Bento on the Backside

The intended backside of this piece is a representation of a representation of the Hinomaru. It is a Hinomaru bento (日の丸弁当). Bento is a traditional boxed, prepared meal usually served in a lacquered box. Hinomaru bento is steamed white rice with a single umeboshi (a plum pickled in vinegar) in the center, often with black sesame seeds. The sesame seeds are a form of furikake (振り掛け, a dry Japanese seasoning) sprinkled atop for an additional facet of flavor.

Per Wikipedia (http://en.wikipedia.org/wiki/Bento): "The metal bento boxes, once popular in Japan, were often corroded by the acid of umeboshi, eventually making a hole in the middle of the lid."

With Undercoat White (1010) as the base, I added a segment of a circle in the lower left of flame orange (1860), the same color as on the front. This piece is ready for the kiln.

Backside Bento is complete is complete with black sesame seed furikake

Metallic Buckle: Mechanical Failure

I read that rail tracks buckle laterally due to thermal expansion. So it's no surprise that a piece of copper that's about 24 gauge would do the same at 1480 degrees. Needless to say I was frustrated.

After initial firing with undercoat white 1010.

Convex

Concave 

Rocking

So I flattened the piece between bench blocks. The enamel cracked, introducing more interesting textures.  Moreover, after I fired it each subsequent time, I immediately place the piece between the bench blocks before the enamel had time to fully cool.

This process brought the piece back closer to try. However, it was evident that the lords of Shibui aesthetic were placing invisible hands over this piece in steerage.

Sapphire Blue and Hi No Maru

First coat of color; Sapphire Blue (1425). I used this opportunity to make a sky-like backdrop for my representation for the  hi no maru (Japanese Flag)

Cooling on the heat sink

I'm setting up the sapphire face to  be coated with flame orange (1860) as the rays of sun. I use the magazine page as a work surface, which also catches the excess enamel after I powder it on the piece.

As I initially cut the stencil, the process would have forced me to place sapphire over flame orange in order to achieve the color scheme that I desired. I wanted to stick with the guidance of firing cool colors first, thus I had to use the material removed from the stencil in lieu of the designed stencil. Moreover, I wanted the sapphire to come through the orange as opposed to vice versa. So I had to deviate from the plan (See Deviant Patterns and Stencils).

(The humor of this photo occurred to me after I took it; an enameled piece seemingly flying out of the oven along with the roast turkey.)

Flame Orange (1860) applied and removed from the kiln. I was tired and frustrated at this point. However, I am happy with the colors, line, and rhythm of this face of the piece. The Undercoat White (1010) showing through the Sapphire (1425) invokes an analog sky. Whereas, the Flame Orange simulates the sun with stylized rays, which are primarily linear with some deviant flares and reflections throughout the Sapphire. This piece definitely has the hand of human intervention

Deviant Patterns and Stencils

With engineering precision, I laid out my pattern. Transferred the points of incision to a stencil, surgically extracting the excess material. Later, in regards to the plan of enamel placement, I remembered that warm colors fire at lower temperatures than cool ones, thus rendering these cuts nigh superfluous. My best laid plans were merely a point of departure, a path from which to deviate. 

Pictures later. My next learning opportunity, or obstacle, was dealing with the copper buckling.

Connections and Layout

Talking about how to mount the brooch. I thought the soldered posts would be the easiest way to go.

However, since it is me that we're talking about, I complicate the simple. I didn't drill holes in the enameled piece before I put foundation white on it. So Tabs it will be. 

Copper is milled, cut, and cleaned

 Laying out the rays of my the hinomaru for this brooch. Hinomaru is the Japanese Flag. I will be altering the colors to personalize it.

On the back is a bento box. A Japanese box made to completely contain and compartmentalize comestibles. Furthermore, as represented in this piece, the rice will have an umeboshi (pickled plum) in the center. The Japanese call this hinomaru, as it resembles their national colors

I know it's exciting. I milled this copper to about 24 gauge. It started at 18 gauge. This will help make the finished piece lighter, and it it helps make my material go further. Plus, it is fun to watch the copper stretch as it is flattened by the steel wheels

Sketches for first enameling project. If nothing being in Boone has brought to my attention that my time in Japan was life altering for me. Life choices brought me there, and I was interested in having a good time. However that fun was only on the surface. It was a blast to be there with everyone exploring the newness. In contrast and in the depths, I feel that I was led there by something else. Cliche to say guided by voices. But it permeates my perspective and aesthetic.

Over the past 15 years, I would fight having an affection for Japan.  This is a topic upon which I will expand later. It was as if I was in a teenage hormonal chrysalis. I've elevated through the constraints that formed my contortion. Tying it in with project, I want to express expansion of my horizons and the elegance of carefully considered arrangements of color in constraints.

My favorite complementary color scheme

I would like to do an enamel in project and/or a painting based off this. I'm not surprised that this distorted photo looks like my bracelet designs.

Enameling Test Tiles:
First time for working with enamel. It requires a new type of patience, which I have enjoyed so far. Here are a few tiles that I made with "flame orange" and "sapphire"

 Image 1: I used flame orange as the base. Then I added sapphire atop of it and employed sgraffito to mark my signature

 Image 2: Flame Orange as the base.Then I used a stencil to apply the sapphire

Image 3: Flame Orange as the base. Then blue glass threads placed on it in a branch pattern

So Freestone Peach has turned two years old. It is time that I start writing about my work, inspirations, and new project ideas. I will include my works in enameling, wood, lapidary, painting, and other design projects (including crafting in virtual space)