Part 1: Mono printing, larger test tiles

I was excited this week to see the firing results from some larger test tiles that I made a couple of weeks ago.

Overall, I am very pleased with the results. The pieces demonstrate a stronger sense of cohesion and intention than some of my previous work, and the firing has revealed a number of qualities that I find particularly successful. I will discuss each piece individually below.

The first test tile combines a range of surface decoration techniques, including stencilling, mark making, and wooden block printing using black slip layered over multiple applications of white slip. Additional colour was introduced through iron oxide, red underglaze, and a turquoise stain. Transparent glaze was applied. The tile was made using Staffordshire Stoneware and fired in an electric kiln to 1280°C.

The firing produced some interesting results. The iron oxide is barely noticeable. In contrast, the bold black slip has retained a crisp, graphic quality against the white slip, particularly in the stencilled sections. This strong contrast creates a striking visual impact and highlights the layered nature of the decorative process.

The red underglaze has fired exceptionally well, producing a rich, vibrant colour that stands out beautifully against both the black and white slips. One of the most successful aspects of the tile is the relationship between the red underglaze and the turquoise stain. The turquoise is far more subdued than I had anticipated, which has actually resulted in a more balanced composition. Rather than competing for attention, the turquoise provides a softer counterpoint to the intensity of the red, allowing the different elements to work together harmoniously.

This tile was also made using Staffordshire Stoneware with multiple layers of white slip. Words were monoprinted onto the surface using black slip, and a variety of marks were carved into the clay to create texture and movement. Copper carbonate was applied liberally across the surface, while red underglaze was splattered over the black slip. A transparent glaze was then applied to the entire tile before it was reduction fired.

The most successful aspect of this piece is undoubtedly the effect of the copper carbonate. The reduction firing has produced beautiful rich reds that have developed particularly well within the carved and slashed marks, rewarding the more expressive mark-making process. These areas have a depth and vibrancy that draw the eye across the surface and create a strong sense of energy.

In contrast, the monoprinted words were less successful. The text is barely readable after firing, making it difficult for the viewer to engage with this element of the design. While disappointing, it provides useful information for future experimentation and suggests that the technique may need refining if legibility is important.

One of the most exciting outcomes is the splattered red underglaze, which has fired to a rich, dark claret red. The colour has a depth and intensity that works beautifully alongside the copper carbonate effects. This is a result I am particularly keen to explore further, especially in combination with a white clay or slip background and copper carbonate in another reduction firing. The interaction between these elements has great potential and is something I would like to develop in future work.

This tile was made using Staffordshire Stoneware and incorporates a wide variety of mark-making techniques. A wash of cobalt carbonate was applied across the surface, alongside turquoise stain and a transparent glaze. The tile was then stoneware fired to 1280°C.

The firing produced mixed but informative results. Although the cobalt carbonate was applied as a relatively dilute wash, it has fired to an extremely intense blue, far brighter and more dominant than I had anticipated. As a result, the turquoise stain has virtually disappeared, overwhelmed by the strength of the cobalt. While this was not the effect I had hoped to achieve, it provides a valuable lesson in the potency of cobalt and the need for greater restraint when using it in future work.

Despite the unexpected colour outcome, I am particularly pleased with several of the mark-making elements. The repeated linear marks have retained a strong rhythm across the surface, while the colon-imprinted wooden block has produced a distinctive graphic quality that adds visual interest. The textured, rock-like effect has also translated successfully through the firing process, creating areas of depth and contrast. More broadly, all of the mark-making techniques show promise and contribute something unique to the surface.

Although the colour palette was less successful than intended, this tile has reinforced the potential of the various mark-making approaches. Each element offers possibilities for further development, and I am confident that I will incorporate all of them into future pieces, refining the balance between surface decoration and colour as I continue to experiment.