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> Zoom n°24 : Extrait 1/4
"Porzellanmalerei - Spitzen, Goldreliefs, Blüten "
(Peinture sur porcelaine - Bordures, reliefs or, fleurs)
de Magrit Marr
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FOUR PLATES WITH FLOWERS
OF THE MEADOW: 1/4
Motifs with columbine, briar-roses and waterlily
I paint these elegant and purely de-corative flower bouquets in the style of the turn of the century.
- Divide the plate into eight with help of a template (see ill. p. 12). With resist cover the parts to be decorated. Let it dry well (at least 15 to 30 minutes).
- Apply the background colour and sponge it smooth with a fine-pored plastic foam sponge. Remove the resist with tweezers. First firing at 820°C.
- Apply the first painting on the small flowers that were drawn ?. with the Stabilo pencil, and bring on the raised paste dots. Fire once more at 820°C.
- Shade the flowers with the pen and fire at 760°C.
- Do the gold work with pen and brush and fire at 760°C.
General points
I take very little paint on the brush for soft colour washes (ill. p. 26). First firing at 820°C. You can use your favourite colour combinations as, compared to the Meissen technique, no special co-lours are dictated here. Do not hesitate to also mix your colours. Paint flowingly with a loosely mov-ing hand, the same way as you would do when sitting in the open with watercolour paints and a pad. Some movement exercises to loo-sen your hand (such as: using a pencil you draw loose eights, circles and swinging shapes on pa-per) will surely help you avoid starting with a cramped hand. Contrast between the flowers' co-lours and foliage always looks good. White flowers, for example, are wonderfully ,,supported" by dark leaves; with well-defined sha-dows they even protrude with a three dimensional effect from the white porcelain. I paint light and dark colours in one go (see ill. p. 27), without getting problems with the edges of the paint's limit -provided the brush for the first painting is nicely pointed.
Procedure
(for the waterlily example)
- For the drawing of the motif I use as always the All-stabilo pencil. For the painting itself I selected the no. 5 and 6 brushes. The paint was mixed with turps and
very little fat oil, and I used a blue green for the sepals; next a little green, a little grey, a little yellow and some carmine. Grey is the main colour. I only take the desired colour on the very tip of the brush (ill. p. 26) and apply it where I want it. In this way I can immediately on the tip pick up a trace of another shade (ill. p. 27) for the next part. In-between I must add some oil a few times, a.s the paints were mixed rather dry
- With applying more or less pres-sure on the brush, something you learn in the first hours of a porce lain painting course, you automa-tically get different painting ef-fects.
- Always leave enough white on the porcelain, the three-dimensio nal effect of your decoration is supported greatly when you don't "pave it over". Cottonwool sticks or cottonwool wound around a brush can be used immediately after the application for removing too much paint or ,,opening up" some parts in the decoration, leaving space to put some other accents on the work later on (ill. p. 28.)
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