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

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 Historical references to the patterns are also important within the context of other ceramic producers such as Spode and Wedgwood with an appraisal of the main consumers and the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.