitable for use on
items intended for functional purposes, due to the porosity of
the clay body once fired.
A coloured glaze containing coloured crystals which tend to
‘burst’ in the kiln, creating a mirage of different colours to the
surface of the ware. Ideal for items of a tall nature such as a
vase or tall figurine, to see the full effect of this medium.
These glazes tend not to be ideal for wares considered for
functional purposes as the crystals do tend to craze (creating
small cracks on the surface), due to the ‘two’ different
mediums bonding here. If choosing to apply this glaze to a
functional item, apply this glaze only to the outside of the
ware and a ‘food safe’ glaze on the interior of the ware such
as a Superior Glaze.
Designed to create a ‘3D’ dimensional textured effect. Ideal
for creating a ‘leadlight effect’ or ‘embossed’ design work on
the surface of ceramic wares. Generally this is a simple
procedure, the difficulty here is usually with the ease or
functionality of the ‘syringe’ or ‘nozzle’ used to apply the slip
trail.

15. Loading Kiln Tips
Kiln shelves and furniture posts
Kiln Interior “Top Loader”
Thermocouple can be seen in the image, far right.
Bottom shelf with item
When firing a large flat object such as a
platter place item between elements and
not directly in line with the elements as
this can cause stress to the item.
Glazed Items loaded on shelf with posts in
place., ready for the next shelf to be placed
on top. Always allow plenty of space
between glazed items and kiln furniture,
walls and elements.
Front view of stacked items in kiln, including
cones
Half shelf
It;s
common
to use
only half a
shelf if
necessary
Using cones are important to
ensure a successful firing
as they determine the correct
firing temp, more so than a
thermocouple.
Stilt in place prior to
firing Stilt in place after
firing. Stilts should be
used on all glazed
surfaces to avoid item
‘sticking’ to a shelf.

16. Detecting Firing Faults
Application
firing
Crazing - fine cracks commonly
appearing after firing. The cause
usually from incompatible glaze for
the clay body. In this case more
tests should be carried out with
either different clay bodies or
glaze.
Crawling – is usually as a result from
either dirt or dust trapped beneath
the surface of the clay and glaze.
There is very little one can do to fix
this problem once fired.
Milky glaze – commonly caused by an
‘under firing’, or not soaking long
enough during the firing to allow the
glaze to even out and reach maturity
which will create a glossy and more
favorable finish. Try re firing for a longer
period of time and or soak longer.
Shelling or peeling – is
most commonly the cause
from either glaze
incompatibility or incorrect
cleaning of the item,
creating an unfavorable
polished surface and
therefore the colour and
glaze cannot fully adhere
and bond to the surface of
the ware. This problem has
also been known to happen
from over cleaning the item
or allowing too much water
to settle on the ware again
creating problems with the
surface to adhere the
colour or glaze to the ware.
Product

17. Ceramic Check List
Ceramics
1. Clean bisq with
sponge.
2. Apply transfer with
pencil.
3. Choose colours and
decorate.
4. When items are
completed, ask client to
sign their name on the
item.
5. Take item to counter
and check name, code
and receipt number.
Also check any errors
and correct, such as
item too wet, too much
paint etc.
Glazing Ceramics
1. Remove any dust and sgraffito
fettling from wares to be glazed.
2. Never remove dust near kiln.
3. Prepare glaze with water and stir
thoroughly. Glaze should be fluid
like milk. Test an item before
proceeding to dip.
4. When glazing, hold items at one
end and place item half way into
glaze, allow to dry and do the other
side.
5. When dry smooth over any drips,
pinholes or other thick areas.
Ceramics
1. Organise your items,
to be fired and place
where appropriate
in height and size per shelf.
2. Always place glaze
items on stilts.
3. Space items 2cm apart
from each other and leave
enough space between
items from shelf above.
4 Items should never
come in contact with
elements, walls of
kiln and furniture posts.
5. When placing shelves
into kiln, be
careful not to touch
‘thermocouple’ or
elements as they are easily
damaged.
Never splash water, glaze or dust particles near kiln or inside the kiln
Cones help to determine the temperature of the kiln and should be used frequently
Kilns should be serviced at least once a year by a qualified technician.
Kiln Wash should be applied to ‘only’ the shelves and recoated annually