The Digital Age of Ceramics

Acta Academiae Artium Vilnensis

Authors

DOI:

https://doi.org/10.37522/aaav.113.2024.245

Keywords:

ceramics, decals, 3D ceramic printing

Abstract

This article discusses an artistic exploration using digital decals and 3D clay printing, while also examining the current capabilities of these technologies at the Vilnius Academy of Arts. The history, functionality, and transformative impact of these technologies on ceramic studios are addressed, particularly in terms of digitizing work processes and accelerating creativity, thereby altering traditional manual and collaborative approaches. The article overviews the historical context of ceramic reproduction techniques and their evolution alongside factory production methods. It showcases experiments conducted by both international and local ceramicists, highlighting various ceramic reproduction techniques.

The division of labour in ceramics, prevalent even in pre-industrial times, has persisted. Each technological advancement, including the digitization of work and the availability of ready-to-use clay, diminishes manual labour or enhances its efficiency. Advanced technology enables ceramic artists to work more autonomously and swiftly. However, it is essential to recognize that working with the material remains integral; clay still requires preparation, shaping, and firing, whether in a factory setting or an artist’s studio.

Between 1998 and 2008, significant changes occurred in Europe, leading to the closure of many ceramic factories. With the decline of industrial production in the ceramic industry, a certain antagonism between studio ceramicists and factory workers has dissipated. The traditional dichotomy between manual craftsmanship and factory production, as well as between personal artistic expression and standardized, impeccably crafted ceramics, has diminished in many European countries.

Ceramic works are often subject to reproduction, both in terms of three-dimensional form and decorative elements. Repetitive ceramic pieces created by artists inevitably interact with mass-produced items. Experimental research was conducted using the Potter Bot Pro 10 clay printer. This device prints clay onto a moving base, which can cause the printed object to lose its shape or even detach from the printer due to shaking. When experimenting with faster printing speeds, particularly for tall and slender shapes, the printer’s movement could destabilize the piece. As a result, the work would begin to rotate, causing the vertical axis to disappear, and the printed layers would shift unpredictably. Despite these shifts, the work did not collapse but instead assumed a different form than originally intended.

Pottery designs are crafted using Autodesk Fusion 360, while g-code is generated using Ultimaker Cura with the manufacturer’s recommended settings for the Pot- ter Bot Pro 10 printer.

The designs are printed on white clay mass TBF2, manufactured by Colorobbia, Italy, at 100% speed without altering other print settings. Two different shapes, each comprising 10 vases, were printed using this method. The printed objects were fired at a temperature of 1000°C. Subsequently, they were decorated with colourless CLA 51 glaze and fired again at a temperature of 1040°C. Decals were created using Microsoft Word, allowing for font selection, size adjustment, and image upload. The resulting image was edited using Photoshop and printed with a Ricoh SP C440DN printer. Decals were then fired at 800°C to fuse them onto the ceramic surface. The aim was to keep the decals schematic, emphasizing their factory origin.

The entire design and printing process took approximately two days, while the three ceramic firings spanned six working days.

Through this research, several conclusions were drawn: digital technologies significantly accelerate work processes in ceramics. The reproduction of ceramic works holds significance for clay artists, highlighting the relationship between new techniques and factory ceramics. The utilization of digital technologies meets the needs of contemporary ceramicists, allowing them to swiftly and effectively create, control, and decorate works from start to finish.

Author Biography

Rokas Dovydėnas, Vilnius Academy of Arts, Vilnius, Lithuania

Doctor of Arts, is an interdisciplinary artist and curator. Active since 1994, he has participated in numerous exhibitions in Lithuania and internationally. He is a member of the Lithuanian Interdisciplinary Artists’ Association and has been teaching at Vilnius Academy of Arts since 2018. His works are included in the collections of the M. K. Čiurlionis National Museum of Art in Kaunas, the Grassi Museum of Applied Arts in Leipzig, the Lithuanian National Museum of Art, as well as private collections.

Published

16/10/2023

How to Cite

Dovydėnas, R. (2023). The Digital Age of Ceramics: Acta Academiae Artium Vilnensis. Acta Academiae Artium Vilnensis, (113), 413–437. https://doi.org/10.37522/aaav.113.2024.245