Renegades against the imagery of flowers and animals continued…

Continuing within the evolution of the decoration, I come to describe the process in which I will use.

While I will take my focus away from the usual forms decorated on the vessel, I will also not stray too much into a style of  decoration designed in a harsh way, which seems to be an occurrence  in young work. My own decorative style has bounced around, mostly when I tried to know what styles will work.  But now it is a matter of re-visiting the first tries of past decorative styles.

In conjunction with using plaster slabs and templates, I plan to incorporate shellac resist back into my work. First off, the plaster slabs will have a pattern / template on its surface. I have considered the frame for this type of template and pattern. The frame, using actual framing blocks or something to that  extent, will be carved into the plaster to create a raised surface on the clay slabs I will be using. These frames will hold the true decorative element while sectioning the vessel as well.

pattern

This is a close example of what the pattern in the slab will look like.

 

 

 

The next step within the decorative process will be to decorate within the frame, using templates that will outline  a repetitive pattern to fit. I have pinned the pattern down to one based on street art, some single element within that group. Finding the pattern within the work.

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Look closely at the patterns in the frame and there are plenty to choose from. My ideal pattern is one that is continuous. With the template I can then play with layers of color.

Note- add patterns and color at certain moments of decorating- apply pattern with room to spare, one color at a time

 

The last bit of decoration is the inclusion of a wholly different pattern within the frame. As I have mentioned, the plan is to include calligraphy as the addition. Thus I will include the repetition of a letter or word. The process of using shellac resist allows for writing/painting the shellac and then effectively removing layers of clay around the resisted areas by water and sponge.

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The quality and fluidity of line in street calligraphy has a quality likened to the finest of the craft. The rebellion, whether you see the overall methods of such calligraphy as harmful  or as a liberty, is creating a common ground to view this style as a new mode included in my ceramics.

 

 

 

 

 

 

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