Stourbridge Open Studios

It's time to do a little last-minute marketing for the Stourbridge Open Studios event, which will be happening next weekend:

Jo Newman, one of the artists based at the Ruskin Glass Centre had a brilliant idea last year - to create an Open Studios network in and around the Stourbridge area.  Thanks to her determined steering, we will be opening our doors for the first official event on the weekend of 18 & 19 May.

May's Open Studios is the "test-bed" event, based entirely at the Ruskin Glass Centre - so that lessons about marketing and organisation can be learnt on a relatively small (and friendly) scale.  But the aim is to spread the network in the future, to include artists, studios and makers from the wider area.

There are 18 studios at the Ruskin Glass Centre (they aren't all focused on glass: have a look at the centre's "studios" page). So there's already plenty to see next weekend.  But as well as on-site artists/makers there are two additional highlights involving people from around the country:

Simon Bruntnell (a photographer with a studio at the Glass Centre) is a partner in an online glass gallery, Bruntnell-Astley.  Simon will be hosting a Pop-Up Gallery event for the weekend, showing Bruntnell-Astley artists.  The image on the right is his poster for the pop-up event - so you can get an idea of the stellar line-up! (The work that you can see in the poster is by Laura Birdsall)

And last, but not least, there will be the Black Country Echoes exhibition (you can see the poster for this on the left).  This is an exhibition of glass, metal and ceramics work from applied arts students at Wolverhampton University - including Tim Boswell (a previous winner of the Glass Sellers' Student Award at the British Glass Biennale)

If you can make it down to the Ruskin Glass Centre next weekend, please come along!  And feel free to share the information with anyone you think might be interested...

...and again!

And so we reach the final instalment of my saga about Shape Shifters (the Dancers) - work which started a full five years ago!

In my last two posts I've explained the back story and design work and also the glass making.  Now for a little information on the laser cutting and final construction.

You might remember that I'd prepared some drawings in Inkscape, ready to be cut using a laser cutter.  Well, the morning of my booking came around, and I headed off to Black Country Atelier in Birmingham's Jewellery Quarter with my USB pen and a box full of plywood (purchased from Hobarts).

The drawings made in Inkscape (which you can see on the right) need to be imported into the software which actually controls the laser cutter - and then it's a matter of choosing both the right power and speed settings to enable the laser to cut through your chosen material.  Luckily, Black Country Atelier have a number of sample sheets with cuts made at a variety of settings - which reduces the amount of guesswork for a beginner like me!



The photo above shows the laser at work cutting one of my Inkscape files.  You can probably see that the plywood has been stuck to the bed of the machine with masking tape - that's to hold the wood flat (there was a little bit of curvature on some sheets).

With a little help, I managed to cut 5 pattern sheets in just over 2 hours, each variations on the design above.

Then it was a matter of construction...

Each layer of plywood was 3mm or 6mm thick, and by sticking these layers together, I was able to build up the final "frames" to hold the glass.  Here you can see some of the frames clamped together while the glue dries.

On the front and back faces, I added an extra relief layer - which I decided to stain in a darker colour.  This tied in nicely with the burnt edges of the plywood.

And this photo to the left shows the final form of the pieces.

I've still got to glue the back faces onto the frames - but that'll happen once I get the glass back from its acid dip!

I had a lot of fun with this project - and it was great to finally complete a design idea that's being lurking at the back of my mind for so long!

Dancing again

Earlier this week in Another Dance? I posted about some new work, which was really my opportunity to finally finish something started back in 2008.  In that post I'd got as far as making some cardboard models - to be used for mould making.

Well this photo shows those cardboard models set up ready for casting in silicon. 

I've previously used gelflex for shallow relief casting - but think I may have been converted to two-part silicon.  It holds its shape better, isn't so bubbly and gives a harder, stronger final mould.  The one major drawback is the price - because silicon can't be melted and reused like gelflex.

The walls for the mould are slices from a drainpipe, and these have been sealed at the base with clay.  The blue sheets underneath the mould are sticky back plastic - to prevent the cardboard lifting away from the board.

Here you can see the three silicon moulds, ready for casting themselves. (In a delightful shade of mint green!)

Again, I've used sticky back plastic to keep the silicon from floating away.  But instead of drainpipe, the walls for these moulds are slices of postal tube. I varnished the inside with a quick layer of shellac - so that the plaster wouldn't weld itself to the card.


Once sealed with clay at the base, the silicon moulds were then ready to be cast in SRS glass (a plaster-based investment) - which I buy from Special Plasters in Birmingham.  This has the necessary additions to reduce the likelihood of the mould cracking and failing at high temperatures.

This photo shows the final investment moulds once they've been released from the cardboard tube - and had the silicon removed, of course! I then went on to make a second set of investment moulds.

Once I'd finished the moulds, I left them to air dry for a couple of days.  Then came the firing:

Here you can see the six moulds set up in the kiln ready for firing.  I cut six pieces of fibre board (specially designed to survive kiln temperatures), and  cut a hole in each with a pastry cutter.  It works...but don't use it for pastry afterwards!

The pieces of board are then placed on top of each mould, to support small earthenware plant pots - which hold the lead crystal casting glass.  Once the glass reaches casting temperature, the glass melts and drains through the hole in the bottom of the plant pot (and the hole in the board) directly into the mould.  

Because I'm working with geometric shapes, it is possible for me to calculate the volume of glass I require relatively accurately using mathematical formulae.  In this case, the formula for the volume of a cylinder (πr² x h).  I can then multiply the volume by the density of my glass, to work out the weight of glass required.  I usually use Gaffer Glass, which has a density of 3.6g/cc.  There are other ways to calculate how much glass you need which don't require as much (if any) Maths!  I clearly just need to torture myself..!  You then need to add a little extra "for the pot" - as not all the glass will manage to drain through.

This final shot shows the glass after firing and removing from the mould.  You can see at the edges that the glass isn't shiny where it has touched the mould.  It needs to be polished.  With lead crystal you have the possibility of using hydrofluoric acid to polish - though some smoothing with a diamond pad may be required first.  I don't work with the acid myself, but take my glass to a commercial crystal company who will dip small pieces.

Well that deals with the glass side of things - but I still haven't covered the laser cutting!  I'll have to do one more post later in the week... Bye for now!

Another Dance?

I made these two pieces (Dance) back in 2008.  They were two of several experiments I did combining concrete and glass. Unfortunately this particular brand and mix of concrete wasn't fully compatible...so after a few months some of the glass cracked.

But I've always wanted to revisit these pieces: I felt the design worked, even if the concrete:glass combo didn't.  I particularly like the fact that the pieces will stand (or gently rock...) on all four sides.

Well, the laser cutting course I did earlier this month finally gave me the impetus to have another go: as the laser can deal with both curves and circles accurately and efficiently!

My first job was to create the drawing files which would be used to control the laser cutter.  For this I used Inkscape - an open source vector graphics program, which you can download for free.  It's fairly user-friendly if you've used photo editing or 3D design programs - and there are plenty of videos on YouTube for beginners.  This is a screen shot of one of my files in Inkscape, showing some of the basic shapes. The pieces with the deep curves instead of circles will form a low relief on the front and back of each sculpture.

I also added a few extra shapes into the spaces on this worksheet (which I'll use to make moulds for another project) - as I didn't want to waste any of my plywood!


For the original, experimental Dance, I reused some old glass casts from a temporary sculpture.  This time round, I decided the pieces deserved some glass which was designed with them in mind!  In the past couple of months I've been working on a series of work called Shape Shifters - and I suspected that this style would carry across to my new Dance pieces.

So I started experimenting with cardboard circles...  This photo shows the final three cardboard models. (The circles were cut using a little plotter cutter - I'm not that good with a Stanley Knife!)  The orange/brown colour is down to a layer of shellac - which stops either the gelflex or the silicon welding to the surfaces when I make the moulds!  These are relatively low relief models (about 15mm), as I want the final glass pieces to be between 18 and 20mm to fit within the plywood framework.

I chose the diameter of the models to match the inside of a drainpipe, so I could use a drainpipe to form the mould walls.  (My foresight and planning are finally getting a little better..!)

I'll add another post later this week, covering the rest of the process.

Laser Cutting at Black Country Atelier

Lots to think about this weekend: yesterday I did the Introduction to Laser Cutting course with David Brannon at Black Country Atelier.

This photo shows my first experiments during the class. We used the open source vector graphic program Inkscape to create the drawings. These were then transferred into LaserWorks - the program which actually controls the laser.

By varying the speed and power of the laser, you can achieve different results: cutting or etching to different depths. (You can see two different etching depths in the 'Red' and the 'path' of Redpath)

Our test pieces were done in 3mm birch ply - but it's also possible to cut cardboard, leather, acrylic and even glass..! Different materials need different speed/power settings.

If you're based near Birmingham, I'd recommend Black Country Atelier. The course was a great taster - and once you've had the intro, you can book to use the laser cutter by the hour. I will definitely be visiting them soon!

Shape Shifters

I've been working on a new series of work in the past month - the Shape Shifters - and realised that it was about time I posted some background info (and images) on my blog!

The Walkers (Shape Shifters) Image: Simon Bruntnell

As usual with my work, they started life far from the kiln (and indeed the studio): on my living room floor.  While Francis reads the paper on Sunday, or we watch an old movie, I often sit on the floor with a cutting mat, some cardboard, and a Stanley knife (my favourite tool).  Footling about is what happens next - sometimes it goes somewhere, sometimes it doesn't.  That week I was messing about with concentric squares.

I started rotating/twisting the concentric squares - which gave a satisfying spiral.

That, of course, made me wonder about other geometric shapes - would I get a nice spiral with those too?  And at that point I resorted to some help from the computer.  (When I move beyond squares, I find that SketchUp achieves far better hexagons and pentagons than a pair of compasses and a protractor..! I can then print them out, and use them as cutting templates)

And you also get the chance to play with your shapes on the screen, to save your index finger from unnecessary cutting! The screen grab here, shows my pentagon templates all stacked up and rotated.

And the spirals worked well with the triangles and hexagons too.  So my Sunday afternoon at the cutting mat soon ran into Sunday evening...and Monday morning...as I cut out lots of geometric shapes. The photo on the left shows the triangular and pentagonal stacks.

These various stacks were then enclosed in boxes and varnished with Shellac, so that they could be cast.  My first casts (of the squares) were done in gelflex (middle photo).  But I  wasn't that pleased with the final result.  So I moved on to try a soft grade silicon (photo on the right).  It isn't as economic as gelflex - because it can't be reused.  But it is stronger (and seemed to give a sharper result too).

And these "positive" rubber moulds, I made the kiln moulds for the glass. Again, the silicon moulds produced the best results (so I've now made my square Shape Shifter mould in silicon too!) As you can see from Simon Bruntnell's photo of the test pieces, the first glass came out relatively well.  Please note that these have been coldworked (they aren't fresh from the kiln)!

Now I want to do some further work on the colours and the presentation. I'm thinking of casting the shapes in Jesmonite as well as glass - so that I can start building up some tessellations.

Deep Blue: Testing, Testing

Part 3 of a series of posts explaining the inspiration/process behind my piece Deep Blue. Part 1 is called Deep Blue: Inspiration, and Part 2 Deep Blue: Folding.

My last post finished with the creation of a cardboard prototype for a modular unit which would repeat and tessellate to build up different forms.

But I was a little worried about the unit: it was a truly three-dimensional form with undercuts.  Up until this project, I'd generally used only shallow casting techniques - and so moulds with open faces, rather than reservoirs and sprues...

I therefore decided to look at whether this pattern could be replicated in sheet form - at least that way I'd have a back-up plan! Although borne of being a bit of a scaredy-cat, this did actually result in really exciting line of enquiry!

Via a few leafy lanes (more about them in a later post!), I eventually created a flat relief form based on the same diamond repeat as the modular unit.  This involved some adjustments to a folding pattern found in Paul Jackson's Folding Techniques for Designers, to counteract the natural curve.

The photo is a close-up of the relief - which is folded from a single A1 sheet.  I have to say that, despite the colour, it reminds me of lots of baby birds demanding food...

As this sheet form is an example of an origami tessellation, I knew that, like my three-dimensional form, it could be broken down into a single modular unit.  So from a simple repeated unit, I could build up a larger piece.

 The line diagram is the fold pattern for the single unit - which, with the addition of a reservoir, I used to create the nine cardboard moulds in the next picture.

These are negative moulds, and were used to make positive moulds of the unit in gelflex rubber.  You now get to see a beautiful picture of me (ahem) - as it's the only picture I've got which shows the gelflex!

You can see some of the individual gelflex moulds in the bottom right corner of the picture - and I'm busy pulling the rest out of the investment mould which they made. 

This mould was then charged with some lovely aqua blue casting crystal from Gaffer Glass, and fired up to casting temperature, to create individual glass units.  The picture here shows six of the units after they've been tack fused in a slumping mould (hence the curved shape).  If you're wondering why the surface is wrinkled like skin, this happened during the slump - and I assume is due to surface tension at that temperature.

So the modular unit seemed to work - and to repeat and tessellate fairly well. BUT, the tests had thrown up a rather important issue...COLD WORK.  To tessellate well, there would need to be minor corrections - and the surfaces would also need to be smoothed and polished (especially if I needed to correct for "elephant skin"!)  This turned out to be quite difficult and time consuming on the internal angle.  If I didn't want to spend my life coldworking, I was going to need to modify my thinking again!

I'll explain the redesign when I post another installment of "Deep Blue" next week!