The process for doing this frame was by measuring wood to and cutting the ends diagonally on either side. Once all of it was attached an electric screw driver drilled holes to where the wire would be fitted.

The plaster needed to be left in for a few days then I was able to take it out and cut the sides down. When the clay was taken out of the kiln I made little reverse impressions out of the clay imprinted pieces I had.

The first sheet is what came out from the cut out stencils and they suited a black background. I tried to have a pattern with dark and light greens and experiment with the arrangement of sizes.
This sheet was continuing the idea of simplifying the objects to shapes by leaving them at a somewhat unfinished state. The inspiration for this came from Sonia Delaunay and by using bold blocked colours there is a certain retro feel to the sheet.
My green templates looked interesting all alighted and spaced but I found there was a completely different formula by having them scattered and overlapping as well. I decided that it was good enough to put down on paper.
This is more on just drawing what you see in front of you and making a unique composition for everything first.
Melissa Smith and Piet Mondrian have two very different and instinctive styles, I tried combining both of what that do together. The stencilling was a little splattered to match up to Smith's designs and Mondrian's theme was what boxed in everything.
This last sheet was about capturing every single object I collected and to make it all neat and illustrated.

For this part of the project I choose five of my green coloured items that were a reasonably small size. The small items from the collection of mine needed to avoid undercuts and strange edges. When being placed in the former tray the proportions of the items. When this has been done a black plastic called the polystyrene is inserted over the items. The heat of the plastic can push back so you keep pressing down the former tray lever until it covers the items in a wrap. Once done you take it out and spray the plastic so the resin does not stick to the polystyrene. Wire is added into each mould, to do this take the pliers and twist it so it fits in the mould. The wire needs to be straight and taped down. Then lastly make sure it's all level and will not move around easily for the resin to be poured.

The sqraffito bowl process was about rolling out clay flat and even then placing it inside the press mould. Unlike any other clay process making, this one is about avoiding too much hand contact with the clay. It's about making it more like an everyday bowl and it needs that somewhat artificial appearance you find with ceramic utensils. I added the white slip to the top and after waiting I carved into the still drying bowl with various tools. The next step after this is the glazing to the bowl but the surface will still remain textured from all the carving methods.

I have made a sgraffito bowl, and one of the processes was making some samples to try out techniques and possible outcomes. These are the four possible results from experimenting with various metal tools.

In the class ceramics the objective is to make replicas of the green objects. My two objects placed here are made from porcelain clay which dries quite quickly, I had more luck from always keeping it at a moistened state. It's best to always have some water at use for the drier clays such as porcelain. Currently the key has yet to go in the kiln as it's at the first drying stage.

My other object is a key and it's a double sided piece, I find it looks similar to church architecture in some aspects. As it has those chunky thick swirls, you would sometimes notice. I would still have liked to be more delicate by working thinly with the clay to get better results.