M A S T E R P O T P.4

There is a slight curve on the inside of the groove, so I've had to take extra precaution not to make it wider than 20mm because then itll be too big to fit snugly on the final model. I want to get as smooth a finish as possible, so when I go to make the moulds using the pot the inside wont pick up the fine lines that happen when you mill a piece. It's be going well, just a bit of back bone is needed. 

Surprisingly, this process is highlighting that as a designer I am fully capable of being a Maker and not just a designer. 

M A S T E R P O T P.3

This is a complete learning curve for me, but I love it. So far the pot is looking correct according to my design, and I can already see how it will come together once I pass the sanding stage. I am worried about the texture of the pot as it was milled, and if I'll be able to get it as smooth as I need it. 

M A S T E R P O T P.2

   Ultimate fear cutting the border off the pot.  

   

C E B A T O O L M A S T E R P O T

This is terrifying. Cutting the pot out from the frame was terrifying. I don't know what I expected but this was not it for some reason. Konrad told me to get the smoothest finish possible. I have never ever worked with this amount of cebatool before, The fear is real. 

The rhino file that made this monstrosity was hard enough, not being the most literate in solidworks or rhino that alone was a challenge to conquer. Understand the planes, and how and what I could or couldnt cut on solidworks was too much. Rhino although it was just as much a challenge, proved to be more straigtforward to my mind. The fact I could write in the action I wanted to do made it easier, Being able to build the shape layer by layer rather than plane work compare to solidworks suited this design better I feel. 

B O W L R E T H I N K I N G & P L A N T U P D A T E

 


I need to develop the bowl further, I want it to be thicker and shallower as it wont be primarily holding soil, and obviously I still want it to be quite beautiful as a stand alone piece. Knowing my transparent one has developed into being so because of the psychology of seeing the roots and colour, but also my own development of the idea that we connect shapes and colour to memories and thus the transparent for me is based on seaglass. I feel future pots should certainly have a similar story behind them. I don't want all of them to be the same as I do want to experiment with my material choice, so with some more exploration into natural occurring materials and textures like i did for the seaglass which came from my own memories of spending time on skerries beach, i'll develop the pots based around such materials like marble, lime, obsidian. amber - natural resin, etc. 

ALSO, I've been trying to keep a few varying plants alive in the studio, a succulent I've had since November died on me the other day. But the dragons tongue and airplants have been doing really, I wanted to test the endurance of plants with little sunlight, but I don't think even the shabbiest of offices would as cut off from natural light as we are in this studio. 

I N C O N T E X T & F E E D B A C K P.3

  

   *ISSUES WITH HOW THE BOWL SITS ON THE CUTOUT. ** GIRLS NOTED THAT THE CUTOUT THAT HOLD THE SEE-THROUGH BOWL IS TOO LOW ,