If you've spent time looking at ceramic surface decoration options, you've probably encountered both ceramic decals and underglaze transfers — and wondered what the actual difference is, and which one is right for your work.
The short answer: they achieve similar results (a printed or designed image on a ceramic surface) through fundamentally different processes, with different tradeoffs in color range, durability, workflow, and cost. Neither is universally better. I use both in my studio depending on the piece and the intended use.
Here's a complete breakdown.
What they are and how they work
Overglaze ceramic decals are printed designs applied to a fired, glazed surface. They sit on top of the glaze and are fused to it during a third firing at lower temperatures (Cone 016–06, roughly 1382–1828°F depending on type). The image becomes part of the surface but isn't protected by any glaze layer above it.
Underglaze transfers (also called tissue transfers or underglaze tissue) are designs printed on thin rice paper or tissue paper. They're applied to greenware or bisqueware before glazing. When glaze is applied over them and the piece is fired to full temperature (Cone 6–10, 2124–2232°F), the tissue burns away and the pigments fuse under — and partially into — the glaze. The result is a design sealed beneath the glaze.
Side-by-side comparison
| Factor | Overglaze decal | Underglaze transfer |
|---|---|---|
| Application surface | Glazed, fired ware | Greenware or bisqueware |
| When in the process | Final step (3rd firing) | Before glazing (1st or 2nd firing) |
| Firing temperature | Low (Cone 016–06) | High (Cone 6–10, same as glaze) |
| Number of firings | Additional firing required | No additional firing |
| Color range | Full CMYK + metallics, photographic | Mostly spot colors (blue, sepia, black) |
| Color vibrancy | Moderate to high | More muted, earthen tones |
| White possible | No (transparent) | Sometimes, with opaque underglaze |
| Food safety | Good when properly fired | Excellent — sealed under glaze |
| Durability | Moderate — surface exposed | High — protected by glaze layer |
| Dishwasher resistance | Hand wash recommended | More durable, dishwasher-friendly |
| Reversibility | Can add to fired ware | Must commit before glazing |
| Design complexity | Photographs, gradients, fine detail | Patterns, illustrations, text |
| Metallic options | Yes (gold, luster decals) | No |
| Cost per piece (materials) | $2–$6+ depending on sheet and coverage | $1–$4 depending on source |
| Learning curve | Moderate | Moderate |
When overglaze decals are the right choice
You need full color or photographic reproduction. This is the clearest advantage of overglaze digital decals. If your design includes photography, gradients, complex color illustration, or anything that requires the full visible color spectrum, underglaze transfers simply can't match it. The CMYK digital printing system used for overglaze decals can reproduce almost any image — portraits, botanical photography, patterns with fine detail.
You're decorating already-finished ware. Overglaze decals apply to fired, glazed surfaces. This means you can add decoration to pieces after the standard production process is complete — including production ware you've already made and fired. If you want to add a custom logo, a photographic image, or a decorative motif to finished bisqueware that's already been glaze-fired, overglaze decals are the only option.
You want the flexibility to customize individual pieces. Because overglaze decals are a final step applied to already-fired ware, you can customize individual pieces from a production run without affecting the base pottery. One mug gets one design, another gets a different design, all from the same glaze-fired batch.
You want metallic accents. Gold, platinum, and luster decals are overglaze products. There's no underglaze equivalent that produces the same metallic quality.
When underglaze transfers are the right choice
Durability and food safety are top priorities. For functional dinnerware that will be washed daily, handled constantly, and used by customers who may not follow hand-wash instructions — inglaze or under-glaze application is more durable. The design is protected by a glass glaze layer above it, making it resistant to the mechanical abrasion that eventually degrades surface-applied decorations.
You want a cleaner, more integrated look. Overglaze decals have a slightly raised edge and a surface presence — you can sometimes feel where the decal ends if you run your finger across it. Underglaze transfers, once covered with glaze and fired, are flush with the surface. The design looks like it grew from inside the clay rather than sitting on top.
Your aesthetic is graphic, illustrative, or pattern-based. The color palette limitation of underglaze transfers (mostly blues, earthy tones, graphic black) suits certain aesthetics better than others. Traditional Japanese-style work, botanical illustrations, folk patterns, and high-contrast graphic designs all work beautifully in the underglaze transfer format.
You want to eliminate a firing. Overglaze decals require a dedicated third firing. If your workflow already involves bisque and glaze firings, adding a decal firing adds kiln time, electricity cost, and scheduling. Underglaze transfers fold into your existing glaze firing — no additional kiln load required.
Can you use both on the same piece?
Yes — and sometimes this produces the most interesting results.
A common combination: apply an underglaze transfer for the main design element (a pattern, a landscape, a botanical illustration) before glazing, then add gold luster decal accents in a final overglaze firing. The underglaze element fires flush into the glaze surface and benefits from maximum durability; the gold luster sits above it as a decorative accent layer.
Another approach: use underglaze transfers for overall pattern coverage across a functional piece, then add custom overglaze decals with a name, date, or logo for personalization. The underglaze pattern provides visual interest; the overglaze decal handles customization.
The main constraint is that any overglaze work always fires after the underglaze and glaze work — the sequence must be honored.
The practical workflow comparison
Overglaze decal workflow:
- Throw / build / finish the clay piece
- Bisque fire
- Glaze
- Glaze fire (Cone 6 or appropriate)
- Apply decals to cooled, glazed surface
- Decal fire (Cone 016–06)
Underglaze transfer workflow:
- Throw / build / finish the clay piece
- Bisque fire (or apply to greenware for some transfers)
- Apply underglaze transfers to bisqueware
- Glaze over transfers
- Glaze fire (Cone 6 or appropriate) — done
Underglaze saves a firing. Overglaze offers more flexibility and color range. The right choice depends on your priorities.
Where to source each
Overglaze decals: Custom digital printing services (including this site) for your own designs, or stock decal sellers (Milestone Decal Art, The Ceramic Shop) for pre-made designs.
Underglaze transfers: Elan Transfers, Bel Decal, and some ceramic suppliers carry pre-made designs. Custom underglaze tissue printing is available from specialized services but is less common than custom digital overglaze printing.
Ready to order?
Custom full-color ceramic decals, printed by a working studio potter. No setup fee, ships in 5–7 days.
Still not sure which to use?
For most potters getting started with decorated production pottery, I'd suggest starting with overglaze decals — the application process is more forgiving (you're working on finished ware, not raw clay), the color range is richer, and the ability to add decoration as a final step to already-made pots is genuinely useful.
Once you're comfortable with the decal process, experimenting with underglaze transfers on pieces where durability matters makes complete sense.
Questions about which method fits a specific project? Contact me — I'm happy to talk through the decision.