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PORCELAIN

An insight into my work space in the ceramics studio on a typical day.

Porcelain pieces ready to be fired in the kiln to 1260°c degrees.

An early experiment using extruded porcelain.

Measuring out underglaze to slip ratios, to create the desired colour of clay.

Porcelain pieces ready to be fired in the kiln to 1260°c degrees.

Examples of the underglaze colours I use to add colour to porcelain slip.

Example of how I extrude porcelain through the mesh of a sieve to create this delicate texture.

A typical plaster batt I will use to dry slip quickly.

Initial experiment extruding clay through the mesh of a sieve.

Small sections of extruded porcelain.

Work in progress shot of extruded pieces of clay being attached to another clay surface using cross hatching and slip.

Example of extruded porcelain once it has been fired to 1260°c.

TUFTING

My initial induction into using the tufting gun, getting used to the technique.

Examples of the yarns I have been experimenting with.

The tufting gun uses compressed air to fire yarn into the backing fabric. Working from the bottom up to create rows.

Getting to grips with using the tufting gun and threading the yarn correctly.

My first attempt at using the tufting gun, it is much harder than I expected because it requires a lot of upper body strength.

When tufting you work from the back so the rug is formed on the other side, this was the front after I had a play around, getting to grips with the technique.

After tufting the yarns can be trimmed to the desired length.

Example of the tufting gun I have been using. The barrel may be changed to give different qualities to the tufted yarn.

Example of how the backing fabric is stretched over the frame for tufting with a gun.

Examples of tufted experiments using different combinations of coloured yarns.

Examples of experiments with different coloured tufted yarns to mimic grasses and mosses.

DISPERSE DYE

Watercolours edited on Photoshop ready to be printed onto disperse dye paper.

Watercolour edits being printed onto disperse dye paper - ready to create fabric prints using the heatbed.

Printed disperse paper is then placed onto the heatbed to create fabric prints.

Fabric is pre-shrunk in the heatbed before the printed disperse paper is placed over it. The heat from the heatbed transfers the dye onto the fabric.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

Original watercolour ready to be made into a disperse dye print.

RAG RUGGING

Using a rag rug hook to pull materials through a backing fabric.

Experiment combining lots of different types of fabrics to create texture.

The backing fabric I have experimented with has a close weave so finer fabrics can be threaded through - such as this yarn.

Work in progress shot experimenting with the technique using different types of textile materials.

Many different types of materials and fabrics can be used to rag rug, combining different types creates interesting shapes and textures.

FELTING

Close up of felted wool.

what you need for wet felting: merino wool tops, bubble wrap, warm soapy water, a rolling pin and towel.

Example of felt I have made using the wet felting technique. I have then manipulated with stitch to create texture and have incorporated ceramic pieces.

Example of felting made using an embellisher.

Felt can also be made using an embellisher which uses a number of needles to punch the merino wool tops into a backing fabric.

SLIP CASTING

Making sure the outer edges of the slip have set before pouring away the remaining slip to create a cast.

Once leather-hard the slip casts are removed from the two part moulds ready to be trimmed.

Two part moulds may leak so the two halves must be secured together while the slip sets.

Pouring away the remaining slip to leave a slip cast of the mould.

Pouring slip into the plaster mould to create casts.

Trimming the clay just before it reaches the leather-hard stage.

Pouring away the remaining slip to leave a slip cast of the mould.

Trimming the clay just before it reaches the leather-hard stage.