Fulbright Curriculum Project

Ceramic Techniques from Greece and Bulgaria

Greek Attic Vases: Black and Red Figures

This project is both research and curriculum oriented. While in Greece I

had the opportunity to visit several potters who are making
reproductions of classic red and black (and white) figure vases as a
commercial venture. It was surprising to me how many artists are
currently working in this manner. It could be compared to the
traditional jug potters in the US but in Greece it seemed to be
pervasive. Some of these works are fairly low quality, mass produced
items for the tourist trade. However some of the potters are making
much higher quality work and even venturing into attempting more
original work.

After discussions with the potters regarding technical issues, I

determined that this could be a good project for students although it
would take significant research and adjustments due to the different
nature of the materials available in both countries.

A short description of the process follows. Once a pot is made it is

coated with terra sigillata slip (a type of liquid clay) and burnished to a
smooth surface. The unfired slip can vary in color from red to black to
white. In making the red figure type of ware, the slip is then removed
by scraping away from the areas inside of the figures that are to be
red. In the black figure type, the opposite is done: that is the slip is
removed from all areas outside the figures leaving the figures black.
Any white slip will remain white after the firing.

The materials are crucial as the Greek clays will react to the firing a
certain way and the only way for me to find out what the materials I
have access to will react is to test them.

The firing is an essential element as well. Kilns can be fired with an

abundance of oxygen to create complete and clean combustion of fuel
(oxidation). If more fuel than can be efficiently burned is introduced
into the kiln it creates an oxygen poor atmosphere (reduction).
Additionally carbon is introduced from the partially burnt fuel in the
form of thick smoke. When oxidized and reduced in the correct
sequence, certain clays and slips will produce blacks and reds similar
to the ancient Greek vases.

According to my Greek potter friends and some research, the kiln

should be fired in oxidation up to about 850 degrees Celsius and then
reduced up to 950o C. The reduction continues as the kiln is allowed to
cool back down to 850o C. At this point the kiln is allowed to oxidize and
slowly cool.

At the highest point of firing, the terra sigillata slip begins to melt and
should accept carbon from the smoke of reduction. As it cools it
reaches a point where it is no longer reactive and keeps the black color
of the carbon. The clay body also accepts the carbon and is black until
the kiln is re-oxidized as the temperature drops. The body is still
reactive to a much lower temperature and the carbon burns off leaving
the characteristic red of the clay.

My first attempt at this type of firing was predictably uneven in its

success. There was little in the way of intense color in any of the pieces
but some small indications of color on a few of the tests. I used several
different types of clays and several variations of terra sigillata slip. My
attempt at reducing my electric kiln was not very successful. Electric
kilns do not burn fuel and therefore combustible material must be
introduced into the kiln to create reduction. I used sugar water and
rope soaked in sugar water on the advice of the Greek potters. They
said that the steam was essential. I also used twigs and small branches
from the pine trees around my studio. I did not have enough material
to reduce the kiln for a long enough period of time. I photographed the
results but have not yet assembled the information in an organized
way. I want to run more tests before putting together the lesson.

I am working toward my second test firing soon. At the same time I am

experimenting with other methods that are not as advanced or difficult
that could approximate the same results. Commercially prepared
materials that are widely available could be used to create “Greek-like”
effects without the reduction firing which would allow a more general
audience of student to be reached. In these cases the lesson plan
could be more focused on history, mythology and the imagery of the
classic work.

The curricular goal of this project is to make this type of ceramic

technique available and accessible for various levels of students. I will
document the tested processes and results in writing and photos. I will
create a lesson plan through written instructions and demonstrate
techniques in photos and/or video. Advanced students could attempt
the traditional making and firing methods and study the original works
in their historical context. For others there would be exposure to the
historical pieces, acquisition of some technical information and
opportunities to create projects using materials and processes that fit
each age/skill level and available resources.
Bulgarian Slipware: Traditional (Troyan) Pottery

All through my travels in Bulgaria I repeatedly saw a traditional type of

pottery with intricate slip designs that may be from the Troyan area of
the country. This type of slip is colored clay of various hues. It is
applied in linear and other patterns onto the surface of a clay pot that
is wet or half wet. The liquid clay must be a certain consistency that
allows it to be “feathered”. Feathering is dragging through the various
colors of slip with a feather or other suitable too to create various
patterns. I have used this technique before and it is certainly not
particular to Bulgaria. However the potters of Bulgaria take this
technique significantly farther than I have seen elsewhere and push
the limits of the color palette as well.

Since I already used a simpler variation of this technique in my ceramic

classes I saw an opportunity to expand that demonstration and feel
that my students will be excited to try it.

My first attempts had mixed results. In Bulgaria I had discussions with

potters and watched them work. Unfortunately I did not have to the
opportunity to watch this particular technique in practice from
beginning to end. I did discover that many potters use commercially
available slips (sometimes called underglaze colors) that are
formulated to a particular specific gravity (thickness or density). I used
some commercial underglazes obtained here and found them to be
much thinner than would work properly for this technique. While I still
want to emulate the Bulgarian style, I found that having to deal with
colors that were too runny created some unexpected challenges. The
results were not a successful duplication of a technique but they were
potentially useful in teaching. Students could achieve interesting and
exciting effects by using thinner colors and tilting the pots to cause
running in various directions. Other variations of this technique could
pose very creative possibilities.

So far I have made a series of about thirty bowls in three separate

tests. I have achieved results that are getting closer to the effect I am
working towards. I believe that with more tests and practice I will get
quite close to the Bulgarian technique.

My project will include documentation of the tests and results plus

instructions for others to attempt to produce the effects. In essence I
will write up a demonstration plan and class lecture for this technique.
While it may be an appropriate challenge for advanced ceramics
students to attempt to reproduce the Bulgarian designs, I will also
include information on my less successful attempts that could be used
as a creative beginning point for lower level students. All students
exposed to these creative projects would also be exposed to the
culture and history of Bulgaria.

I have photos of my work to this point, which I could send if helpful. I

plan to include some with the final version of this project but have not
edited them yet. Additionally I may make a short video illustrating the
technique after achieving better and more consistent results.
 Additional Activities

I have begun to share and discuss the Greek Gods museum kit that
was so generously supplied to us by the Acropolis Museum with
educators in my area. I have lent it to teachers at Clancy Elementary
School and Education Professors at Carroll College where I work. They
are also aware of the Acropolis Museum website. I will continue to bring
these materials to the attention of educators through out the area and
who may find ways to incorporate them into their school’s curriculum.
If there were interest I would pursue funding to help institutions obtain
additional materials from the Museum in Athens.

I have arranged and mounted an on-going series of exhibits of

paintings here at Carroll College by Bulgarian artists who live in
Chicago. The series will continue into the spring.

I have been interviewed by the local newspaper about the trip and was
elated to see a very informative article published.

I wrote a short article on my Bulgarian experiences at the request of

the Bulgarian Fulbright Office and submitted it to them for publication.

I am working on a slide show and talk about my experiences that will

be presented to the faculty at Carroll College next semester. The local
public access television station may pick up this presentation for
broader distribution. The same station will very likely present an
interview with me about my experiences.

I will make at least two bodies of artwork based on my experiences in

each country and have exhibits of each. This is a longer term project
which will take at least two years to complete.

Finally, I am pursuing ESL materials for the American Farm School in

Greece. While I have not yet had success in this search I hope to find
curriculum materials to send them at some future point.

Submitted on October 31, 2008 by:

Ralph Esposito
Professor of Art
Carroll College
1601 North Benton Avenue
Helena, MT 59624

resposit@[Link]
406 447 4302