Decoration and surface
On-glaze, in-glaze and under-glaze; burnished gold, bright gold and platinum. How decoration is made, and how it behaves.
Bone china’s smooth, glassy surface and warm white body make it one of the finest grounds for decoration ever developed. Victorian makers proved it with raised and acid-etched gold; modern makers with printed and hand-painted designs of every kind.
Where the decoration sits
| Method | Where it sits | Typical effect on durability |
|---|---|---|
| On-glaze | Fired onto the glaze surface at a relatively low temperature | Widest palette and brightest metals; most vulnerable to abrasion and dishwashers |
| In-glaze | Fired hot enough to sink into the softened glaze | Protected by glaze; good dishwasher resistance; narrower palette |
| Under-glaze | Applied before glazing, sealed beneath it | Very durable; limited colours that survive the glaze firing |
Gold and platinum
Burnished gold is applied as a gold-rich preparation, fired, and then polished by hand to a soft, rich lustre. Bright gold is a thinner liquid preparation that fires shiny without polishing; it is less costly and less durable. Platinum gives a cool silver colour without tarnishing. All metal decoration keeps a piece out of the microwave.
Surface refinement
Because the bone china body is fired to vitrification first, its glaze can be matured at a lower temperature and formulated for smoothness and depth. The result is the soft, deep shine that makes colours sit well. Some makers develop glazes specifically for their bone china body for this reason.
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