My main focus has been on the grids and tessellation of windows, and the piece that I am working on uses the main round window of the Gosplan Garage by Konstantin Melinkov.
I started to make my model from clay but I decided to use polystyrene instead. I used wooden coffee stirrers for the window frames. However I had problems with gaps so I had to cut out, accurately, cartridge paper to cover these gaps.
From this I made a silicone mould so that I could make wax casts. There was problems with the window frame details breaking off or the wax not getting into the channels, so I did a silicone cast form the silicone mould which worked perfectly. I used the rest of the polystyrene ball to make a mould. This half-sphere mould could be filled or partially filled to create sections in wax, as if sliced in half or thirds.
I eventually made open-cast plaster/flint moulds of all the sections.
When these came out of the kiln, I set about grinding them smooth so that I can assemble them as complete pieces.
I plan to fuse the sections together by making moulds and stacking the sections within these moulds and firing them in the kiln.
Crafts Council announces the 39 new makers selected for Hothouse 2015 The Crafts Council has selected 39 makers to take part in the six-month Hothouse programme which is delivered in partnership across four regions in the UK.
Hothouse has quickly established itself as a gold-standard professional development programme for new makers. Over the last four years 122 participants have completed the programme with 100% of last year’s cohort of 38 saying that the programme had enabled them to think differently about the direction of their career.
This is the first year that Craft Scotland has sponsored a cohort of six makers all based in Scotland. Other new regional partners include Manchester Craft & Design Centre and Manchester School of Art.
The 39 makers selected already display a high level of technical craftsmanship and originality but the programme, which starts in February 2015, will equip them with the business and creative skills needed to run a successful and sustainable craft practice.
“We have seen the positive impact on the careers of the few makers in Scotland who have been fortunate enough to have taken part in Hothouse programme in previous years. Therefore we are delighted to host a Scottish cohort for the first time and look forward to learning alongside the makers in their journey of discovery and development.” Fiona Logue, Director, Craft Scotland
I also had to tighten up the lettering as the characters had started to fill and I wanted to sharpen up the typography. So I was now able to paste this onto the finished cartoon.
I needed somewhere to set up a ‘cold working” area. Grinding, polishing and engraving with glass requires the necessary tools and that vital element, water. I set up a bench using a couple of “A” frames and a board, and then set about figuring out a water supply. I didn’t want to plumb in a water supply but I found a camping water container with a tap and I fixed a hook into the wall and hung the water container from it. However the weight of the water pulled the container out of shape. I needed to find something to hold the container securely. I found a small wooden fishing stool, which had been used as a bedside table in the guest room, and that was attached to the hook and the container sat comfortably on the opened seat.
The next thing was to attach a hose so that the water could be directed towards the working area. I got clear plastic hose and ear defenders and pushed the hose through one of the ear plugs. This was plugged into the tap of the container perfectly without any leaks. I am able to control the amount of water for any cold working that I need to do.
The bench has a grinder, a Dremel multi-tool, a light source, a large magnifying glass and various grits and polishes for hand lapping.
Unfortunately I am now unable to close the studio door, but at last I can now experiment with the Dremel.
I developed my idea of the lemon floodlights and each “lamp” would comprise of two sections, an inner and outer skin. The inner inner section would absorb and reflect the light and the outer skin would be more opaque, with the fruit’s texture either cast or printed on the surface.
My proposal piece which will be made during the apprenticeship with Colin.