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Bibliography

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[bryreesd3]

Final plaque. Mild steel sanded back with angle grinder, acid etched in copper sulphate bath, with hand drawn type and acrylic as resist. Heat tempered with oxyacetylene gas torch, cleaned and shined with sandpaper, lacquered to keep from rusting and make fit for being outside in the elements.

Typographic plate inspired by the beautiful hand rendered typography on the church plaques and foundation stones in Auckland. The presence of the human hand in type is both authentic and speaks of the imperfection of our ‘humanness’

Created for the urban context of a plaque on a church building, like the beautiful plaques and foundation stones on many old churches in Auckland city. 

Old churches often have foundation stones or plaques, many of them bearing the date of their establishment ‘to the glory of God’. Jesus Christ is described in the Bible as the ‘corner stone’ of the church. 

But what does this mean? The church is a group of believers, and also a group of humans. The church ‘as she exists throughout history’ is a powerful force, and when it has truly been aligned to the Kingdom of God, has a beautiful and strong legacy. But the church, in its humanness, is also undeniably full of brokenness. The book of Hosea compares the church to an unfaithful wife. The church, as the bride of Christ, is broken. The word ‘bride’ is heated until the metal reached red-hot and began to melt. The disfigured word is evocative of the brokenness of the church.

But in the book of Hosea, God is the picture of the husband who reconciled the unfaithful wife to himself, forgiving her, redeeming her, and loving her freely again. The glow of colour in the tempering across the words ‘Glory of God’ is glory and also references the rainbow: a biblical symbol of the covenant that God makes with his people. So this is a plaque for the church to say who we really are: in honesty, imperfect and broken, but perfectly loved, that God may be glorified. 

I loved this process, I love that a depth of research can influence the journey and development, and I love that practice driven research in development enables me to shape my own practice. I’m excited to see my minor aligning with my Communication Design major. The work I have been doing for ESD has been a strong influence on my design research paper and in the shaping of my practice, particularly to include handcrafted typography on different experimental surfaces to communicate, and ultimately to evangelise.  

I completely love making, using different media and getting on the tools. I really hope that wherever my work does go as an artist or designer, that I get to physically make rather than working only digitally. The lockdown has caused my work to evolve, but my pretty privileged situation at home with my dad’s garage and expertise has not only allowed me to use more tools myself, but has added more depth to the work - something about using tools not so much specified for what I’m doing have provided a different direction and texture to the final piece. 

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After sanding, much more subtle and overall composition flows

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Before sanding - uncontrolled tempering

I deliberately created a smoother gradient of colour across the ‘glory of God’, while damaging ‘bride’ by letting the metal get red hot and begin to warp

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Tempering the final plate

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Practice tempering plate - trying to control the spread of the gradient and create localised damaged areas where the metal gets red hot. I found that once one area of the metal was heated the same heat smoothly spreads in quite a controlled manner

Cleaning back the tempered colour using just sandpaper - this way I can get just the damaged spot without colour surrounding it which I want. Interesting how the colour in in the etched letters though!

Using a nail brush as well so sweep back areas of colour in a textured way

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Practice mockup - don’t quite have the pictures id like from churches in Auckland to be able to mock this up bc of lockdown but that's the idea anyway

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note: add bibliography at end

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Plate sanded clean with sand paper - love the brightness of the metal around the letters, very legible too

I sooo love the way the different steps of the process - even the way the process is kind of more extensive at home - has created layers of texture. Similar to the layers of storytelling in printmaking, there are layers of texture just in the plate. The rough texture from the angle grinder, the texture from the acid eating into the paint, the texture on the edges of the plate where the paint was roughly applied, and the softer texture of the hand-sanding

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Etched the final plate for 70min, etched super clearly with good depth but again came up tarnished

sanding back

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Etched practice plate for about 70 minutes in the bath, nice deep etch but cleaned off still real murky and tainted colour

Sanded back with sand paper its real bright and I know the colour when tempering will come up way nicer!

protecting from rust with some oil before I temper and lacquer the plate

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copper sulphate bath (in the piiiiiit)  100g salt: 100g copper sulphate to 1L water

protecting the back of the plate with tape 

putting the practice plate in the bath

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scratched back ready to etch

another plate prepped to practice before etching

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Drawing up the type

Scraping back the resist

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Painting the plate with acrylic resist

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sanding back my plate

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Mild steel ungalvanised sheet of metal (3mm thick) or final plate to be prepped and cut - should be enough to make multiple plates so that’s cool, I can keep experimenting

A scrap piece from a local engineering place in exchange for a pack of ‘ronas heheh