Compose two styles
Rather than blending two styles into a middle, this assigns them roles: one carries the structure, the other appears as an accent. Where the two fight, it says so before you start.
How to divide the work
- Composition
- Follow Delftware: Let each tile stand alone, with corner motifs linking them into a field
- Type
- Set in Delftware's manner (Keep marks small on the underside and leave the face to painting), and let Iznik Pottery's lettering (If you use lettering, run it as a band and give it the same rank as the ground pattern.) appear only where you want the eye to catch.
- Material
- Ground in Delftware's material (Cobalt on white tin glaze, painted in one pass with no correction); bring in exactly one thing from Iznik Pottery (Transparent glaze over a white body, with the red raised to give relief.).
- Colour
- Build on #e9e6dd, #67635d, #171615 and admit one accent from #e9e6dd, #67635d, #171615.
Where they fight
- Both belong to Ceramic Styles, so the difference is small. Push the roles further apart than feels comfortable.
- Roughly 1585 years apart. Keep one of them recognisably period rather than letting both drift into the middle.
Caution
- Delftware Aiming to pass as real porcelain turns the thick earthenware body and the speed of the brush from virtues into faults.
- Iznik Pottery Tiling the ornament flat loses the logic of the vessel. The handling of the curve and the rim is the pivot of the style.
Image prompt
An original image that takes its structure from Delftware (Style, 1600s–) and its accent from Iznik Pottery (Style, 15th–17th century). Structural cues: Painting in blue alone; White tin-glaze ground; Eastern motifs translated; From tiles to tableware. Accent cues, used sparingly: The brilliance of a white body under transparent glaze; Cobalt blue and a red that stands in relief; Spiralling plant ornament; A continuous composition turning around a curved surface. Composition: Let each tile stand alone, with corner motifs linking them into a field. Type and lettering: Keep marks small on the underside and leave the face to painting. Let one material quality come from the second style: Transparent glaze over a white body, with the red raised to give relief.. Mood: Luxury, Nostalgia, Calm, Exhilaration. Color: build on #e9e6dd, #67635d, #171615 with a single accent drawn from #e9e6dd, #67635d, #171615. Constraints: do not imitate, reference or name any specific artist, studio, brand, character or copyrighted work. Produce an original composition in the general period languages described above.
Related entries
- Delftware 1600s– / Style / Ceramic Styles
Longing for Chinese porcelain, Delft produced tin-glazed pottery of its own. Windmills, ships and Eastern scenes painted in blue alone fixed 'blue and white' as a Western language of table and room, chinoiserie put into practice.
- Iznik Pottery 15th–17th century / Style / Ceramic Styles
The pottery reached by the Ottoman kilns, setting brilliant blue and red on a white body. Tulips and carnations turn in spirals around the curve of the vessel, and on the wall tiles of a mosque geometry and plant ornament coexist on a single surface.
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