A quarter portion of the saucer is cut off; this cutting line follows the curved line of the Sun-motif. When the cup is being turned up side down, thump and index finger that are holding the cup handle will be more relaxed because they are not colliding with the saucer’s surface.
Generally; this teapot set has several decorative debossed motifs but they are made reasonably so that the washing does not become an issue when in use. Incline but stability is designed purposely. I consider this character make the set a continuous animate rhythm while its synchronization is well maintained.
Employing plaster mold and slip casting methodology so that it is suitable for mass production and for reducing cost.
B- Designing solution and Proceeding methods
1. BLUEPRINTS
Make blueprints of six flat views for each design as well as its perspective review on A3 paper size with text, digits and technical drawing are arranged in a good proportion.
2. PROCEEDING METHODS
2.1. Material
In the research regarding the Modern Ceramics theme, an idea of mixing different materials in clay (for example a mix of clay and fine chopped wood or a mix of clay and glazes) is intended to be used for the lamp Carp Streamer. However, because of the limited time of the Project agenda, a proper formula in which percentages of clay and fine chopped wood as well as glazes have to be in balance to maintain necessary elasticity of the mixture for modelling. After several times of experiment, I decide to use the
normal earthenware clay combined with glazed decorative patterns for the main work.
The sub-work is produced by slip clay (slip casting mold methodology) combined with glazed decorative pattern.
The slip clay: Ball clay 43,7; Kaolin 26,3; Water 29,7; Silicat 0,4
2.2. Sketching
Sketches on paper have to be approved by the Board of the Department of Ceramic Art
After receiving approval, clay maquettes are made. Selected maquettes have to be authorized two times by the Board of the Department of Ceramic Art and the Board of Judgement for Accomplishment.
Finally, the approved maquettes are made in proposed real sizes.
Sketches of color combination are made after the modeling process of the real products is completed. They are arranged on paper according to the color tones of glazes which have already been tested the stability rate in advance.
2.3. Size (size after firing, shrinkage rate is 15)
2.3.1. Lamp Carp Streamer in a polluted environment (Main work)
The height of main work is supposed to be 60cm. Diameter of the biggest portion is 20cm. This size is appropriate for my concept as well as my ability to produce. The height and the width are in good proportion in order to add decorative details. Moreover, it is also reasonable with its own practical usage purpose.
2.3.2. Teapot set The Little Sun (Sub-work)
Height of teapot is 15cm, width is 21cm.
Height of pitcher is 12cm, width is 15cm.
Height of tea container is 12cm, width is 14cm.
Height of sugar container is 10cm, width is 21cm.
Height of cup is 4cm, width is 7cm.
Height of saucer is 1.5cm, diameter is 12cm.
These sizes are preferred because it is appropriate for a teapot set including many small parts. If the sizes are bigger, it will be difficult for packing and functioning as a gift. Furthermore, the size of every part in the whole set is accordance to each other to build up a good harmony.
2.4. Procceding
2.4.1. Lamp Carp Streamer in a polluted environment (Main work)
a-Modelling
Use electric wheel to throw a vase (1) in caculated size which already plus 15% shrinkage rate.
Use electric wheel to throw a bowl (2) in calculated size for the wavemotif portion at the base.
Hand-build rim of the vase (1) to make the carp mouth; use both hands to slightly press both sides of the vase (1) top part in order to illustrate a head of a carp that is needing air due to water pollution.
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Trim the remained portions of vase (1). Open a hole at its bottom in order to insert the bulb inside later.
Trim the wave-motif bowl (2); open a hole at its bottom that is fit to the hole at the bottom of the carp (1) body because the body portion (1) is supposed to be attached vertically inside the wave-motif bowl (2).
On the carp (1) head, make two embossed spiral eyes. Hand-build carp fins and attach them to two sides of the body (1). Cut out intended gill details. Hand-build the back fin.
Vertically, divide the body (1) into 2 portions. Cut one of these off from under the carp gill till its tail. Use slab building clay to close this recently opened portion. Attach small clay bars to this area to make the carp bones then adjust them accordingly.
Cut-out a designed geometric pattern around the carp (1) feet to make its decorative tail.
Chisel the wave-motif bowl (2), attach the carp body (1) into it, and cutout wave-pattern on the carp body (1).
Open a hole at side near the carp (1) feet in order to connect electric wire to the bulb inserted inside after firing.
Adjust the whole product. Carve geometric pattern at carp (1) fins, make matiere at the gills and the tail.
Leave it dry naturally.
b-Glazing
Generally, glaze combination is important because there is not many small details on the whole product. Four color glazes are used. Among them there is one main color glaze, the remaining 3 color glazes take a role of making accent in order to create a more interesting appearance.
The main color is Yellow with Brown Green effect which is supposed to be applied to the whole body. This is a flowing glaze used in order to express a feeling of a carp recently escapes from the water so that water reflection is still sparkling on its body.
Dark Brown glaze at the wave-motif bowl (2) gives a grounded look for the whole product. Glaze is mixed by mill with large amount (1kg).
Adventurin Brownist Yellow accents several spots on the carp body (1) to create a contrast effect. It is also glazed inside the carp mouth. Glaze is mixed by mill with large amount (4kg).
Reactive Dark Green glaze is applied onto the wave-motifs on body (1) as well as inside of the wave-motif bowl (2). Glaze is hand-mixed in order to get the dotty effect after firing.
These glaze formulas are studied and tested during the Lesson of Making Glaze. Therefore, after retesting one more time to reassure their color stability, they are made in large amount. Using brush-apply to glaze carefully so that after firing the surface is smooth without pinhole, uneven thickness of glaze or prevent the fine details be covered by mistake.:
Used glaze:
Yellow with Brown and Green: Silica 6,5; Limestone 0,8; Kaolin 0,5; Titan oxide 0,5; Fe 1,4
Dark Brown: Feldspar 2; Limestone 1,8; Silica 2; Da Lat Ball clay 3,2; Cam Ranh Sand 1; MnO 1,2
Adventurin Brownist Yellow: Silica 6; Fe 1,5; Limestone 1; Kaolin 1; Titan oxide 0,5; Zn 0,3
Reative Dark Green: Feldspar 2; Limestone 1,8; Silica 2; Da Lat Ball Clay 3,2; Cam Ranh Sand 1; Cr 0,5; MnO 0,6
c-Kiln loading
After glazing, products are loaded into the kiln.
d-Firing
Firing mode: Oxidation
6 hour-length of warming process.
Firing chart
e-Kiln unloading
After the kiln is cooler, products are unloaded.
f-Finishing
Last checking is conducted to assure glaze was melted thoroughly, the products feet are flat and there is no cracking. Then they are displayed at Showroom of the Department of Ceramic Art.
Quantity: 3 pieces.
2.4.2. Teapot set The Little Sun (Sub-work)
a- Modelling
The mother mold
-Use electric wheel to throw 4 spherical shapes (1) in calculated size with thick wall in order to prepare the plaster mold. Throw 3 lids (2) in appropriate sizes for those 4 spherical shapes (1) openings. Throw a half of a spherical shape (3) for making the cup.
-Trim and attach the knobs to the lids (2).
-Teapot: deboss a decorative pattern into the body (1), chisel its base to build 3 legs.
-Hand-build a handle and a spout. Keep them wet.
-Do the same process for milk pitcher, tea container and sugar container.
-Cup: carve decorative pattern into the body (3), hand-build a handle. Keep it wet.
-Saucer: based on current available equiptment, instead of employing pressing mold methodology, 18 pieces are wheel-thrown. Trim, cut off as designed, hand-carve decorative pattern and leave them dry naturally.
Making mold
-Define how many mold divisions are necessary and draw the border lines.
-Arrange supported walls following these border lines.
-Mix plaster and pour into the arranged parts.
-Trim and let the plaster molds dry naturally.
Slip casting
-Assemble mold portions, guarantee by elastic bands
-Mix slip, sieve and pour into the molds.
-After attaining a necessary thickness, pour the remained slip out of the plaster molds. Wait until the products separate from the plaster molds then disassemble them, take the products (*) out. Leave the plaster molds dry and redo the process until the required quantity are made.
-Trim the products (*) while they are soft, then leave them dry completely.
b-Glazing
The main color tone is pale yellow illustrating a feeling of a soft sunlight. It is appropriate to the original idea as well as to create a harmony for the whole teapot set with many details and separated parts. Glaze is mixed by mill in order to get a smooth and even finished surface. This is a hard crackle glaze with semi-lustrous effect.
The Sun decorative pattern is glazed by crackle transparent glaze. In this way the natural color of the greenware body will turn into the ivory color after firing. And this ivory color gives the Sun decorative pattern a sharp look but not too contrast against the pale yellow body. Glaze is mixed by mill with large amount (1kg).
Dark Brown glaze is used to cover all the carved lines surrounding the Sun decorative pattern as a contour line. Functioning as tableware, it is not good for regularly washing if there are many bare gaps on the product surface. Therefore, this Dark Brown glaze is not only for decorative purpose
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but also acting as a filling-gap tool. Glaze is mixed by mill with large amount (1kg).
All of the glazes have passed the final tests before mixing in large amount. The product insides are covered by transparent glaze. Apply by brushes.
Used glaze:
Pale Yellow: Feldspar 2; Limestone 1,8; Silica 1; Da Lat kaolin 3,2; Cam Ranh Sand 2; MnO 0,2
Transparent: Feldspar 6; Limestone 0,8; Silica 1; Kaolin 2,2
Dark Brown: Feldspar 1,8; Silica 2; Da Lat Ball Clay 3,2; Cam Ranh Sand 1; MnO 1,2
c- Kiln loading
Products are in small sizes so that the kiln plate has to be completely flat. Lids have to be loaded next to theirs bodies to keep the shrinkage variation at the lowest rate.
d-Firing
Firing mode: Oxidation
6 hour-lenghth of warming process.
Firing chart: same as above
e-Kiln unloading
After the kiln is cooler, products are unloaded.
f-Finishing
Last checking to assure glaze was melted thoroughly, crackle lines appears on all of the surfaces. Lids are fit to their bodies. After that products are displayed at Showroom of the Department of Ceramic Art.
Quantity: 3 sets.
C- Practicality
1. Lamp Carp Streamer in a Polluted Environment (Main work)
Lamp is supposed to be used to decorate the interior garden; it can be placed among in-house plants or interior aquarium. When the bulb inserted inside is turned on, a warm yellow lighting coming through the cut out decorative patterns will make the whole product livelier.
Some interior garden for reference
2. Teapot set The Little Sun (Sub-work)
The teapot set is supposed to be used at tea-break time with sweets. Depending on circumstance, it is possible to use the whole set or only the teapot and the cups.
D-Final words
I tried to fulfill the technical requirements of the Project for Accomplishment and to express my own concept appropriatedly. Furthermore, I also tried to employ as many trained skills as possible. However, finished products objectively contain several mistakes. I consider these are valuable experiences.
Via the lamp Carp Streamer In A Polluted Environment and the teapot set The Little Sun, I expect to be able to reflect my sentience regarding our current ecological condition.
References
1-Tuoi Tre Chu Nhat Magazine (2004) Vol 16, 28, 30, 33, 36, 42; (2005) Vol 1, 8, 17.
2- Information refered on the internet.
3-Children’s paintings at Children’s Center in Bien Hoa City, Vietnam.
4-Nha Dep Maganzine (2005) Vol 5, 6.