TECHNICAL REPORT: GESAMTKUNSTWERK BOWL · 2019. 12. 9. · a copper carbonate vitreous slip to apply to the clay. Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development

Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development. Gesamtkunstwerk Project

Course/ Module No. ADZ6222

Module Name: Research and Develoment

Project Title: Gesamtkunstwerk Project

Submission Dates: PORT 1 Deadline 13th December 2019

9th December 2019

TECHNICAL REPORT:

GESAMTKUNSTWERK BOWL

500 word Learning Journal Entry

Ideas Underpinning my Core Process Development

My design for the Gesamtkunstwerk bowls

encompasses various techniques and genres, from

mathematic derivations,to glaze applications which

symbolise references to the coast, sea, marine life and

their environmental effects. The choice of clay body,

various construction techniques and glaze

investigations are explored and tested to achieve the

creative ambitions of my designs for Gesamtkunstwerk

bowls one and two.

The first Gesamtkunstwerk bowl is a

segmented design based on the parabolic cross

sections that define a bowl’s form. The bowl is

constructed using a finite number of cross sections, it

can be considered that this form exposes the bowl in

component parts illustrating the symmetry of the form ;

in doing this the form still maintains integrity, but takes

on a different existence and imparts other references.

The design progressions for the second

Gesamtkunstwerk bowl led me to considering several

iterations arising from the explorations of the first bowl;

the second bowl contains two bowl components as did

the first but displays and pivots between functionality

and sculptural disciplines.


Processes Used in the Construction of the Bowl

The Construction of both Gesamtkunstwerk bowls

involved several technical disciplines such as throwing

challenging wide and shallow bowl forms, accurate slab

building, careful clay body choice, challenging component part

construction, and several different glaze decisions with

different applications

The slab built cross sections of the form were bisque

fired in a bowl which was thrown to achieve the desired shape,

this bowl acted as a former to maintain the segments’ shape

whilst firing. This process demanded two different former

bowls which were thrown on the wheel.

Throughout this project I have attended tutorials to

develop my throwing skills as well as glazing knowledge and

techniques. The development of these skill sets has enabled

me to meet my creative ambitions, and to overcome any errors

and obstacles met in development of creating sculptural and

functional forms.

The bisque fired segmented bowls were joined

together by the glazes fusing in the kiln. For the first

iteration the forms were glued together, which worked

but I felt that the process could be progressed to use the

glaze to unite the forms; however there were errors in

this development as the upper bowl slid to the side of the

lower bowl when the glaze melted in the kiln firing. I

corrected this error by inserting a spigot and socket

between the two sections


Clay Bodies

Both part one and two bowls demanded careful

consideration of various clay bodies for qualities such

as aesthetics and refractory content to enable the

construction of the sculptural elements. Having

evaluated my constructions in Ash White I reconsidered

my techniques and material choices. I decided to

change the clay body of the form from Ash White to the

firmer body of White St. Thomas; this still met with the

white aesthetic which I am looking for as a bright

canvass for my glazes, but also has the benefit of

containing refractory grog to give strength and stability

to my intended forms.

I made several iterations of each bowl,

developing my practice as I continued the project. For

the second iteration of the part two bowl I tested

Reduction St. Thomas because I wanted to see if the

clay’s high iron content increased the vibrant colours of

the Barium and Copper Carbonate glazes. I also tested

raku clay to create the sculptural tendrils of the piece as

this clay has a high refractory content enabling the

forms to maintain their sculpting; however the aesthetic

of a salmon pink colour which the raku clay has after

firing did not meet with my intentions. I researched

glazes and slips to correct this appearance and tested

a copper carbonate vitreous slip to apply to the clay.


Glaze Testing

Two Bariun Based Glazes: 1 and 5 Part Copper Carbonate 1280°C Cone 9 in Oxidation

Rutile Crater Glaze 1280°C Cone 9 in Oxidation

Material Percentage

Nepheline Syenite) 20 Barium Carbonate 40 Lithium Carbonate 4

Flint 10 China Clay 19

Copper Carbonate 1 5

Material Percentage

Nepheline Syenite) 60 Barium Carbonate 18

China Clay 11 Silica – Quartz 10 Silicon Carbide 2

Rutile 2

Several glazes were

researched for their qualities of

aesthetics and textures to meet

creative ambitions. Investigations

were made into Barium based copper

carbonate glazes in combination with

silicon carbide and rutile glaze

recipes. The research of these glazes

was to consider if they would yield

the creative results that I was trying

to achieve; a marine narrative of

shaded blues from copper carbonate

ratios in barium base glazes, and

barnacle encrusted themes from

silicon carbide crater glazes.


Test Tile Allocation

Ash White Clay Test Tile Number

Number of coats Applied

Glaze Applied to Bottom half of tile

Glaze Applied to top half of tile

1 2 coats Barium Carbonate with 1 part Copper

Carbonate

Barium Carbonate with 5 parts Copper Carbonate


Carbonate



Carbonate



Carbonate



Carbonate



Carbonate


5 2 coats Applied on centre of tile over Barium Glazes

1.Silicon Carbide Glaze 2. Silicon Carbide Glaze with Orange Stain 3. White Slip

7 2 coats Applied on centre of tile over Barium Glazes

1.Silicon Carbide Glaze 2. Silicon Carbide Glaze with Orange Stain 3. White Slip

Glaze tests were made in singular and

combinations of glazes on standing test tiles as

I considered that the barium glazes which I was

testing contain strong fluxing agents. I tested

glazes as I researched them and recorded my

findings.


Evaluation

I consider that this project has developed my technical skills and understanding of

materials and process; I feel that I made good progress formulating a process which

facilitated the construction of my design. My throwing techniques are improving with skills

learned in throwing tutorials and design led focus making of challenging form iterations. The

project has been a great advantage to me in the investigation of glazes which informs my

research for my dissertation on glaze development. Tutorials have given me guidance and

facilities to explore glazes to develop recipes and applications to meet my ambitions.

Documents

TECHNICAL REPORT: GESAMTKUNSTWERK BOWL · 2019. 12. 9. · a copper carbonate vitreous slip to apply to the clay. Nigel Edwards. Course: BA(Hons) W232 ADZ6222 Research & Development