Color is one of the most striking elements of ceramic forms and surfaces, emerging primarily as a result of the chemical reactions that glazes undergo during the firing process. The texture perceived on ceramic surfaces is a feature that can be both physically felt and visually experienced, serving as a fundamental component in defining the character of the artwork. The textures created on the surface vary depending on the processing methods of the material, the applied techniques, and the chosen firing processes. Although color and texture may appear to be independent of each other in ceramic forms and surfaces, they are essential components that contribute to the aesthetic and structural integrity of the artwork. This study investigates the alternative color and texture effects achieved through the use of ignimbrite as a raw material on ceramic surfaces, focusing on its cyclical utilization. As a volcanic-origin material, ignimbrite functions as a natural pigment on ceramic surfaces due to the iron oxide and silicate minerals present in its composition. In this study, the ceramic forms were first subjected to a bisque firing at 900 ℃, after which ignimbrite pigment was sprayed onto the surface, followed by a second firing at 1200 ℃. As a result of this process, it was observed that ignimbrite generated pointillistic textures on ceramic surfaces and provided natural variations in color transitions. Furthermore, the unique forms examined within the framework of the cycle concept make the transformation process of the material visible while also emphasizing the aesthetic and conceptual depth of ceramic art. In this context, the study not only highlights the potential of ignimbrite as a raw material in ceramic art but also contributes to the exploration of alternative surfaces using natural materials.
Keywords: Colour, Texture, Ignimbrite, Cycle