This project was experimental and took many months to complete. This is a journal explaining my creative process experimenting to find the best solution.

THE IDEA:

One day I saw some plates in my grandparent’s antique shop by the 20th century Danish artist Bjorn Wiinblad, who specialised in whimsical fairy tale styled ceramics and was captivated by them. The plates had such a unique style and had their own stories within them. I felt inspired and wanted to make something like that in my own way.

At first, I considered getting unfired pre-glazed plates and etching my designs into them, but I didn’t know where to source them. I took ceramic classes in university when I did my undergrad where I had access to the kiln, specialty equipment, supplies and experts. But outside of that world, it’s very dificult to do ceramics especially since it’s not my speciality.

This was at the start of 2020 and the world had just gone into lockdown because of COVID-19. Therefore, going to an external ceramics studio was not an option anymore. I changed my approach. Instead of creating something that was pure ceramics, I thought, ‘why don’t I try something experimental using other techniques?’

DESIGNING:

Since I specialise in digital art and drawing, I first experimented with creating narative illustrations in the shape of plates. Because I was using Photoshop to draw, I had the flexibility to sample different colours and effects to achieve my desired outcome.

I made five plate designs in total. For the theme, I took inspiration from my novel “The Wish Bringer” and characters from my upcoming books.

The first three plates, Lapis and the Dream Girl; The Gem Forger; The Dream Girl, were heavly stylised from the references. The colour choices were very minimal and the skin was left white to match the colour of unpainted porcelain. I drew the facial features with black armond shaped eyes, bigger noses and tiny mouths.

Once I got used to this new stylistic approach, I tried new techniques for the other two designs. The Time Jumper‘s design was based on a character who could travel in time. I wanted the image to have more energy and movement than the previous designs. For this work I was ‘thinking like an animator’ and designed the background to look like it was distorted from motion.

The final plate design, Boy and the Beast, has a different style again. Before lockdowns, I went to the National Gallery of Australia in Canberra and saw a painting that was in Pointillism style. (Applying small strokes of colour that blend together and look cohesive from a distance.) It looked like such an interesting technique that I wanted to try it myself. The story in this plate is about a boy who is able to tame beasts and monsters, so I used the pointillism technique to give the Beast’s fur a mystical texture that would set it appart from other types of animals.

The illustrations looked fine on their own, but I still wanted to make them into real 3D plates, but first, I had to plan and experiment a lot to accommodate my access to materials and working spaces.

PROCESS:

• I bought some ready-made dinner plates and measured the diameter.
• Then, I printed the coloured illustrations acording to the dimentions on a sticker adhesive paper.
• After cleaning the plates properly, I removed some of the backing paper in the center and aligned the design.
• Starting from the centre, I stuck the design down.
• Because of the curved shapre of the plates, I had to make cuts around the paper so the design would sit flat.
• Once the design was in place, I sprayed it with a setting spray to preserve the design.

• Using tweezers and glue, I carefully placed down sequins to add dimention and dusted glitter to enhance areas of the design.
• After that, I went around the plate rims with gold paint.
• Once the details were finished, I mixed up liquid resin with different shades of glitter and sealed off the plates.
• Because of the curved shape of the plates, the resign would always pool at the bottom, therefore I kept having to work in multiple thin layers and turn the plates often so the sides would be coated well.
• Each resin coat had different types of glitter and they built up shimmering layers that added holographic effects to each work.

Problems I faced included: I was working in winter, so the resin wouldn’t cure properly. (I had to calculate using extra hardner to compensate.) I also live in a small appartment, meaning that it was toxic working with the chemicals without proper ventilation. I made sure to use gloves, an apron and facemask when working and would often put the plates in my shower with the ceiling fan on or would put them on the balcony when I slept so I wouldn’t breath the fumes, (despite the weather being too cold.) The process took a lot longer because of these challenges and would have been better in a more controled work environment.

Once the fronts were finished, I painted the back of the plates black and sealed them in resin as well, this was to provide a strong contrast so the fronts could stand out without distraction. In order to present them, I got some deep, square sized picture frames in white and glued the plates to them. The white colour unifies the series and provides a clean backdrop so the bright colours and textures of the plates can really stand out well.

The frames allow the plates to be displayed in a elegant way like 3D paintings that can be displayed on shelves or hung on walls. The plates are so shiny and holographic from the different layers of resin and glitter that when you see them in real life, you have to move your head around and see them from different angles to appreciate the textures. You many wonder, why I painted the backs if you cant see them, but because the plates are 3D, when you look at them from the side, you can see the back. Even it’s a tiny bit, the detail helps.

In the end, I’m happy with the outcome. There are areas where I could improve. However, in relation to the challenges and obsticles I faced, I think the results were good. I believe that the nature of experimentation is trying new things without knowing the exact results, so having a few errors is part of the charm. I think what’s more important, is being inspired to create and turning that inspiration into fuel to make something new. One day, I could try making cermaic plates, though it doesn’t really matter. I just go where ever the inspiration flows~