Template for a Ceramic Or Porcelain Plate

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Template for a Ceramic Or Porcelain Plate

Reference Circle le/rice ood o/n tat po 24 cm ø u f o t / h s / t a e s a m l a d Ø Ø 2 Ø 2 9 Ø 2 9 5 0 m Ø 2 8 8 5 m m Ø 2 m 7 0 m Ø 2 m 7 5 m Ø 2 m 6 0 m Ø 2 m 6 5 m Ø 2 m 5 0 m 2 m 5 5 m 0 m m m m m x i m v e g e t a b l e s Template for a ceramic or porcelain plate Print this template on A3 paper. If you can’t print A3, print on 2 A4’s and tape together (make sure that your printer is printing real size (no scaling) and without borders). Notice, when painting on the top of your plate make sure that you have food-safe porcelain paint! Transform your ceramic plate to an ETE Plate Measure your plate. Use the grey guidelines and cut out a circle with your plate’s diameter. Pierce a hole where you see the dot. Place Fold the template Print template and take a template on your plate and cut out the ceramic or porcelain plate with and draw the dot. inner-circle. porcelain paint pens (or paint). Note that you can best use paint which is food safe. Cut out the circle Tape the template to the rim of your demarcating the black Draw the coloured plate. You might need to cut the ETE circle (ø24cm) lines using the Draw the black circle. Note template to t properly. where you have to draw coloured indicators the dashed line! on the template and the black dot. Dry the plate for 72 hours and bake in the oven according to your porcelain paint’s instructions. (Often; place Draw the black circle plate in cool oven, heat to and colour black. Remove template. 160 degrees Celsius and Write the words and bake for 1 hour, cool down coloured stripes. in the oven.) .

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'A Mind to Copy': Inspired by Meissen
‘A Mind to Copy’: Inspired by Meissen Anton Gabszewicz Independent Ceramic Historian, London Figure 1. Sir Charles Hanbury Williams by John Giles Eccardt. 1746 (National Portrait Gallery, London.) 20 he association between Nicholas Sprimont, part owner of the Chelsea Porcelain Manufactory, Sir Everard Fawkener, private sec- retary to William Augustus, Duke of Cumberland, the second son of King George II, and Sir Charles Hanbury Williams, diplomat and Tsometime British Envoy to the Saxon Court at Dresden was one that had far-reaching effects on the development and history of the ceramic industry in England. The well-known and oft cited letter of 9th June 1751 from Han- bury Williams (fig. 1) to his friend Henry Fox at Holland House, Kensington, where his china was stored, sets the scene. Fawkener had asked Hanbury Williams ‘…to send over models for different Pieces from hence, in order to furnish the Undertakers with good designs... But I thought it better and cheaper for the manufacturers to give them leave to take away any of my china from Holland House, and to copy what they like.’ Thus allowing Fawkener ‘… and anybody He brings with him, to see my China & to take away such pieces as they have a mind to Copy.’ The result of this exchange of correspondence and Hanbury Williams’ generous offer led to an almost instant influx of Meissen designs at Chelsea, a tremendous impetus to the nascent porcelain industry that was to influ- ence the course of events across the industry in England. Just in taking a ca- sual look through the products of most English porcelain factories during Figure 2.
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Fourteenth-Century Blue-And-White : a Group of Chinese Porcelains in the Topkapu Sarayi Müzesi, Istanbul
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