Key Points William De Morgans way of working (Highly my inspiration)

How he created his tiles/ceramics:

"The original pattern was drawn onto paper and then traced onto very thin paper. Oxides and pigments were then painted onto the paper, this was then placed face down onto a bisque tile and brushed over with glaze and fired. This method was fraught with difficulties and depended on an exact firing to prevent lifting and blistering of the paper. However it must have been viable as many tiles were decorated in this way. "

"His use of Islamic Art as inspiration created some of his most intricate designs; he managed to reproduce the vibrant blues, greens and turquoise of Islamic pottery of the 15th and 16th centuries and re-discovered the sliver and copper lustre’s of ancient Hispanic pottery and Italian Majolica.  Ionic pottery  from Turkey is a prime example of his ability to capitalise on a source. In the 19th century Turkish pottery was collected by individuals and museums. His brilliance in design was matched by his knowledge of chemistry which enabled him to react to the results of firings and create a wide and exciting palette range."

ISLAMIC ART

ITALIAN MAJOLICA

IZNIK POTTERY

 "He had a great sense of humour shown in his tiles decorated with imaginary animals, influenced by his extensive knowledge of medieval illustrated manuscripts. The decorative handling of birds, fish and animals influenced many; Lewis Carroll used them in part of a decorative scheme at Christ Church College, Oxford."

"The sinuous use of line in his floral tiles relates to both Islamic and European Art, the influence of early medieval herbals with their simple line illustrations of plants can be clearly seen in his and Morris’s work. William De Morgan’s ability to re-work historical designs made him stand out as a designer. Using historical sources for inspiration was paramount in his development as a designer."

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