Morocco digital stitch 

Before the trip to Marracetch we were tasked to experiment with different techniques in preperation for out outcome when we get back. I wont know what i plan to use for inspiration for the project, however Moroccan tiles are very famous so i thought this would be a good starting place ton play with Colours and the process of digital stitch. 

  
I googles some photos but took my main inspiration from the tiles in my house. AS I have not been to morocco yet and this is just a test these generic google photos are perfect for a test.

I wanted to create a tile like pattern using the depiction of diamonds squares and circles. Which i found that repeating enough creates a complex pattern made of simpl shapes and colours.  


I took note of the bight, dark and warm toned colours which i associate with morocco. These could just be a stereotype of the area but for now I think it is a good representation and a simplified version from the research I have already seen .

Using the Digitilizer programme on the computers i used the repeat and line tools. With these i wanted s able to create a mandala style pattern in a circular formation. I found the key to these tiles or patterns is repetition varying the quantities to utilise the space availed like within the circular boundarys. 

The Bottom row of buttons in the picture above contain two of the most useful tools within the programme. The yellow button with a square reflects a shape in to the corners of your design. ( 3rd icon in, yellow) The following yellow button is a repeat tool, whatever shape you click on will multiply in a circular form. You can relate it many many time with a number scale right next to it .THis also insures that all the shape used with this tool are evenly spaced and symmetrical. 

The tool bar at the far side of the picture shows you every shape that is on the design and what tool was used to make it. This allows me to see what i have done and fine specific elements of the2 design to wither change or delete . IOITs a simplified and Moore logical representation of the design. 

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Enamelling

In my second session of small metals i learnt about enamelling.The process involved:

  • Cutting 20 gage copper in to the desired shape, I wanted to create a leaf.

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  • Heating the copper till cherry red with a blow torch, then dipping it into cold water to cool.

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  • Once heated the copper is much more malleable. Using a variety of metal ball tools i was able to manipulate the copper bending, imprinting and indenting.

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  •  Once i finished shaping the leaf i was able to enamel. To do this i had to spray some sort of solvent onto the metal due to it not being flat. I then sprinkled the enamelling powder which stuck to the leaf. The leaf is then out in a small kiln which is heated to 800 degrees. The copper only has to be in the kiln for a few minutes to set and even out the enamel.

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Vina Mould workshop

My second workshop consisted of making vina moulds, which is the pouring of reusable hot rubber. The material comes in blocks which are cut up and heated until a liquid.

The process of vina mould are:

  • Rolling a thick slab of clay (roughly 1 inch)
  • Pressing the item into the clay
  • Creating clay boarder around the slab, making sure its taller than the item.
  • Whilst heating the vina in the microwave for roughly 5 minutes
  • Pour the vina in the clay mould making sure to cover the whole item
  • Leave to set

I decided to try something a little weird and cast an Oreo.

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I wanted to cast the whole biscuit instead of one side, and actually create a 3D cast of the Oreo. To do this I put a screw in the bottom of the biscuit and pushed it into the clay, this allowed it to stand up without touching the clay creating a whole cast of the Oreo.

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Vina moulds do have some draw backs for example you can not use dry or sinewy objects. This is because the the mould will try and pull at the air pockets in the object rewening the mould. However vina mould can create perfect moulds with delicate and beautiful detail.

If there is any excess vina left over it is necessary to put it on the floor till it makes a thin disc. this will then allow you to easily and efficiently cut and reheat the vina next time.

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The next step would be to use the mould to create a wax cast, as shown in this photo.

wax moulds are created from vina mould to end up being used in Bronze casting.

Similarly to vina mould wax chunks are out into a pot on a designated burner and allowed to heat up. once it is all melted and hot the wax is poured in to the vina mould, and allowed to cool. Once it is cool the wax cast is done.

Another technique is to weld two pieces of set wax together. By placing a metal palette knife on the burner you can put the hot tool between the wax pieces allowing them to melt slightly and join them together. this process does involves the wax spitting and can be a bit dangers. Caution is necessary.

Metal workshop

For this term my first workshop was in the metal room with Dallas, where our aim for the first session was to create a metal candle holder. We used the majority of the equipment in the workshop for example

  • Guillotine
  • mechanical saw
  • circle cutter
  • Plasma cutter
  • Spot welder

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For this first session our aim was to make a candle holder which consisted of a small square tray with a patterned metal circle as its back. Metal is my safety blanket my most comfortable medium in sculpture, so I was pretty pleased with this mini project.

My favourite part of the process was the plasma cutting. I honestly feel incredibly calm when I am cutting through sheet metal like butter, with mass amounts of sparks flying around me. Although I found that I did not enjoy the measuring and accuracy of the prep work. I think this is because I have the bad habit of not perfecting or checking my work. Id like to think I “go with the flow” and “mistakes” aren’t always wrong, that you can usually find something positive out of a “mistake”. This theory however did not help me when I had to make something with specifications.

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