Group Moodboards - BAIL103

As part of our next task we worked together in groups to create a series of moodboards focusing on the different aspects of the book: More Than This. 

This was an extension from what we had all done individually, but it was valuable to see how others interpreted the book and brought new ideas to the table. 

Behind the Scenes - BAIS300

Creating the shapes of the monster

All 5 of my monsters completed, with engraved fur detailing.

How they came out of the kiln (bisque firing).

After I added some mixed oxide into enhance some of the details.

The glaze that I chose to use.

After I had dipped all of my ceramics into the glaze, they were put into the gas kiln.

How they turned out. This is after I had glued on eyes and twisted some copper antlers.

See how my monsters turned out after applying some copper enamel paint in my next post!

Artist Inspiration - BAIS300

I decided to source several different artists who work in ceramics, so that I can be well informed and inspired before making my final outcome.

Sophie Woodrow

Woodrow creates these hybrid creatures from porcelain, and allows the forms to present themselves through the shadows and highlights - rather than by adding any colour. Each creature seems to be an amalgamation of features from multiple animals, for example she has combined the head of a tiger with octopus tentacles. Others however, have weird shapes and forms attached to them, some of which embody natural forms, such as crystals or barnacles.

After looking at Woodrow's work, I have noticed how redundant colour can be, and how you can create more of an impact from using one single colour/shade which beautifully highlights the form of the ceramic perfectly. Moving forward, I will keep this in mind, and will try to keep most of my detail in the shapes of the ceramic, rather than with the addition of multiple different colours. 

Crystal Morey

Morey's work is based around the idea of how evolution and urbanisation has happened at such a rapid rate, that the habitats and lives of animals are in danger. This is why all of her figures seem to be in a state of anxiety or panic, and this with the juxtaposition of the different animals, demonstrates this delicate relationship between mankind and nature. 

In terms of the techniques that Morey has used, she also uses porcelain like Woodrow. However, she adds some colour in the shades of earthy brown hues, which perhaps makes a deeper connection to nature.

It's the emotion that Morey encapsulates in her work that could help influence my ceramic monsters as I feel like it is a very important aspect to have in order to make my work successful and interesting for the viewer. 

Katherine Moraller

Moraller creates these adorable ceramic monsters which are all beautifully crafted and finished. Her pieces all have delicate ombré colour variations, which give her characters a soft and realistic appearance. Furthermore, her creations all carry a humorous and fun tone which makes her work likeable and interesting.

Moving forward, I will take inspiration from Moraller's work in the way that she uses simple smooth shapes. This technique works particularly well, as the focus is drawn straight to the faces and emotions of the monsters. 

Nathalie Choux

Choux's ceramics are beautiful, as they often hold narrative meaning and an aspect of storytelling. This is something that is vital for me to convey in my ceramic pieces, as it will make them so much more effective to the viewer, and successful as an art piece in an exhibition space. 

Illustrated Type/ Location Type Extension - BAIL103

M for Mouse (my cat)

I furthered my workshop task by creating typography in location. Instead of using a earwig, I decided to simplify it down to one letter, and placing it in location with the thing that it relates to.

Extension - Marshmallow Typography - BAIL103

*click to enlarge*

Me and Ellie decided to push our typography further, and tried to use marshmallows to create type. The outcomes from this were successful, despite the shapes of the marshmallows themselves being quite boring. The shadows created from the light also added a dramatic effect to mundane objects. 

Shadow Words - BAIL103

Working with Ellie, we both experimented with creating 'shadow type', using the phrase 'lurking within the shadows'. We cut out simple letters which we stood upright, and used a light to cast some really interesting shadows:

3D Block Alphabet - BAIL103

Working with Ellie Tolfts, we both created each letter of the alphabet using a limited selection of wooden blocks. We decided to give ourselves a challenge by making each letter free standing, rather than lying them down on a surface, which did prove difficult for some letters. However, this technique also enabled us to play with the shadows which gave us some really successful and effective results:

Typography Illustrators - BAIL103

Sarah Coleman

Coleman has created over 400 book covers to her name, and has a large client base to which she creates hand drawn type and letting for products and advertising campaigns. 

In the two examples shown above, I love how she has incorporated the text into the image, so that the two work together in harmony, rather than existing separately on the page. 

Studio 2 & 3

2 & 3 are a creative team who specialise in creating 3D rendered typography for advertising, animation and instillations. 

Although these are not created physically, they successfully demonstrate the power and effectiveness of 3D type.

Charlotte Day

Charlotte Day creates these beautiful botanically inspired type, which hold a very modern feel in comparison to more traditional botanical illustrations. She has created book covers, packaging and editorial illustrations.

The thing that I love about Day's work, is how the typography itself remains very simple and basic, yet its what she adorns them with which makes them stand out. This technique is perhaps something that I may want to experiment with when experimenting with different types of typography later in my project.