Revitalising a Victorian underglaze print archive: investigating materials for roller composition married to new, safer lead-less inks

该项目旨在振兴一个广泛的历史图案档案，这些图案曾经用于伯利陶器的釉下组织印花生产。这些图案已经有100年没有进入公共领域了，尽管组织打印工艺仍在使用，伯利是英国最后一个使用这种传统手工制作工艺的陶器。精细印刷研究中心、布里斯托尔大学和伯利陶器公司之间的这个合作项目将潜在地旨在保护这种“工匠工艺”，并在其图案生产中获得新的知识和技术改进，并结合新的改进的印刷工艺。最初的研究将集中在原始图案的背景历史影响上，从而追溯到中国陶瓷的影响和对青花瓷的“民族痴迷”。在其他陶瓷生产商（如Spode和Wedgwood）的背景下，对图案的历史参考也很重要，可以评估主要消费者和陶器在特定生产时期的受欢迎程度。组织打印工艺仍然是伯利生产方法的关键，我们将讨论它如何演变成伯利广泛的设计组合。当前全国范围内对陶瓷行业的兴趣将涉及当前的批评话语，重点关注陶瓷行业的重要性，讨论版画和陶瓷的代表人物，如保罗·斯科特，夏洛特·霍兹和格雷森·佩里。研究方法将包括访问原始资源，重新发现的设计显示在滚筒/板和图案书的雕刻档案中。该项目将寻求与与伯利合作项目相关的个人（如营销和管理团队）讨论相关问题。这可能还包括王子信托基金（The Princes Trust）的参与，后者可能作为伯利未来的投资者对该项目感兴趣。使用口述历史的方法与当前的纸巾打印机谁能够贡献的过程和在伯利工作的真实生活经验。视觉研究将提供对当前英国陶瓷双年展、特伦特河畔斯托克、维多利亚和阿尔伯特博物馆以及牛津的阿什莫尔博物馆等陶瓷领域重要藏品的全面了解。作为一种研究组织印刷转移方法的技术，关键制作也可能是有用的，以便作为设计师-制造商充分参与该过程。与Burleigh协商的这个合作项目的潜在好处可能是产生一个按时间顺序排列的在线历史目录，作为Burleigh将来使用的图案设计的综合文件。这一档案制作也可能导致一个新的“原型”组织打印图案/s作为一个新的集合为伯利的投资组合。精细印刷研究中心和伯利之间的合作项目可以作为一种营销策略来突出，并对伯利的旅游业有好处。这种新模式的产生可以通过组织会谈和研讨会以及讲习班和展览与广泛的受众分享。与组织打印工人的知识交流可以包括共享知识和对过程和生产的每个部分的理解。这些知识将进一步增强该地区当地居民的社区身份，他们将与伯利建立家庭和文化联系。

This project aims to revitalise an extensive archive of historic patterns once used to produce under glaze tissue print production for transfers at Burleigh Pottery. These patterns have been not been in the public domain for 100 years and even though the tissue print process is still in use, Burleigh is the last pottery in the UK to use this traditional hand made process. This collaborative project between the Centre for Fine Print Research, UWE Bristol and Burleigh Pottery will potentially aim to protect this 'artisan process' and result in the acquisition of new knowledge and technological improvements in the production of its patterns combined with new improved printing processes. Initial research will focus on the background historical influences of the original patterns leading back to the influence of the Chinese ceramics and the 'national obsession' with blue and white porcelain. Historical references to the patterns are also important within the context of other ceramic producers such as Spode and Wedgwood with an appraisal of the main consumers and the popularity of the pottery at that specific period in its production. The tissue print process is still pivotal to the production methods at Burleigh and how this evolved into an extensive portfolio of designs at Burleigh will be discussed. Current interests nationally in ceramics within the context of the industry will involve a current critical discourse focusing on the importance of the ceramic industry with a discussion of exponents of printmaking and ceramics such as Paul Scott, Charlotte Hodes and Grayson Perry. Research Methods will include access to primary sources with the re-discovered designs displayed in the archive of the engravings on rollers/plates and pattern books. The project would seek to discuss the relevant issues with individuals who are connected with collaborative project at Burleigh such as the marketing and management team. This could also include involvement with The Princes Trust who may have an interest in the project as investors in the future of Burleigh.The methodology of using oral histories with current tissue printers who are able to contribute with real lived experiences of the process and working at Burleigh. Visual research will provide a comprehensive understanding of significant collections of this field of ceramics at the current British Ceramics Biennial, Stoke-on-Trent, the Victoria and Albert Museum and The Ashmolean in Oxford for example. Critical making may also be useful as a technique to research the tissue printing transfer method to engage fully with the process as a designer-maker. Potential benefits of this collaborative project under negotiation with Burleigh could result in the production of a chronological on-line historical catalogue as a comprehensive document of pattern designs for Burleigh to use in the future. This archival production could also result in a new 'prototype' tissue print pattern/s to be produced as a new collection for Burleigh's portfolio. The collaborative project between Centre for Fine Print Research and Burleigh could be highlighted as a marketing strategy and have advantages for the tourist industry at Burleigh. The generation of this new pattern could be then shared with a wide range of audiences with the organisation of talks and seminars as well as workshops and exhibitions. Knowledge exchange with the tissue print workers could include shared knowledge and understanding of each part of the process and production. This knowledge will lead to a further enhanced community identity for the local residents in this area who would have a family and cultural connection with Burleigh.