Ceramic Processing

Each objectof CeramicsGiotto, which isa plate, a vase, a sacred image, etc.. is performedentirely by handat every stageof processing. Depending on the typeof object createddistinguishesamodeling lathe andamodeling mold.

Modeling lathe

araldotornio 300

Giannoni Alessio al tornio elettrico

Of formless mass of clay is shaped object that is to be created, such as a vase. The clay is placed in the center of the plate of the lathe which is run - in the pastwastopushthe wheelnowis electric - and with the hands is given a form prescribed, being carefultodothe amountof clayusedto createthe entire object. Once the desired shape the object is made to stand about a day and when the hardness reaches "leather", always using the lathe, is lightened, smoothed, turned with the appropriate tools to enhance the forms.




Modeling mold

Alessio Giannoni mentre calca un'Immagine Sacra

Ultime fasi della calcatura With this type of modeling are created exclusively sacred images, statues and tiles requires the aid of a plaster mold. So there they lie in strips of clay previously prepared with care to make them adhere perfectly to the walls of the mold and at the same time being careful not to leave air bubbles between the strip and the other as the cause of the rupture. After a few hours the clay becomes detached from the mold, is then extracted and finished by hand. You dig around the high to remove the undercut and then bring out the subject imprinted in the tile.


The engobes

At this point the object, still fresh, may be covered with a thin layer of white liquid clay called "engobes" - technique dating from the twelfth century -, that will allow later, after cooking, you can paint directly on a clear surface. The workmanship is typical of this, used since the early years of trading, then integrated with the enamel processing. Once the engobe process finished, the object is kept in a dry as possible and free of drafts; here is rest the time needed to dry out completely and lose the moisture content into the clay.


Araldo Giannoni al forno a legna fine 60

The first cooking

Past few weeks we shall the first cooking of pieces completely dry and free of moisture, are then placed in the furnace, creating a sort of castle with specific plans in refractory material. The cooking, which always begins in the morning, reaches 980 ° C very slowly and very slowly we have to lower it to open the oven. In fact, it takes about 36 hours to see the final outcome.


The glazing

The biscuit - is called the object that had only one cooking - is ready for painting. The object engobes which will have white, can be painted and then immediately covered with crystalline - also known as a showcase of a transparent glaze glass, waterproof and shiny - and then does not need to be enamelled.
The red object, instead, to be painted, it must first be glazed, ie coated with a layer of enamel - always kind of glass, unlike the crystalline is not transparent -. The enamel, which can be done by immersion - usually when the object is small - or spray, as well as to protect the piece from wear, is designed to facilitate painting.

The painting

Giannoni Araldo mentre dipinge nel laboratorioAnna Giannoni mentre dipinge

Painting is usually done by hand with brush and ceramic colors, which are derived from minerals or metal oxides, and derived from natural products without the presence of lead. Are then recreated the typical decor of the shop that over the years have changed and have been integrated with modern styles and easy to place in less traditional settings.

Giannoni Arianna in laboratorio mentre dipinge







alessioforno 300The second cooking

At this point we are ready for the second firing, which aims to set the glaze and color to remain permanently. The cooking must reach about 935 ° C so that the glazed enamel and crystal that are glossy and waterproof.The object is finally ready, made exclusively with natural elements, earth, water, fire and the passion of three generations of potters.