Once printed the prints was said to be put in a UV box, treating the resin and solidifying the form. This process discolours the white prints to a cream colour but it didn’t feel much different to the touch, retaining a tacky/ slimy residue on the surface.
when it the kiln I placed it inside a crack tray and silica sand protecting the kiln. On reflection, I believe I should have supported the structure better and not placed it on the base plate supports. As once opened the form had completely broken down. The layer of the print was visibility parting to allow gases out, the form was very light and also fragile. I think the kiln was fired too quickly between 100-500, burning the resin way too fast and breaking the form apart.
This process would need extensive research and testing put into it, this is something I would be interested in continuing in the future and producing cutting edge work in new and up and coming processes.
This napkin ring is a matching object to the centre platter base and the cutlery. I have also printed this in Moldlay to produce a small polished aluminum piece, with this Moldlay print was printed with a small pour hole attached and air runners joining all the rings together. Although I am aiming to explore the new technology of SLR printing in a porcelain resin. This would allow me to explore new technology and my material knowledge of what can be achieved in 3D printed ceramics.
These designs show a set of cutlery matching the aluminum base. Adding a hole in the thicker hand grip area reduces weight as well as reduce the material amount. I also believe holes add an aesthetic element along with making them easy to hand with a long elegant handle.
These pieces will measure 20cm in length and be 3D printed in plastic for my display as a conceptual piece, being manufactured in stainless steel.
Fitting in the aluminum base will be a large circular platter that wouldn’t have a foot ring, Therefore needing the base to stand. This platter would resemble the bowl below find on a trend setting website and be CNC milled.
This platter would be approx 2.5cm in depth and 14cm in diameter.
Although I loved the concept of mixing digital fabrication with hand made/ traditional skill into a final outcome. I wasn’t getting a seamless fade from one to another, this maybe could have been solved with time and practice but I believe it would be wasted on an effect that wouldn’t be visible when completed in ceramic. There was an ugly profile that clearly showed the joining. This was something I really didn’t like and therefore have chosen to CNC mill bow sides and will allow the forms and lines spread up the sides.
The previous design once printed out, I found it to be unstable standing when under use. To rectify this, I made the legs wider and further apart and therefore spreading the weight evenly.
I also added extensions for pouring holes and air risers. This will allow me to attach it easily to the wax tree and make a clean poured object. The Moldlay wax filament also allows me to clean the surface of the model with a low set soldering iron.
These images show the outcome of my slip casting and grog tests. I have revealed the grog of one, yet I have lost the lines. I also tried draping a sponge on the surface to add a very fine texture to the surface.
After the bisk firing, I was able to feel the texture and they have a very high grip as well as retaining the lines. I also really like the white porcelain interior with the black exterior. I think I will explore this further.
I am going to fire these in a test kiln to 1260, testing the colour and how the texture may change with vitrification.