Ideas for pattern within the composition of my tiles


Using photoshop, I took existing photographs of my tiles and duplicated them to produce patterns. It’s refreshing to use a different medium of exploring composition rather than my usual cutting out printed out pictures and collating them in my sketchbook.
It’s also interesting visually looking at the outcome when only a few colours are used. With a repeated pattern and only two colours, it gives an entirely different, more orderly feel to my pieces. I see this as a positive as it means they can be used for different purposes and maybe blend in to the interior of a house rather than being a statement piece of wall art.

I particularly like the rotating grey marble rhombus. Repetition proves a nice contrast to the random nature of the marbled effect. Also, just the blue and green Tessellating tiles on their own look very formal, and extends their possibility of being used in more of a corporate, stricter environment.

The star arrangement with the pale blue marble, blue and green lends itself to a more traditional Asian interior; so this ties the designs nicely back to my original source of inspiration: Rajasthan.

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Fo[u]r Rooms Glaze Firing

Well I am stressed now. This is the last week of field and there’s lots of things to do before hand in on Thursday. I am stressed because I wasn’t able to fire all my things together in one kiln. One group of things is currently in a toplaoder (which is a lot smaller than I originally thought) and the other I’ve just loaded in one of the larger kilns. This is a glaze firing and I am hoping my objects all come out in one piece. I have spoken to Richard and explained the delay and he said it’s fine, I can put the finished piece in the room on Monday.

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Display board showing my Final Designs. One of the pieces will be the other way round, a compartment to hold the spoons!

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How I’ve imagined the room will look when we install it on Wednesday 10th Feb

I think it’s the most I’ve ever used a kiln in the space of a week: I did a bisque on Thursday, and put on a glaze firing yesterday and today! Finally getting to grips with it and not getting as scared doing them. I think the hardest bit is getting enough things together to put into the big kilns, so it’s not a waste of energy just firing half a loaded kiln etc. Kilns use lots of energy as they require so much heat- a decal fire is around 840 degrees and that’s the lowest firing I’ll do! That will be the next step. On Friday (yes I’m running behind schedule- everything is supposed to be done for Thursday morning), on Friday I have to apply my decals -after collecting them from the post office- an then put them in the kiln to bond the pictures to the glazed surface. I’m excited as I haven’t worked with decals before.

To add the cog design, I used Emma’s laser cuts- the same pattern she’s putting on her tube lighting. The decals will then be placed within the lines.

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Applying the decals on Friday 12th Feb

These are the pictures I’ve sourced from our group to apply to the centre piece! For the first time ever, I had to resize the images and make sure the resolution was correct and then send them off to Digital Ceramics, a decal company based in Stoke-on-Trent. So I guess I could say I’ve developed a few basic Photoshop skills. This project has really opened up many different options I hadn’t really thought about with what I could do within the Ceramics discipline. It’s nudged me to get a bit more creative on the graphics side of things and tying two areas of Art and Design together.

*UPDATE* my ceramics pieces have finished in their decal firing! EEEK! It worked!

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Watching for the cone to go down. For this particular decal firing, I wanted to turn the kiln off at 825 degrees.

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SO the kiln read 800 degrees, and I couldn’t make out where the cone was.. After looking through the peep hole very carefully (making sure I used goggles and gloves), I decided that the cone had bent (the cone would bend at 828 degrees and ideally I wanted it to bend halfway, and that would indicate 825 degrees); I could very slightly see a glowing white curve, which could only really be the cone. I turned the kiln off at 810 degrees.

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