BACK TO ARCHIVE   FROM THE LONDON STUDIO OF STOKESAY WARE A NEW WASH SET   Page 2     The making of Stokesay Ware is a lengthy process as the same materials and techniques are employed as for full sized work. The advantages of slip casting from moulds includes the ability to reproduce complex shapes of high uniformity and precision. Karen and Peter feel that Stokesay Ware is perhaps best known for its dinner services and sets of china. Collectors can be assured that, for ,example, a dinner plate bought in London will match one bought in New York. In order that this be achieved incredibly high standards must be maintained. Much time is spent mould making since a complex mould is seldom used more than twenty times. As Karen explained, use causes wear and deterioration of the mould's surface. The mould becomes enlarged which causes unacceptable flaws. Original models are turned or sculptured from plaster in the traditional manner. From this the mould is made, splitting it where necessary to accommodate undercuts. The clay, in slip form, is poured into the mould, which, being porous, absorbs the water leaving an even skin of clay. As it dries it shrinks away from the mould surface and can be released. At this stage handles and knobs can be added and, once dry, seam lines fettled and the pieces further refined. Once biscuit fired the pots are glazed and fired again ready for decorating. As well as Stokesay Ware's range of 18th and 19th century ware in terracotta and stoneware bone china is used. The invention of bone china is generally attributed to Spode in the 1780s but as Karen pointed out it was so universally admired that by 1800 it had been accepted as the English industry standard. Transfer decorating was also developed during the same period. It meant for the first time highly detailed, decorative pieces could be made at more accessible prices. The Stokesay Ware Studio began developing their own transfer printing for the same reasons. Karen's background of both graphic and ceramics skills has proved to be an invaluable combination for this technique. Karen stressed that first 'pattern fits' have to be made for each piece. Transfers are flat so complex curves have to be accommodated in the overall shape and the design redrawn for each pot. It does not work, for example, if the transfer for the dinner plate is simply reduced for the side plate as the line weights would vary. The artwork is drawn at twice or four times life size and then reduced, ensuring incredible detail, and then silk screen printing onto paper. A cover coat is printed over the design enabling it to be soaked in water and slid off the paper onto the pot.   Bidet based on an 1830 Wedgwood design     1 :: 2 :: 3         HOME :: FINE CHINA :: GALLERY PRICE LIST :: ORDER :: EVENTS :: PROJECTS LINKS :: ARCHIVE         STOKESAY WARE 37 Sandbrook Road, Stoke Newington London N16 0SH, UK Telephone 020 7254 5242 International +44 20 7254 5242 email peter@stokesayware.com         Content, design & graphics copyright © Karen Griffiths 2000