Custom Decal Specialists www.decalspecialists.com.au
[Promotion] featuring Mel Robson & Ruth Andell
 
 
 

CUSTOM DECALS
Decal Specialists has invested in state of the art digital printing technology, enabling the production of Custom Ceramic Decals from original artwork, with a minimum order of one A3 sheet. If only one sheet is ordered, it may consist of multiple units of one piece of artwork or a number of different pieces of artwork. It’s possible to mix and match and literally ‘fill up’ each A3 sheet.

ARTWORK DELIVERY
Original digital artwork can be efficiently uploaded to the Decal Specialists website. An artwork upload ‘link’ is located on the Home Page. All technical specifications are noted on this link, but in simple terms, image resolution of 600dpi is recommended (300dpi minimum) and ‘tiff’ files are preferred.
If digital artwork does not exist, Decal Specialists can arrange for artwork to be scanned or created.
Custom Decals can be produced from original photography, illustrations and typography.

DECAL STORAGE
Custom Decals are supplied with an interleaving sheet between each decal sheet to ensure that the decals do not stick together. It is recommended that the decal sheets be stored on edge and that interleaving sheets are removed only when the decals are to be used. Ideal storage conditions are 15 to 18°C in a relatively dry environment.

DECAL APPLICATION
Custom Ceramic Decals are usually applied on fired, glazed finishes. Most of these surfaces are white, ivory or pastel.
It is most important that application and firing instructions (supplied by Decal Specialists with every Custom Decal order) are followed to the letter and if possible, proper application equipment is used.
Custom Ceramic Decals should be applied to a ceramic piece as follows:
1. Cut the motif (decal) from the A3 sheet.
2. Place the decal in a container of lukewarm water until the paper curls.
3. Remove the decal from the water and leave for approximately 20-30 seconds until the decal slides free from the backing paper (this method prevents the adhesive from dissolving away in the water and minimises water take- up into the decal). Adding a drop of washing up liquid to the water can help reduce surface tension and may also assist in making bubbles easier to remove.
4. Ensure your ceramic piece is not cold and that the area to be decorated is wet.
5. Slide the decal from the backing paper, face- up onto the wet finished ware, and proceed to squeeze out all the water making sure no moisture or bubbles remain underneath. Take extra care over dark areas as water is

harder to remove. The decal should be held
in place with the finger of one hand whilst water and air are removed from beneath the decal with
firm, deliberate strokes of a squeegee
(if possible). Move outwards from the centre of the motif.
Please note: incorrect or poor application may produce poor fired results. Decal application tools, such as a rubber squeegee and lint-free absorbent cloth, are recommended.

DECAL APPLICATION TOOLS
Although it is not essential to use special equipment to apply decals, optimum speed, quality and efficiency can be achieved by using application aids such as:
1. Rubber squeegee – a range is available to suit different applications
2. Rubber roller – for large areas or all-over motifs
3. Lint-free absorbent cloth.

TIME TO DRY
Wait at least 24 hours for the decal(s) to dry. Colder climates or higher humidity obviously increase drying time. The acid test for dryness is to set a small kiln at 200°C and insert a decorated piece for 5-10 minutes. If wet, the decal shows water blisters and if dry, it stays flat and appears shinier.

BEST TO TEST
If multiple ceramic pieces are to be decorated, it is strongly recommended that decal(s) be applied to one piece and fired to ascertain whether any kiln temperature ‘tweaking’ may be required.
Optimum firing cycles depend on factors such as the type of kiln, the shape and thickness of the ware and the comparative size of the load. This is normally determined by experience. It’s best to test.

FIRING
Kilns may be electric or gas-fired. Venting to allow free access of air for complete burn off of the organic materials in the decal is recommended. Avoid draughts that could cause excessive temperature variations.
Fire slowly up to 200°C to allow any remaining moisture to evaporate, and then up to 790-820°C. The recommended firing cycle is as follows:
1. 0 to 450°C in 180 minutes
2. 450 to 600°C in 30 minutes
3. Hold 15 minutes
4. 600 to 790-820°C in 30 minutes
5. Hold 15 minutes
6. Turn off.

For further information or to make an enquiry, please call Decal Specialists on 1300 132 771,
e-mail enquiries@decalspecialists.com.au or visit www.decalspecialists.com.au

 
 
 
 

Photos: Rod Buchholz, Mel Robson

 
 
 
 

Mel Robson

Brisbane based artist Mel Robson’s ceramic work explores the relationship between utilitarian objects and personal narrative.

“I am interested in the histories, stories and associations that are often embedded in everyday objects, and the role these objects can play in evoking memory and creating connections between the past and the present.”

Mel’s black and white polished surfaces are impossibly fine and delicate, embellished with ceramic decals custom made from old photographs, maps, letters, sewing patterns and wallpapers.

“The custom decals allow me to get the detail, clarity and variety of subject matter that would otherwise be extremely difficult and time consuming to create and apply – given the fragility of my pieces. The process of designing the decals also opens up endless possibilities for imagery.”

 
 
 
 
Mel RobsonMel Robson
 
 

Photos: Terence Bogue

 

 
 
 
 

Ruth Andell

Melbourne artist Ruth Andell has experimented extensively with a combination of digitally manipulated imagery and ceramic decals. This has allowed for an innovative range of imagery to be explored.

“Observations of various spatial relationships and shifts of perspective within and between architectural structures have led to the development of my current work”, says Andell. “Ceramic decals wrapping and connecting, combining manipulated imagery of the human hand digitally overlaid with urban textural elements, represents the disparity between industrial processes and the hand-made object.”

“I love experimenting with a diverse range of imagery and ceramic decals provide me with wonderful possibilities.”
The use of ceramic decals has enabled Andell to produce a series of works with a distinctive style and refined finish.

 
 
 
 

 

Photos: Terence Bogue

 
 
 
  back...