D
DHTiling
the latin word ‘tegula’ and its french derivative ‘tuile’
mean quite precisely a roof tile of baked clay.
the english ‘tile’ is less precise, for it can in addition
be used of any kind of earthenware slab applied to
any surface of a building.
the word ‘ceramic’ comes from the greek word ‘keramos’
meaning pottery, it is related to an old sanskrit root meaning
‘to burn’ but was primarily used to mean ‘burnt stuff’.
origin
historically, man has desired to create living spaces
which were beautiful, durable, and user friendly.
with that in mind, ceramic tile has been made by
man for 4000 years.
beautiful tiled surfaces have been found in the oldest
pyramids, the ruins of babylon, and ancient ruins of
greek cities.
decorative tilework was invented in the near east,
where it has enjoyed a longer popularity and
assumed a greater variety of design than anywhere
in the world. during the islamic period, all methods
of tile decoration were brought to perfection in persia.
in europe decorated tiles did not come into general use
outside moorish spain until the second half of the
12th century. the tile mosaics of spain and portugal,
the maiolica floor tiles of rennaisance italy,
the faiences of antwerp, the development of tile iconography
in england and in the netherlands,
and the ceramic tiles of germany are all prominent
landmarks in the history of ceramic tile.
body technique
the technique of tile and its secrets of trade were
safely guarded and orally handed from father to son
and master to student; thus rarely have designs,
patterns and details of technique been documented
and few complete treatises exist on the art of tile work
in the past. each tile was hand-formed and hand-painted,
thus each was a work of art in its own right.
simply defined, ceramic tile is tile made of clay.
tiles were made by hand, in early days clay bricks
- made by flattening the clay and cutting pieces
into shape - were dried beneath the sun or baked.
later the only mechanical aid was a wooden mould
carved in relief, which indented a pattern on the clay
slab. the slab was dried and the impression filed
with clay, which after further drying was shaved flat.
after the formation of the tile body,
ceramic tiles go through a firing process in a kiln
under very high heat to harden the tile body and
to create the surface glaze.
historically, unglazed tile was fired once.
glazed tile was fired twice.
the first firing formed a tile body called a ‘bisque’.
the biscuit firing had the highest temperature at
1060 C that fixed the tiles for size and shape.
after glazing the tiles were glost fired at about 1020
- 1240 C. on glaze decoration was fired at 750 C,
just before the glaze began to melt.
the modern tile industry was advanced by reviving
the lost art of encaustic tile-making. the industry was
further revolutionized in the 1840s by the ‘dust-pressing’
method which consisted of compressing nearly dry clay
between two metal dies. dust-pressing replaced
tile-making by hand with wet clay, and facilitated
mechanization of the tile-making industry.
decorative techniques
UNGLAZED:
the color range in unglazed tiles are limited to the natural
colors of the clay, ranging from a light sand to a red brick.
PLAIN GLAZES:
white lead, flint, china stone and china clay were ground to
form a glaze. a clear glaze brought out the natural body
colour and might be applied over any coloured decoration.
glazed tiles are decorated with natural and artificially colors.
palette of colors consists of glaze and underglaze colors.
the first glazes were blue in color and were made from
copper. also turquoise and light green glaze were
popular colors. ground metal oxides could be added to give
different colours.
ENCAUSTIC OR INLAID:
this method was to fill the matrix of a stamped tile with
white pipeclay before it was glazed and fired.
the two sections fusing during firing.
MOSAIC:
tiles in such colors as yellow, blue, brown, black, turquoise,
green and white were cut and carved into small pieces
according to a previously prepared pattern.
these pieces were placed close together and liquid plaster
poured over to fill in all the opening and gaps.
after the plaster dried and hardened, a large single piece tile
panel had been created, which was then plastered onto the
required wall of the building.
HANDPAINTING:
the artist painted freely onto a plain surface tile.
the glaze was one centimeter thick,
with hand-painted decorations of flowers, plants,
geometric designs, birds and human beings.
a design could also be copied from an original sketch by
'pouncing'. alternatively a tile could be transfer printed
and coloured by hand.
CARVED AND MODELLED TILES:
each piece is individually carved in relief or modelled in clay,
the pattern could be engraved in outline on the surface of the tile
or the design carved in relief or counter-relief on a wood-block
which was then pressed into the tile.
sometimes painted to emphasise the three-dimensional
appearance of the work.
SGRAFFITO:
an early form of decoration, the tile body is covered with
coats of slip that is scratched off to produce the design.
LUSTRE PAINTING
the metallic lustre of glazed ceramics is a very special type
of decoration. it can be red, brown, ochre yellow or green in
scattered light and shows, in specular reflection,
coloured metallic reflections (blue, yellow, orange, rose…).
metallic copper and silver colloids suspensed in glazes
compose lustre decoration.
TUBE LINING:
slip is trailed onto the surface of the tile to make raised
lines separating the areas where different colour is wanted.
coloured glazes were then applied.
this technique was used for art nouveau tiles.
TRANSFER PRINTING:
a copper plate was engraved with a design,
this would be covered in colour, the excess removed leaving
the colour only in the engraved parts.
a tissue paper was pressed onto the plate,
and placed colour side down onto the tile.
then removed, and the colour transferred to the tile.
this method was quicker, and therefore cheaper
than hand painting.
scheme of decoration
TILE PICTURES
square tiles were placed together and necessary design
was painted in glazed colors on them.
each tile was fired. then all were placed again next to each
other to create the main large illustration.
SINGLE MOTIF
isolated figures
PATTERNS
mathematically-minded people elaborated geometric
designs, providing a continous decoration.
most designs required four tiles to complete a pattern,
some required as many as sixteen.
a ‘wallpaper’ pattern is one that has translation symmetry
in two directions (such as left/right and up/down).
a frieze pattern is one that has translation symmetry in
one direction. a rosette pattern is one that has no translation
symmetry, just reflection and/or rotation symmetry.
tile setting
SHAPES
irregular tiles, round and mitred to fit corners,
diamond or octagonal, pentagonal, triangular forms
were common. through the 13th century there was a
general movement towards standard sizes in convenient
square or rectangular shapes.
TRADITIONAL
new methods and materials have, of course, been
introduced, but tile setting (despite modern efforts
to mechanize it) remains a hand-operated, labor-
intensive process, and it's not likely to change soon.
modular tiles are tiles which, when placed in a pattern,
automatically create a certain sized grout joint.
but some of the tiles, because of the symmetry, have
only one orientation.
MOUNTED TILES
tile assembled into units or sheets, either back mounted
or face mounted. and bonded by suitable material to
facilitate handling. back mounted has perforated paper,
fiber mesh resin or other suitable material permanently
attached to the back and/or edges so that a portion of the
back of each tile is exposed to the bond coat.
face mounted has paper applied to the face of the tile,
usually by water soluble adhesive so it is easily removed
prior to grouting of the joints.
CHARACTERISTICS
ceramic tile was used almost everywhere -
on walls, floors, ceilings, fireplaces, in murals, and as an
exterior cladding on buildings.
ceramics are defined as products made from inorganic
materials having non-metallic properties.
ceramic tiles have a number of outstanding properties
which determine their usefulness. one of the most
appreciated is their great durability.
this durability can be divided into three types:
chemical, mechanical and thermal :
* water absorption
* not affected by oxygen
* abrasion resistance
* impact resistance
* breaking strength
* stain resistance - resistant to almost all acids, alkalies,
and organic solvents.
mean quite precisely a roof tile of baked clay.
the english ‘tile’ is less precise, for it can in addition
be used of any kind of earthenware slab applied to
any surface of a building.
the word ‘ceramic’ comes from the greek word ‘keramos’
meaning pottery, it is related to an old sanskrit root meaning
‘to burn’ but was primarily used to mean ‘burnt stuff’.
origin
historically, man has desired to create living spaces
which were beautiful, durable, and user friendly.
with that in mind, ceramic tile has been made by
man for 4000 years.
beautiful tiled surfaces have been found in the oldest
pyramids, the ruins of babylon, and ancient ruins of
greek cities.
decorative tilework was invented in the near east,
where it has enjoyed a longer popularity and
assumed a greater variety of design than anywhere
in the world. during the islamic period, all methods
of tile decoration were brought to perfection in persia.
in europe decorated tiles did not come into general use
outside moorish spain until the second half of the
12th century. the tile mosaics of spain and portugal,
the maiolica floor tiles of rennaisance italy,
the faiences of antwerp, the development of tile iconography
in england and in the netherlands,
and the ceramic tiles of germany are all prominent
landmarks in the history of ceramic tile.
body technique
the technique of tile and its secrets of trade were
safely guarded and orally handed from father to son
and master to student; thus rarely have designs,
patterns and details of technique been documented
and few complete treatises exist on the art of tile work
in the past. each tile was hand-formed and hand-painted,
thus each was a work of art in its own right.
simply defined, ceramic tile is tile made of clay.
tiles were made by hand, in early days clay bricks
- made by flattening the clay and cutting pieces
into shape - were dried beneath the sun or baked.
later the only mechanical aid was a wooden mould
carved in relief, which indented a pattern on the clay
slab. the slab was dried and the impression filed
with clay, which after further drying was shaved flat.
after the formation of the tile body,
ceramic tiles go through a firing process in a kiln
under very high heat to harden the tile body and
to create the surface glaze.
historically, unglazed tile was fired once.
glazed tile was fired twice.
the first firing formed a tile body called a ‘bisque’.
the biscuit firing had the highest temperature at
1060 C that fixed the tiles for size and shape.
after glazing the tiles were glost fired at about 1020
- 1240 C. on glaze decoration was fired at 750 C,
just before the glaze began to melt.
the modern tile industry was advanced by reviving
the lost art of encaustic tile-making. the industry was
further revolutionized in the 1840s by the ‘dust-pressing’
method which consisted of compressing nearly dry clay
between two metal dies. dust-pressing replaced
tile-making by hand with wet clay, and facilitated
mechanization of the tile-making industry.
decorative techniques
UNGLAZED:
the color range in unglazed tiles are limited to the natural
colors of the clay, ranging from a light sand to a red brick.
PLAIN GLAZES:
white lead, flint, china stone and china clay were ground to
form a glaze. a clear glaze brought out the natural body
colour and might be applied over any coloured decoration.
glazed tiles are decorated with natural and artificially colors.
palette of colors consists of glaze and underglaze colors.
the first glazes were blue in color and were made from
copper. also turquoise and light green glaze were
popular colors. ground metal oxides could be added to give
different colours.
ENCAUSTIC OR INLAID:
this method was to fill the matrix of a stamped tile with
white pipeclay before it was glazed and fired.
the two sections fusing during firing.
MOSAIC:
tiles in such colors as yellow, blue, brown, black, turquoise,
green and white were cut and carved into small pieces
according to a previously prepared pattern.
these pieces were placed close together and liquid plaster
poured over to fill in all the opening and gaps.
after the plaster dried and hardened, a large single piece tile
panel had been created, which was then plastered onto the
required wall of the building.
HANDPAINTING:
the artist painted freely onto a plain surface tile.
the glaze was one centimeter thick,
with hand-painted decorations of flowers, plants,
geometric designs, birds and human beings.
a design could also be copied from an original sketch by
'pouncing'. alternatively a tile could be transfer printed
and coloured by hand.
CARVED AND MODELLED TILES:
each piece is individually carved in relief or modelled in clay,
the pattern could be engraved in outline on the surface of the tile
or the design carved in relief or counter-relief on a wood-block
which was then pressed into the tile.
sometimes painted to emphasise the three-dimensional
appearance of the work.
SGRAFFITO:
an early form of decoration, the tile body is covered with
coats of slip that is scratched off to produce the design.
LUSTRE PAINTING
the metallic lustre of glazed ceramics is a very special type
of decoration. it can be red, brown, ochre yellow or green in
scattered light and shows, in specular reflection,
coloured metallic reflections (blue, yellow, orange, rose…).
metallic copper and silver colloids suspensed in glazes
compose lustre decoration.
TUBE LINING:
slip is trailed onto the surface of the tile to make raised
lines separating the areas where different colour is wanted.
coloured glazes were then applied.
this technique was used for art nouveau tiles.
TRANSFER PRINTING:
a copper plate was engraved with a design,
this would be covered in colour, the excess removed leaving
the colour only in the engraved parts.
a tissue paper was pressed onto the plate,
and placed colour side down onto the tile.
then removed, and the colour transferred to the tile.
this method was quicker, and therefore cheaper
than hand painting.
scheme of decoration
TILE PICTURES
square tiles were placed together and necessary design
was painted in glazed colors on them.
each tile was fired. then all were placed again next to each
other to create the main large illustration.
SINGLE MOTIF
isolated figures
PATTERNS
mathematically-minded people elaborated geometric
designs, providing a continous decoration.
most designs required four tiles to complete a pattern,
some required as many as sixteen.
a ‘wallpaper’ pattern is one that has translation symmetry
in two directions (such as left/right and up/down).
a frieze pattern is one that has translation symmetry in
one direction. a rosette pattern is one that has no translation
symmetry, just reflection and/or rotation symmetry.
tile setting
SHAPES
irregular tiles, round and mitred to fit corners,
diamond or octagonal, pentagonal, triangular forms
were common. through the 13th century there was a
general movement towards standard sizes in convenient
square or rectangular shapes.
TRADITIONAL
new methods and materials have, of course, been
introduced, but tile setting (despite modern efforts
to mechanize it) remains a hand-operated, labor-
intensive process, and it's not likely to change soon.
modular tiles are tiles which, when placed in a pattern,
automatically create a certain sized grout joint.
but some of the tiles, because of the symmetry, have
only one orientation.
MOUNTED TILES
tile assembled into units or sheets, either back mounted
or face mounted. and bonded by suitable material to
facilitate handling. back mounted has perforated paper,
fiber mesh resin or other suitable material permanently
attached to the back and/or edges so that a portion of the
back of each tile is exposed to the bond coat.
face mounted has paper applied to the face of the tile,
usually by water soluble adhesive so it is easily removed
prior to grouting of the joints.
CHARACTERISTICS
ceramic tile was used almost everywhere -
on walls, floors, ceilings, fireplaces, in murals, and as an
exterior cladding on buildings.
ceramics are defined as products made from inorganic
materials having non-metallic properties.
ceramic tiles have a number of outstanding properties
which determine their usefulness. one of the most
appreciated is their great durability.
this durability can be divided into three types:
chemical, mechanical and thermal :
* water absorption
* not affected by oxygen
* abrasion resistance
* impact resistance
* breaking strength
* stain resistance - resistant to almost all acids, alkalies,
and organic solvents.
