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Final images

A composition contextualising my final model into a landmass surveying graph. Each resin form represents a mountain mass with figures depicting its height and distance from sea level.

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I decided to symbolise each aspect of my model in an abstracted element of my drawing.

I used various line weights to represent the wood grain in the terracotta, each separated component representing the surface of the clay and the crevices which allowed the resin to flow through, The black ink line weights in the drawing also conceptualise the narrative of a topographic map. The texture of the wood grain similar to the form of larger land masses such as mountains and valleys.

The resin was represented using the resin tints i used in the final models, expressing the fluidity of the material and the way it moved through the terracotta. In the wider context it could be seen as the rivers which naturally run through the mountains and valleys

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i wanted to have complete control over my studio environment in order to achieve really successful photos of my models. An important tool was the macro lens, allowing me to capture the contrasting textures of my models.

i also experimented with coloured filters, in an attempt to contextualise my models.

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This is a close up of my runner up model. As my original narrative moved from the natural processes of tree sap, into larger scale topographic styled landscapes, i found this image to be successful in relating to both areas in a way.

The scale of the model has been obscured by using a macro lens, the model takes on the persona of a natural volcanic rock structure.

The second image is a composition, taking the volcanic scene even further by recreating the final scene in Mount Doom, Lord of The Rings-Return of the King

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A photograpgh of another model.

I felt this one captured the terracotta grain really well, it is also clear to see the resin dye in their original colours.

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Final Model.

A clear relationship between the textured grain of the terractotta and the tackyness of the resin.

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Final Models

These are my final models selected from a larger range of clay and resin models i created.

My runner up was one of the first experiments i did, i made larger cracks and hole in the face of the clay model to allow more flow of resin. To speed up the curing process i then baked the model which had very interesting results. The resin seemed to cure and then re-melt itself. This caused the resin structure to pull the terracotta apart. More heat was applied using the blow torch, s a result the terracotta was scorched and turned black. The scorching certainly transformed the clay material into something that representing tree like bark authentically.

This interaction imitates the natural process of sap being extruded from the bark of a tree quite well, but in a rather chaotic and parasitic manner. I found the result very atheistically interesting and it photographed really well. It was hard to pick a final model between these two but i decided to go with top one simply because it conveyed my narrative of a mutualistic symbiosis between the clay and the resin.

I applied less resin and let the model cure itself rather than applying heat. This resulted in a more sympathetic and mutualistic symbiosis between the two materials. It was much easier to understand the relationship between the clay and the resin interacting structurally. The clay itself held the detail from the mould really well, the wood texture is very recognisable.

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After creating enough clay models from my plaster mould i started to apply resin to each one using various techniques.

I continued with the models being suspended horizontally to achieve drips, i also tried placing a container filled with water under the models so as the resin dripped through it would stay attached to the model and create longer drips. This technique worked but caused trouble with the resin curing after being submerged in water.

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Mould creation.

After the success of my thin bark-like terracotta moulds made from pressing onto wood to achieve the wood grain imprint, i sourced some larger pieces of wood and prepped them for plaster moulding.

A circular piece of wood, originally fashioned for wood turning provided a nice shape to create a mould with some depth as well as quality wood texture. I applied a layer of terracotta and pressed it between the plaster mould and the original piece of wood.

I did this multiple times and achieve enough models to test with as the resin component can go very wrong.

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Sadly my driftwood plaster mould was too big and would of had to be left to dry for days before being able to saw it in half.

I wanted to get straight into experimenting with the clay terracotta material and didn't want to wait so i pressed some smaller pieces into bits of wood to achieve a quick wood grain and left then to air dry.

For a quick test the results were impressive, sufficient detail was achieved and i happy to continue using air dry clay as one of my materials.

With my original concept being the natural symbiosis between trees and tree sap, i chose polyester resin as a second material to work with as it holds similar qualities to natural tree sap (there are forms of natural plant resins also).

I formed small holes in the terracotta and applied the resin over top, suspending the clay models horizontally i was apply to utilise gravity to achieve drips of resin

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Experiment 6 - Solder craft.

After a few quick tests with solder and other materials such as wood and sponge, i settled with leather as my final collaborative material to pair with solder.

I discovered quickly that even in molten state, the solder does not adhere very well to other materials, it would literally run down the driftwood.

I applied a small amount of polyester resin to the leather after i had steamed it to form it into something more 3 dimensional.

It was interesting to see the similarities and contrasts in sheen between the resined leather an the solder.

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My first step was to create a plaster mould from the segment of driftwood I've been wanting to use for a while now. Forming a housing for the mould out of cardboard and foam board for the plaster to then be poured into.

I lathered the driftwood with mould Vaseline, poured the plaster and left the mould to dry before removing the housing.

The plan now is to bandsaw the mould in half, remove the wood and have a cross section plaster mould to then fill with clay.

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the heat gun was good for getting some unexpected results.

the sand paper formed a coral reef, the sponge formed into a natural raisin structure and the neoprene sizzled for a while.

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Experiment 4 - Surfaces

The process for this experiment started with acetone and polystyrene, once the polystyrene and dissolved completely in the acetone i was left with a malleable gum like material.

I then placed small strips of solder through the unset polystyrene. By applying heat using the heat gun, i was able to dry and set the polystyrene and at the same time melt the solder into small balls, the contrast in surface texture was very interesting. The bold sheen of the solder against the porous looking polystyrene.

I photographed the final model with a hanging backlight to illuminate the plastic and achieve some reflection in the solder.

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Experiment 2: Hard-boiled

Have a few interesting materials for this weeks experientments including; neoprene, vinyl printed lino flooring, drift wood left from Experiment 1, plastic film, and unstretched canvas.

Planning to do a lot of boiling in this one, keen to get the dirft wood a little bit maluble from either steaming or boiling.

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