Since graduating on July 1st I have had two short freelance jobs, both at a lovely company called Urban Salon Architects in Southwark, London.
The first was an 8 day project for a mobile phone retailer, for which I had to make two 1:50 models showing the new designs for their high street shops.
The second was a 2 day job in which I needed to make a 1:1 prototype of a lamp that was being designed for the shops.
Due to privacy agreements I am not permitted to include photographs at this time, but will be able to in the near future.
Before these jobs at Urban Salon I decided it would be a good idea to strip back and refinish my old electric guitar. I play a mid-90s Encore but I have no idea what the model is called. I bought the thing when I was 15 and, being left handed, decided to saw off the prongs (like those on a Stratocaster) and turn it into a teardrop shape - giving me greater access to the top frets. At the time I didn't care what it looked like and was happy playing it in the messy state it was.
I decided now woud be a good time as I was free for a little while and set about prepping it for painting. This meant sanding back the old top coat (gloss black), filling in many scratched and holes (inflicted by me) and re-shaping the rough areas around the base of the neck. This took me about 4 hours in total, but over the course of a couple of days.
I then give it a primer-filler coat, ready to sand it back again. On top of that I applied two grey primer coats to give it a hard finish once complete.
The colour I had originally chosen was a deep, slightly metallic red-maroon which, I changed my mind on after one coat. I wet and dry sanded the coat back to the primer layer as best I could and then switched to a deep, burnt umber brown. After three coats of spray I decided it was done and I left it to cure properly for two days. Then, using Brasso and wet and dry paper (600 - 1200 grit) I worked the final coat down to a smooth, satin finish.
Photo will be uploaded soon...
Friday, 23 September 2011
Wednesday, 9 February 2011
Slight Setback
I was hit by a car on Monday evening on my cycle home from the studio, less than 100m from my front door. I was able to walk away from the incident relatively unscathed but I found, only once I had got back to mine and let the driver of the car go (without taking their details) that the screen of my laptop, that was in my bag and basically took the full impact of my fall, now has a large dent in the casing on the lid and a lovely dead patch running the entire length of the top 1/3 of the screen. I'm still able to use it, but the dead patch is limiting the applications I can use because many of the drop down menus are completely obstructed.
Progress on my research folder is likely to be slow because of this now.
Progress on my research folder is likely to be slow because of this now.
Sunday, 6 February 2011
Work Experience
I spent 2 weeks on work experience at RAA doing a couple of models for Jen Sheehan, a freelance modelmaker and 2007 graduate from our degree. We were making two interior architecture models for the second phase of a competition to win the commission to redesign the exhibition spaces of the Humboldt Museum, Berlin.
The models were of a Japanese cultural area, displaying artefacts, illustrations and projections from and about the country and, a South Pacific room which, contained traditional sailing and fishing craft and other artefacts from the region.
The models we made were at 1:50 and were designed to show a mix of the general feel of the rooms as well as specific details.
I was working with Jonathan Freemantle in the first week and Laura Penman in the second week. In the first three days Jonathan and I were set about making the floor layouts of the two rooms and the display cases. I was assigned the Japan room and he got the South Pacific.
Jen informed us in the Tuesday that she would not be there on the Thursday and Friday of week one and the Monday of the second week. This meant Jonathan and I would be left to our own devices for two days and then I would have to show Laura what we'd been doing and then instruct her on how to go about making the pieces we'd been given for those days.
We started working on the boats of the South Pacific room on Wednesday afternoon which, we would continue with for the days Jen wouldn't be there as well as moving onto the huts and decorative pillars.
This task was by far the most enjoyable of all the making because it was simple and intuitive. The boat hulls were carved 10mm foam core and the sails, framework and rigging was all styrene (0.5mm and 1mm). There were ten boats in total, some much more complex than others. A few were simply long, narrow rectangles of foam core carved, roughly, into canoe shapes.
- I am unable to include photos of my work on this project at this time because the competition is still live and undecided. I will be able to show photos at a later date when informed I am allowed to by RAA and Jen Sheehan.
The models were of a Japanese cultural area, displaying artefacts, illustrations and projections from and about the country and, a South Pacific room which, contained traditional sailing and fishing craft and other artefacts from the region.
The models we made were at 1:50 and were designed to show a mix of the general feel of the rooms as well as specific details.
I was working with Jonathan Freemantle in the first week and Laura Penman in the second week. In the first three days Jonathan and I were set about making the floor layouts of the two rooms and the display cases. I was assigned the Japan room and he got the South Pacific.
Jen informed us in the Tuesday that she would not be there on the Thursday and Friday of week one and the Monday of the second week. This meant Jonathan and I would be left to our own devices for two days and then I would have to show Laura what we'd been doing and then instruct her on how to go about making the pieces we'd been given for those days.
We started working on the boats of the South Pacific room on Wednesday afternoon which, we would continue with for the days Jen wouldn't be there as well as moving onto the huts and decorative pillars.
This task was by far the most enjoyable of all the making because it was simple and intuitive. The boat hulls were carved 10mm foam core and the sails, framework and rigging was all styrene (0.5mm and 1mm). There were ten boats in total, some much more complex than others. A few were simply long, narrow rectangles of foam core carved, roughly, into canoe shapes.
- I am unable to include photos of my work on this project at this time because the competition is still live and undecided. I will be able to show photos at a later date when informed I am allowed to by RAA and Jen Sheehan.
Wednesday, 19 January 2011
Decision Made
I have come to a decision on what to make for my FMP.
I intend to make a working scale model of Baron von Drais' 'Laufmaschine' (1816) - the first official form of two-wheeled, human-propelled transport that led, through development, to the evolution of the chain driven bicycle.
I will make the model in the context of a museum piece with a view to it being on display in a museum of transport or, more specifically, cycling and non-motorised methods of travel.
I hope to make it exactly as it would have been, only at a smaller scale - 1:3 or 1:4 would be preferable.
On a further note, I have been approached by Paul Johnson (course leader) to do two week's work experience in London for a design company making models of exhibits for a museum/gallery exhibition which, I have accepted.
This will limit, somewhat, the amount I will be able to submit as it'll reduce my planning and making time by about 12 days in total.
I feel I am capable of making my Laufmaschine model in a fairly short period but am aware that as there are no plans and very few drawings of the original, I will need to produce a full set of working drawings to be able to make a successful model.
If I complete my model by the deadline, as I intend to, then I will be able to attempt the two-week short project after Easter. This might be a figure sculpt, possibly a larger scale reproduction of the Django Reinhardt sculpt I did in first year, an insect or maybe a game/film character piece.
I intend to make a working scale model of Baron von Drais' 'Laufmaschine' (1816) - the first official form of two-wheeled, human-propelled transport that led, through development, to the evolution of the chain driven bicycle.
I will make the model in the context of a museum piece with a view to it being on display in a museum of transport or, more specifically, cycling and non-motorised methods of travel.
I hope to make it exactly as it would have been, only at a smaller scale - 1:3 or 1:4 would be preferable.
On a further note, I have been approached by Paul Johnson (course leader) to do two week's work experience in London for a design company making models of exhibits for a museum/gallery exhibition which, I have accepted.
This will limit, somewhat, the amount I will be able to submit as it'll reduce my planning and making time by about 12 days in total.
I feel I am capable of making my Laufmaschine model in a fairly short period but am aware that as there are no plans and very few drawings of the original, I will need to produce a full set of working drawings to be able to make a successful model.
If I complete my model by the deadline, as I intend to, then I will be able to attempt the two-week short project after Easter. This might be a figure sculpt, possibly a larger scale reproduction of the Django Reinhardt sculpt I did in first year, an insect or maybe a game/film character piece.
Monday, 17 January 2011
Change of plan (to a degree)
Instead of pursuing an entirely entomological model, natural history-based FMP, I've decided to look into other fields of making.
I was unable to find an insect or similar life form that inspired me enough, despite finding many interesting and peculiar creatures. Reflecting back on the success of my wasp model from last year I've now decided that committing entirely to an insect model might not be the best thing.
The other subject area that's appealing to me right now is one that I'm actively involved in and continually fascinated by - CYCLING
The evolution of the bicycle, various designs and specific aspects of cycle design are continual interests of mine.
I've had a few thoughts of what I could make as a model that relates to this topic and a few things have sprung to mind…
The first bicycle or recognised form of two-wheeled, human-propelled transport. This is the 'Laufmachine' (1816) designed and patented by Baron von Drais (Baden, Germany). It was also known as the 'Draisine' (English) and 'Draisienne' (French). The design was developed in the 1820s and became known as the both the Hobby Horse and Dandy Horse.
I'm also very interested in the field of vintage racing cycles (pre 1980s). I own both a classic 1977 Carlton Circuit which, I've had for over two years and an earlier Royal Enfield Falcon that I've had for more than five years.
What I like about old racers is the design. The shape of the bicycle hasn't altered all that much since the 1920s but the materials and details in them have and it was in this classic cycling period, when the Tour de France was a massive spectacle, that the detailing on many frame sets was ramped up.
I'm a huge fan of the vintage racing style, which has (unfortunately in my opinion) been ripped off by the recent 'fixie' craze that's evolved from the city courier scene, particularly in London, in the last ten years. This scene has taken to finding frame sets made by the most reputable manufacturers in the UK, France and Italy and stripped them down to nothing but the frame, wheels and a fixed, single-speed gear on the rear wheel and, often doing away with brakes altogether. It's now become fashionable to acquire and - effectively - tart up beautiful, old frames and make them look as 'individual' as possible, something many modifiers do to the detriment of the aesthetics of their machines.
One particular aspect of vintage cycle design that I enjoy is lug-work. The often intricate and delicate tube housings used in joining the framework together.
I was unable to find an insect or similar life form that inspired me enough, despite finding many interesting and peculiar creatures. Reflecting back on the success of my wasp model from last year I've now decided that committing entirely to an insect model might not be the best thing.
The other subject area that's appealing to me right now is one that I'm actively involved in and continually fascinated by - CYCLING
The evolution of the bicycle, various designs and specific aspects of cycle design are continual interests of mine.
I've had a few thoughts of what I could make as a model that relates to this topic and a few things have sprung to mind…
The first bicycle or recognised form of two-wheeled, human-propelled transport. This is the 'Laufmachine' (1816) designed and patented by Baron von Drais (Baden, Germany). It was also known as the 'Draisine' (English) and 'Draisienne' (French). The design was developed in the 1820s and became known as the both the Hobby Horse and Dandy Horse.
Laufmaschine
I'm also very interested in the field of vintage racing cycles (pre 1980s). I own both a classic 1977 Carlton Circuit which, I've had for over two years and an earlier Royal Enfield Falcon that I've had for more than five years.
What I like about old racers is the design. The shape of the bicycle hasn't altered all that much since the 1920s but the materials and details in them have and it was in this classic cycling period, when the Tour de France was a massive spectacle, that the detailing on many frame sets was ramped up.
I'm a huge fan of the vintage racing style, which has (unfortunately in my opinion) been ripped off by the recent 'fixie' craze that's evolved from the city courier scene, particularly in London, in the last ten years. This scene has taken to finding frame sets made by the most reputable manufacturers in the UK, France and Italy and stripped them down to nothing but the frame, wheels and a fixed, single-speed gear on the rear wheel and, often doing away with brakes altogether. It's now become fashionable to acquire and - effectively - tart up beautiful, old frames and make them look as 'individual' as possible, something many modifiers do to the detriment of the aesthetics of their machines.
One particular aspect of vintage cycle design that I enjoy is lug-work. The often intricate and delicate tube housings used in joining the framework together.
Herbie Helm (Michigan) frame and laug-work
The possible pieces I could make from these ideas include
- small-scale model of the Laufmaschine
- full-size working model the Laufmaschine
- large-scale enlargement of intricate lug-work
- full-size/actual set of lugs for a racing frame
Both of the lug pieces would probably involve an element of design on my behalf, although I could replicate an original design from an actual bicycle.
Monday, 3 January 2011
Final Major Piece
January is here and it's time to be getting on with research for the Final Major Project.
I am, as yet, undecided on precisely what I'm making but have narrowed it down to another entomological (insect) model.
This is because I enjoyed my Communication Interaction piece last year so much more than any of the other projects and achieved, although unfinished, a much better final result. I made a 20:1 scale model of the very rare Purbeck Mason Wasp (Pseudepipona herrichii). This time I want to make a model of something that's interesting, peculiar and, preferably, very strange to look at. I hope to make the model as large and impressive as possible, which will hopefully help get me noticed at New Blades in June and provide a strong piece for my portfolio.
I've been leafing through a book of anatomical illustrations: The Anatomy of Insects and Spiders (Beverley.C and Ponsonby. D, 2007, Ivy Press, Lewes, UK). The book contains over 600 illustrations (black and white line drawings) of many different species of insect and arachnid. I've been looking through this book to gain inspiration and possibly the actual subject matter for my project.
I am, so far, looking primarily at Coleoptera (beetles), Hymenoptera (wasps, bees and ants) and Phasmids (stick insects and praying mantises). As they are such strange-looking creatures I'm being drawn most towards the mantis and have already found a few possible candidates.Orchid Mantis (Hymenopus coronatus)
Devil's Flower Mantis (Idolomantis Diabolica)
Madagascan Ghost Mantid (Phyllocrania paradoxa)
These three stand out most because they're such interesting specimens and would make great, large-scale models.
I am, as yet, undecided on precisely what I'm making but have narrowed it down to another entomological (insect) model.
This is because I enjoyed my Communication Interaction piece last year so much more than any of the other projects and achieved, although unfinished, a much better final result. I made a 20:1 scale model of the very rare Purbeck Mason Wasp (Pseudepipona herrichii). This time I want to make a model of something that's interesting, peculiar and, preferably, very strange to look at. I hope to make the model as large and impressive as possible, which will hopefully help get me noticed at New Blades in June and provide a strong piece for my portfolio.
I've been leafing through a book of anatomical illustrations: The Anatomy of Insects and Spiders (Beverley.C and Ponsonby. D, 2007, Ivy Press, Lewes, UK). The book contains over 600 illustrations (black and white line drawings) of many different species of insect and arachnid. I've been looking through this book to gain inspiration and possibly the actual subject matter for my project.
I am, so far, looking primarily at Coleoptera (beetles), Hymenoptera (wasps, bees and ants) and Phasmids (stick insects and praying mantises). As they are such strange-looking creatures I'm being drawn most towards the mantis and have already found a few possible candidates.Orchid Mantis (Hymenopus coronatus)
Devil's Flower Mantis (Idolomantis Diabolica)
Madagascan Ghost Mantid (Phyllocrania paradoxa)
These three stand out most because they're such interesting specimens and would make great, large-scale models.
Tuesday, 14 December 2010
Fabrication 4 (fins)
Assembling the walls of the model has proved one of the most time consuming processes of the entire build. I made a jig to help me cut the beech strips to length which, has actually proved to only be helpful in marking out the point on each piece where it needs to be cut. I had intended to saw them individually with a joiners saw but found that a saw tares up the fibres in the wood on the back too much. Because of this I switched to using a pair of wire cutters which, allows me to cut them much faster and more accurately. It also avoids ruining one side of the fin.
Fin Marking Jig
Fins stuck in place on smallest curve
Fins stuck in place of longest flat curve
I'm sticking the fins in place with Areldite Quick Set epoxy adhesive. This sets in approximately 3 minutes (it's supposed to be a 90 second cure). This means I can only stick 5 or 6 fins in place at a time before the Areldite sets. This gives me time to stick the 5 or 6 and then a few minutes to prepare another set ready for when the Areldite has properly cured - 10 minutes is best.
Friday, 3 December 2010
Fabrication 3 (platform and ramp)
To make the ramp/platform of the venue I've chosen to use 3mm acrylic. I made an MDF former box to heat bend the acrylic clotted curve on and which, I will also use to baed the angle of the platform.
SketchUp model of acrylic former box
MDF former box
I heat bent the slotted curve of the platform over the former box and then, using the interior line of that curve as a template, drew around it onto 120gsm white card. I attached the card to a sheet of 3mm acrylic and cut around the template on the bandsaw. After achieving the basic shape as close to the lines as possible, I used the bobbin sander to smooth the interior curves and get a more accurate shape. I then hand sanded the edges top make them smooth enough to adhere to the slotted curve.
Heat bending acrylic curve over MDF former
Heat bending ramp over MDF former
Once I had the platform and acrylic curve bent to shape, I found I needed to put a chamfer on the underside of the base of the ramp to insure it will sit flush on the baseboard. I found the angle that the ramp will sit at, drew a line across the width of it on the underside and, quite simply, sanded away the excess that lay above the line until the new surface met with both the end of the ramp and the drawn line.
Sanding chamfer across underside of the ramp base
Tuesday, 30 November 2010
Baseboard Fabrication 2 (making)
Using the dimensions from the SketchUp model I made, which incorporated the MDF thickness (9mm) into the components, I was able to saw the MDF and assemble the whole thing in less than 2 hours. I made the model to help me find the correct dimensions because I've had serious problems working out side panel lengths in the past when only relying on my ability to calculate them.
As the baseboard is close to a metre square I decided it would be best to include a beam across the middle to support the weight of the model or, at least, prevent the top of from bowing too much. This piece was simply a third side panel tacked and glued into place with wood glue and veneer pins.
I also used filler to solidify the corner joints of the baseboard, something I might find I will regret in the near future as it will get in the way of the feet I intend to put on the box. A rash decision, but hopefully easily rectified.
As the baseboard is close to a metre square I decided it would be best to include a beam across the middle to support the weight of the model or, at least, prevent the top of from bowing too much. This piece was simply a third side panel tacked and glued into place with wood glue and veneer pins.
I also used filler to solidify the corner joints of the baseboard, something I might find I will regret in the near future as it will get in the way of the feet I intend to put on the box. A rash decision, but hopefully easily rectified.
Baseboard without paved area attached
Underside of baseboard showing supportive beam
Monday, 22 November 2010
Baseboard Fabrication 1 (prep)
Dimensions: 1000mm x 900mm x 62mm
The baseboard I have designed will contain little more than the area of Parliament Square that the venue stands on and a diagonal cut through of the High Street on the north side of the square. The top of the board will stand 62-63mm high (dependent on adhesives and finish). It was originally intended to stand only 60mm but I forgot to allow for the top board representing the square which, is raised above the surface of the road by 2.5mm (representing a rise from road to pavement of 100mm).
The area representing the square will be finished in a pale greyish-brown (to show paving slabs/cobbles). I had hoped to laser-etch a cobble texture into the top board but am not able to as the sheet is too large to fit in the laser cutter.
The road surface will be sprayed with either a slightly textured paint or a plain, matte grey which, will represent the tar macadam.
The sides of the board will be clad with a wood veneer. I am, as yet, undecided on which wood I will use but I would like to compliment the colour of the beech I've used for the fins of the venue's walls. I had been thinking along the lines of either a very pale wood - maple, sycamore, birch etc. - or a much darker wood - ebony, walnut, sapele etc. Ebony is unlikely as it's a hard veneer to come across and very expensive. Walnut would compliment the pale, warm and slightly pinkish appearance of the beech very well.
The baseboard I have designed will contain little more than the area of Parliament Square that the venue stands on and a diagonal cut through of the High Street on the north side of the square. The top of the board will stand 62-63mm high (dependent on adhesives and finish). It was originally intended to stand only 60mm but I forgot to allow for the top board representing the square which, is raised above the surface of the road by 2.5mm (representing a rise from road to pavement of 100mm).
SketchUp model of my baseboard. I sketched this design to work out the physical dimensions, making it easier to cut out and assemble.
The area representing the square will be finished in a pale greyish-brown (to show paving slabs/cobbles). I had hoped to laser-etch a cobble texture into the top board but am not able to as the sheet is too large to fit in the laser cutter.
The road surface will be sprayed with either a slightly textured paint or a plain, matte grey which, will represent the tar macadam.
The sides of the board will be clad with a wood veneer. I am, as yet, undecided on which wood I will use but I would like to compliment the colour of the beech I've used for the fins of the venue's walls. I had been thinking along the lines of either a very pale wood - maple, sycamore, birch etc. - or a much darker wood - ebony, walnut, sapele etc. Ebony is unlikely as it's a hard veneer to come across and very expensive. Walnut would compliment the pale, warm and slightly pinkish appearance of the beech very well.
Subscribe to:
Posts (Atom)
