Artisanal workmanship
The Art of Deruta Majolica
A journey through the four stages of Deruta ceramic production: from shaping the clay to decorating the handcrafted majolica. A tradition of Umbrian ceramics passed down through centuries and still preserved today in artisan workshops.
Creating the piece
Everything begins with the earth. Deruta ceramics are born from clay, the same material used for centuries in the tradition of Umbrian artisan majolica.
The clay is carefully selected and worked to achieve the right plasticity. Shaping is done using different techniques: the wheel for symmetrical forms, the coil technique for sculptural shapes, and plaster moulds for repetitive production. Once shaped, the piece dries slowly to prevent internal cracks.
- Raw clay worked with controlled moisture between 20% and 25%
- Techniques: wheel throwing, coiling, slab building, slip casting in plaster moulds
- Drying time: 24–72 hours at room temperature (18–22°C)
- Drying shrinkage: approximately 8–12% of original dimensions
- Visual and manual inspection to detect cracks or deformations before firing
First firing
Bisque firing transforms raw clay into porous, resistant terracotta, ready to receive glazes and decorations.
The firing curve is precisely programmed: slow rise to 1020°C, sintering of particles, controlled cooling. Each step is crucial to the quality of the final piece.
- Maximum temperature: 980–1020°C (oxidation firing)
- Full cycle duration: approximately 24 hours including cooling
- Additional shrinkage during firing: 3–6% compared to the dried piece
- The resulting bisque is porous (15–25% porosity), ideal for glaze absorption
- Manual post-firing selection: removal of pieces with deformations or cracks
Glazing and decoration
Hand decoration is the defining heart of Deruta majolica. This is where matter transforms into visual language.
The bisque is coated with white glaze, then decorated by brush directly onto the absorbent glaze surface with no possibility of correction. Pigments derive from metallic oxides: cobalt for blues, copper for greens, manganese for browns, iron for yellows.
- Base glaze: tin or zirconium frits diluted in water
- Pigments: pure metallic oxides (Co, Cu, Mn, Fe, Sb, Cr) dry-ground
- Fine-tipped brushes for details, softer ones for fills
- Raw colour appears dull: cobalt blue appears grey before firing
- Traditional motifs: raffaellesco, grotesque, quartered, stylised flowers, pompa portraits
Second firing
The second firing is the moment of final revelation. The glaze melts, colours ignite and the surface becomes compact and definitive.
Between 700° and 900°C the glaze transforms from dull powder to a glassy coating. The oxide pigments chemically combine with the glaze matrix and produce the definitive colour, stable and durable over time.
- Glaze melting temperature: 950–1020°C (oxidation firing)
- Full cycle duration: approximately 24 hours including controlled cooling
- The final surface is waterproof and suitable for everyday use
- Final quality control: visual inspection for bubbles, cracks or chromatic defects
- Average rejection rate for an experienced artisan: 5–15% between first and second firing