Greek Vase Painting Techniques Black figure technique Red Figure Technique White Ground Technique Firing process

Black Figure Technique The earliest of the 3 main techniques evolved in Corinth Decoration started before firing when the clay was leather hard Usually the vases were burnished to create a perfectly smooth surface Outline of the figure was drawn on (maybe with charcoal) Burnishing When the clay was leather hard the vase was rubbed with a smooth object like a stone or piece of wood. The clay would become shiny

The figure was then completely filled in with black slip The clay surface outside the figure was left untouched This left the lighter coloured orange-red clay as a background The slip was applied with a series of brushes Black Slip Made from the same clay as the body. Mixed with water to form a creamy consistency. When fired the slip would become a shiny black. Slip was also used to join separate sections of the vase.

Additional colours were added to enliven the surface decoration Details were then added to the figure through incising with a sharp instrument This allowed the lightercoloured clay underneath to show through and create a pattern White paint was used to depict female flesh in contrast to the black of the males Additional colours were added to enliven the surface decoration Purple-red (red iron oxide/black slip) White (white clay without iron oxide) The vase was then fired

Subjects Often mythology, Olympian gods, Trojan war. Gradually everyday scenes from daily life Figures stylist not naturalistic Animals were more realistic As it developed there was a move from action scenes to the pause before or the relaxation after adding a psychological element At first the painter simply decorates the vase then there is a change and the vase becomes secondary Influence from Persia, especially in eastern Greece

Red Figure Technique The Pioneers Invented in Athens around 530 BCE It was the reverse or the negative of the black figure technique Before the decoration a slip was washed over the leather hard clay & burnished to heighten the effect of the orange and red clay A preliminary sketch was drawn on the vase The Pioneers The first vase-painters who developed this technique were known as the Pioneers

It gave the surface decoration a bold & textured appearance The outline & major features of the figures were often emphasised with a black raised relief line It gave the surface decoration a bold & textured appearance Probably applied with an instrument like a cake-icer The vase itself was painted with black slip leaving the silhouette of the figure unpainted (in reserve)

The interior details of the figure were then painted in with slip Depth & detail were added to the hair & costume of the figures by the use of a dilute honey coloured glaze The vase is then fired Detail There was NO incising of detail, any detail was painted on with black slip or dilute slip Foreshortening When an object appears compressed when seen from a particular viewpoint, it creates the illusion of a figure in space Greater freedom Red figure technique gave a much greater freedom of expression than had been possible with incising. This was particularly true when when it came to giving volume to bodies & experimenting with foreshortening

Added Colour Other colours such as purple/red and white were added before firing Women Unlike black figure, the flesh women was not painted white it was left in reserve to show the same red clay as the male figures Figures gain in naturalness, grace, freedom of movement. Drapery & anatomy become more realistic. Facial expressions begin to show. Depth & detail more detailed than black figure. Figures can be shown overlapping & more complex groups of figures develop. Greater freedom & realism in depicting scenes, especially violent action scenes.

White Ground Technique White slip came from using clay which had no iron content The last of the 3 major styles invented in Athens during the 6th century BCE A chalky white slip was painted over the leather hard clay A black relief line of slip was used to outline the figures & dilute glaze added to detail the picture The vase was then fired After firing, a wider range of pigments were used to decorate the vase including yellow ochre, coral red and grey. Due to colours being painted on after firing, the colours were less durable Mainly used for funerary ware as it was not handled so much, often buried so durability was not so important.

The Firing Process The firing process was the same for all vases!! There was only ONE firing but there were three distinct stages

Stage One Kiln heated to 800° Celsius, using dry wood Air was admitted to the kiln Atmosphere of the kiln was oxidising The body of the vase and the glaze turn red

Stage Two Upon reaching 800°, all the vents were closed Wet/green wood was added, causing the fire to smoke The oxidising atmosphere of the kiln became a reducing atmosphere Temperature was raised to 950° Then allowed to cool slightly to 900° The body of the vase and the decoration turned black

Stage Three The vents were opened The kiln was re-oxidised The Kiln was allowed to cool completely The clay body turned red again as it absorbed oxygen (the clay was quite porous) The part of the vase that was decorated (covered by the slip) was denser and therefore remained a glossy black