My presentation for March Formative Assessment, highlighting key points of development from beginning of our main SUBJECT project – Connections and Object(ions), and reflection on the Ken Stradling Collection.
Returning from FIELD module, it shows the significant creative impact it had on my SUBJECT.
PDF file of March Assessment Presentation
Altering turned shape made on the plaster lethe; trying multitude of tools.
As my intention to create 4 different feet as a base for the cup, inspired by the 4 legs of the Penguin Donkey couldn’t be realised through the lathe turning stage, I had to work onto the turned form further, and carve the feet away.
Drawing a technical sketch of the base in my sketchbook, and carefully calculating the legs’ positions, I could place my turned form onto it to accurately mark the legs’ positions.
I started carving away bigger chunks with range of small hoop or cutting tools. However, that proved too brutal and I was scared I would accidentally damage the prototype.
Therefore, I went to small metals workshop and used Dremel tool to precisely carve the feet away with much more control in my hands.
This proved as a great, precise and fast way to alter a prototype. Using multitude of attachments and different speed settings I could carve away bigger chunks, take small quantity of plaster closer to the feet and get into the more awkward angles, 
as well as smooth the surface level.
To smooth all the edges precisely, I had to switch to using wet-and-dry sand paper of various grades, to safely file away the small quantities of plaster.
I again rather enjoyed doing small, precise and planned manual alteration of form.
However, I’m not entirely happy with the prototype. I feel the legs and bottom curve should be even more pronounced, to better represent the original Penguin Donkey and its long feet and profound curves. I’m afraid the shrinkage of the clay after glaze firing will make the features rather insignificant.
At the end, it is only a test piece to challenge my skills further. I hope I’ll be able to
produce even better and more prototypes with more confidence
.
After initial induction into the technique and safety of the machinery used, this year; I could draw a detailed design and create a template, to produce an exact replica of my plans in as high detail and accuracy as my novice skills allow.
Relating to my themes of simplicity, aspiration, and mass production I chose to create a 
simple design of a cup that I could practice translating in high accuracy into a plaster prototype, using a lather.
Reading “The Workshop Guide to Ceramics” by Duncan Hooson and Anthony Quinn to guide me, I created a technical drawing to help me record all the details I would need later when turning the plaster.
The simple shape was inspired by my catalyst object from Ken Stradling collection, or rather its first version, with the distinctive base curve with protruding legs, giving it its symbolic name “Donkey”.
I transferred the drawing onto a thick card to guide me in my progress while turning the plaster.
Due to the thickness of the card, I think I lose some details, so next time I’ll have to use thinner one.
To create the 4 separate legs I turned a distinctive foot for the cup, with intention to try to carve and dremle away the excess later.
Using a multitude of tools and carving away very carefully and little, while often checking the progress with the template was it seemed the best approach to acquire a high accuracy.
The biggest struggle really was to imagine and see the different angles and try to recreate them in multitude of places at the same time so that the template could slide in a bit further each time.
At the end I was rather happy with the result. The template was slightly off a millimetre or 2, but all the angles and curves were exactly how I wanted them to be.
Moreover, I really enjoyed this highly controlled and measured, then carefully detailed and intricate process to create something exactly as designed.
However, next time I could try more creative and spontaneous approaches?
Progress of the 4 weeks, working on the Tea for Two project, illustrated through photographs.
Stitching number of pieces of fabric to create moulds for the parts of tea set.
Filling the fabric moulds with plaster to create number of plaster prototypes.
These then can be used to create plaster moulds for casting with slip.
More plaster shapes and components.
Plaster saucers.
Used fabric moulds dipped in black slip and fired.
This method is actually much faster and simpler than making plaster moulds, with better, undisturbed detail. More experimental shapes are possible, just less functional.
Slip-casted and fired cups.
Fired slipware, some of them glazed, with oxide wash and transparent glaze, or other.
Working continuously for over a week in the plaster room to create plaster prototypes from my textile stitched cups and then plaster moulds for slipware.
As I wanted to explore the holding and containing abilities of a tea set, and possible absence of it, I looked at shape created by the act of accommodating.
I chose textiles and stitch as it’s another object associated with home and domestic environment. Available at my house too, I spend few late evenings cutting shapes and stitching them together to govern the final shape to some extend, to at least appear like a cup or a teapot.
Filled with plaster, even thought the textiles forms were assembled from number of parts to hold the shape, the plaster was much heavier and overpowered the stitches.
In some cases I had to hold the shape until the plaster hardened, or supported them with boards, strings or in a container.
At the end I ended up with fairly large amounts of prototypes, as the teacup moulds were open, allowing me to separate the plaster and textile without the need of ripping it, as necessary with other textile moulds. I was free to experiment with the way they stand and fold, turning them inside out, bounding them with string, etc.
Attempting for a smaller components such as spouts and handles, which are trickier.
The only worry is how much they will shrink in the kiln as a slip cast, and being able to pour.
The hardest and most time consuming part was creating the 3 plaster moulds for slip casting.
With highly irregular shape, I had to look for many undercuts and divide the shape into 4 to 8 part moulds.
However, taking every opportunity to work in the plaster room, I managed to produce the 3 fairly complicated moulds in about a week + extra day or two; getting essential skills at more detailed plaster mould making. Of course through many mistakes too.
Ceramic Líška 