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It was good to come into college without a clear determined plan…meant I had some time to observe and converse with those around me.

I sandblasted the orange glass from Bildwerk, having put wood glue on the edges of the fablon, knowing it had not resisted the blaster in Germany, it resisted enough, and I like where the grit blasted through it gives a less sharp image and I may cut back into the blast with acid, see how that effects the sparkly gritty surface created by the sandblaster, which will be worth thinking about for the third layer of glass for The St Uny window commission.

Looking at Rachel’s samples in enamel, I really liked the big copper cylinders that had a mix of broad-brush applied white enamel and transfers of flowers. The small cylinder that has a matt image (given less time in the kiln) was also appealing in its negative image quality and gave me ideas for using negative/inverted images burnt/sepia/white more ideas for the presence of absence, but also a hinted at violence of burn/destruction.

Then I looked at the heat transfer tests I did on my MA workshop, as I start to think about using this process with photocopied hands and Chris’’ slippers, I was surprised how many samples I had done and how I had forgotten how much I liked the results. I talked with Becky about proportions/colour balance and she now has a sample set to act as a starting point, which will be really helpful in not working so blind, having perhaps a little more and quicker control over the results; she also gave me the technical notes. We talked about using polymer coated wood, Perspex and metal, I could laser cut this and then print onto it or use as a stencil with heat transfer press. Sarah suggested I could also laser cut wooden stencils that I utilise in heat transfer after seeing my vest prints…..to give a greater vestige of object? She gave me illustrator notes to study and try to use!

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