Cecilia Fox: Repeat Pattern Development

In order to develop the use of a repeat pattern further, the lines used within previous experiments have been enlarged and separated to create a more abstract representation of the pattern, as previous experiments looked too busy (see figures 1-3). Throughout this process different colours where explored inspired by colours found in homemade ceramics (designers own) which enhanced the ceramic inspired aesthetic of the brand. The most successful experiments being those which featured red/pink tones (which occur when some glazes are overfired slightly) and blue, cooler tones inspired by the cool clay tones (see figures 3-7). This lead to different type options being explored, initially a combination of Avenir and Cirka have been used however the serif type is difficult to read at smaller point sizes, with the contrast between the two typefaces not matching the smooth patter (see figures 8-19). Therefore Avneir was solely explored using different weighting to create a better contrast (see figures 16-19). The type itself has been centralised in order to allow the pattern to not interfere with the type and reduce legibility. Throughout colours have been taken from the pattern for the text, however the lighter and pink tones where too similar getting lost within the design, becoming less legible. Therefore darker tones were explored which created a better contrast (see figures 8-19). Featuring the type in the same colour was the most successful approach as often one element was legible and the other blended with the background too much when multiple shades/colours where used. In additon the use of capitals allows the type to stand out more against the pattern background, creating a bolder impact on the audience. Furthermore the use of charcoal taken from the pattern allows the type to stand out but fit within to create an overall aesthetic for the identity (see figure 20).

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Adonis Specimen: Rebinding

After using the perfect binding machine, hand binding was used (as seen in previous experiments) to rebind allowing for more control over the process and less likelihood of damaging the cover during the binding process (see figures 1-2). This process was very simple, as the pages were already cut to size and a new clean edge had been created after cutting the spin of the previous bind. This allowed the pages to be perfectly aligned and eliminated the need to reprint. In relation to adding the cover, double sided tape was used to adhere the cover to the scrim used to enclose the spin. This process has worked well with the cover staying in place and the pages of the specimen bind successfully. Furthermore the creasing machine (see figure 3) within digital print has been used to create the perfect spin width (5mm) which aided in the application of the cover, avoiding any creasing to the main elements of the cover. The whole specimen was trimmed slightly again in order to create flush edges with the new cover.

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Test Your Fate: Sound

In order to see if sound could be incorporated within the pinball machine multiple avenues have been explored.

Mirco:Bit:
Upon researching different methods of coding sound such as ardunios and raspberry pi circuit boards a simpler version aimed at children was used.  Although the software provided with the micro:bit is simple to use and understand there where limitations as to what could be achieved with the software provided. This lead to multiple experiments seeing if the exisiting code could be adapted to work for the purpose of the pinball machine.  Initially code using the motion/light sensor built into the board was explored however this couldn't be adapted to create sound only to show a message using the LED lights within the board (see figures 1-4). In addition the motion sensor was also explored to see if when the ball rolled past or over sound could be created however this didn't work either (see figures 5-6). Further tests creating circuits inspired by fruit keyboard (see figure 7) where conducted however this wouldn't be possible to implement within the pinball machine. After multiple attemtps I think a less techincal approach is needed as the circuit board is too limtied for the functions needed (see figure 8).

Bells:
In addition to circuit boards, more mechanical options were explored. Services bells have been looked at to see if they would ring once the ball drops through the holes (see figure 9). This method works however is very unpredictable as the ball doesn't tend to fall straight down meaning sometimes it hits and other times it roles down. Therefore after exploring multiple options for sound the original idea of using a speaker will be implemented as this allows for the most reliable option that will enhance the playing process. 

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Cecilia Fox: Initial Ideas

Based on early experiments based on firing cones I've taken the idea that the firing cone bends to 90 degrees when the kiln reaches perfect firing temp and used this a way to treat the type. Initially experiments have looked at treating the CF of Cecilia Fox however these experiments were too deformed making it difficult to identify the reference of CF (see figure 1). Therefore the whole name was treated to see how far this implementation could be pushed. Rotating the word as a whole works best as this allows the 90-degree rule to be incorporated without degrading legibility (see figures 1-3). In relation to more experimental approaches, these are not appropriate as they make the name too difficult to read (see figure 1). Therefore the simple use of rotating 'Cecilia Fox' by 90-degrees was explored further using a business card as its base (see figures 4-5). The main difficulty during this process was ensuring that the audience would understand the name was on its side rather than turning the card portrait. Therefore different applications of additional information were experimented with, the most successful being those featured in figure 5 which could all be used within one identity, depending on the promotional outcome. Furthermore if the audience were to turn the card portrait they would be interacting with the concept itself.

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Cecilia Fox: Initial Ideas

During the research process, firing cones where discovered which are used to help track and measure the temperature of the kiln. Three cones are traditionally used with the cone representing the correct firing temperature curving at around 90 degrees. This cone represents the perfect temperature for bisque and glaze firing, allowing the potter to identify if anything has over or under fired and why if the cone under or overbends. Therefore I've explored the bend achieved within the firing cone to see how this could be incorporated within a logo (see figure 1). This lead to multiple developments exploring how to incorporate the line, initially looking at featuring it across the whole name (see figure 2). However I felt highlighting the CF would be more interesting as this fit the bend of the line more, making the line less overpowering and more complimentary (see figures 2). Furthermore this lead to exploration isolation the CF with the most successful responses being when the CF is brought together and line made smaller as well as when the CF are apart (see figure 3). Initially the serif font used in previous experiments (cirka) was used however the contrast between the serif and smooth rounded line isn't as successful in these responses (see figure 2). This lead to the exploration of a sans serif type (aviner) being used due to the short x-height and wide rounded nature of the characters (see figure 3). Furthermore as the counters are quite flat the line ends where made more angular to create a more seamless fit (see figure 3). In relation to the colours used neutral, earthy tones have been used to represent the tones natural earthenware goes when fired without a specific glaze (see figure 6). Simple business card experiments have been used to see how the logo could be implemented within the branding (see figure 4). Although the simplicity of the logo makes it successful there are limted areas to develop to create a more expansive identity which can be implemented across collateral such as packaging, business cards, website etc. 

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Cecilia Fox: Initial Ideas

In order to develop initial ideas I've brainstormed a range of ideas based on initial research conducted into the ceramic production process (see figure 1). 

Initially, inspiration has been taken from shapes found within the kiln and kiln furniture used within the firing process (see figures 2-3). The firing process is where the ceramic pieces come to life as this is where the colours and structure of the pieces are formed, making it an important point within the ceramic process. Therefore I've looked at creating a logo from the shapes found within such as the lines within the cones and the heptagon of the kiln itself. This produced very geometric lines and shapes which worked well together to great a logo which represented the firing process (see figure 4). Due to the geometric nature of the logo, I've explored how this could be used within a repeat pattern that could be implemented across different packaging outcomes (see figure 4). However the patterns are too rigid and ordered for a process that can be quite free and experimental due to the temperamental nature of kiln firing and handmade ceramics. Therefore the logo was deconstructed to form a new pattern which is much free but still represents the geometric forms found within the equipment (see figure 5). Furthermore a wordmark logo has been explored alongside this new pattern as the serif creates an interesting contrast against the smooth modern lines (see figures 5-6). In addition a wordmark logo is more appropriate within this idea as it allows the pattern to be a separate element of the identity which can be used on packaging and across other platforms as a supporting element. Shortening the logo to simply 'CF' works well alongside the full name as the shortened version could be used within the ceramic themselves as a stamp to create a unique and identifiable marker for authenticity (see figure 6).

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Cecilia Fox: Ceramic Process Research

Clay:
In its purest form clay is an aluminum silicate mineral kaolinite, with its plastic properties arising from the composition of microscopic platelets that give clay the ability to maintain its shape when molded. In early civilization, potters would retrieve clay from riverbeds where it was deposited. They'd dig up the clay, picking out rocks and sticks and make pots out of raw clay.  Today manufacturers used raw materials to make clay bodies, which are mixed as dry ingredients to which water is added and the clay left to de-air in a pug mull where it's extruded into bags and boxed. There are thousands of different types of clay the main types being porcelain, stoneware, and earthenware. All of which can be fired at different temperatures as they mature at different temperatures.

Throwing Clay:
This is the most common process associated with pottery, it involves centering clag on an electric wheel, opening it into a vessel and lifting to shapes walls, creating a symmetrical vessel. However some potters may choose to slab build, in which pieces are rolled out and constructed by hand.

Glazing:
Ceramic glaze is mainly made up of glass which is ground into a powder and mixed with water and binder to allow the glaze to stick vertically. The heat of the kiln causes a chemical reaction in the glaze, altering its appearance with some glazing turning different colours depending on firing temperatures.  Some glazes will have one appearance when fired at one temperature and a completely different appearance when fires at another temperature. Glazes can be applied in multiple ways to achieve different effects. Brushing is the most common way to apply glaze, with different brush styles and techniques being used to create patterns and textures. Spraying is another form which creates interesting effects depending on the number of layers used. Dipping can also be used to cover an entire piece or section of a piece evenly. Pouring is usually used to glaze the inside of different vessels.

Firing:
Firing clay concerts the ceramic work into a durable crystalline form, making it easier to handle during the glazing process. Clay is traditionally fired twice, its bisque fired and glazed fired. Bisque firing converts greenware to a durable semi-porous stage which aids the glazing process and burns out organic materials within the clay. Pyrometric cones are used to gauge heat during the firing process. A three-cone system is usually used consisting of a guide cone which is one cone below target temp, a firing cone and guard cone. Bar cones and small cones are used within an adjusted Kiln-sitter which is an automatic shut of device. Cones are the measurement which tells potters the temperature at which to fire clay, as different types of clay have different firing points.

Kiln Furniture:
An assortment of furniture is needed to hold and support pieces during firing, shelves, posts, stilts and tile setters are all key pieces. Furniture is designed to withstand repeated heating and cooling at high temperatures without deforming.

Cecilia Fox: Primary Research

In order to understand the ceramic process more, I was able to look at a kiln and homemade pottery first hand. This was interesting as I had previously never seen the inside of a kiln or the furniture used within to keep the ceramic pieces level when firing. This avoids misshaping the pottery and stops the glaze from sticking/firing to the kiln itself. It was also interesting to hear about bisque firing which is done before glazing to prep the ceramic pieces. This allows the clay to dry out so the glaze has something to stick too as if your glaze 'raw' clay it won't stick as the clay is too wet. Further research into this process will be conducted.