Exhibition set up


I’m very happy with my exhibition set up. As planned I kept my plinths to a minimal and took advantage of the wall space. A corner was also built to accommodate my ceiling lights. I decided against positioning ‘Mira’ in a circle as I wanted to show the viewers the variations the forms can be displayed. I also decided against displaying my ‘Olo’ pieces with the black glaze as I wasn’t happy with their finish.

Zen G – Final Solution and set up

After a lot of research into conductive technology, I came across this brand, Bare Conductive.

“Printed electronics technology that transforms the way we look at our environment” – Bare conductive

They’re most known for their conductive paint and easy-to-use development kits. I Decided to purchase their light up board which has various settings and can be kept flat, alongside this I purchased a LiPo battery to make the piece portable.

After gathering all the equipment I came to more problems. The light would not switch off unless the piece was touched twice (One touch on, one touch off) I wanted a piece which would only light up when it was being touched. Also, I read the health and safety reviews of LiPo batteries and I wasn’t confident in inserting them into the piece, they go very hot and as ZenG is very small, I was scared it would take effect of the board.

Going back to the drawing board I looked again at the possibilities of the light up board, I came across a video from their youtube.

Using this technique with wires, I added gold leaf to the top of ZenG just as it was initially designed. Splitting the gold leaf into two sections I was able to wire them individually.

I designed a base to fit all this equipment nicely to the bottom of the piece.

I had originally planned or the piece to be able to lift up from the plinth, and they would work in sync. The plinth would light up while the piece was sitting on top, then it would turn off while ZenG was being picked up it would light up. Because I haven’t been able to make this portable, for the final exhibition, the piece will sit on a regular plinth while others can touch the piece to activate the light.

Sere – Challenges with expanding with scale

Sere is the same form as Mira but more than double the size. Since my bowl project, I wanted to experiment with scale. I created the form again using the CNC machine, I created the form as big as the CNC bed could. It was a challenge to create the mould and to use the mould. I used the same process to create the mould as I did for ‘Mira’ and ‘Cornel’, a three-part mould. When casting the mould would often slip due to the weight of the slip on the inside. I went through a number of solutions for this problem, I tried to secure with blocks of wood and clamps. The only solution that worked was wrapping the mould in duck tape and casting over a big bucket to save any spillages.

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Cracking problems while casting

I am happy with the result of this form, it was challenging and time-consuming. One piece would take a week to produce as it would warm in the mould without proper support, it would also need to dry enough to slip out of the mould without needing me to open because of the duck tape.

I followed the same processes to glaze, gold leaf and hang as i did with Mira.


Cornel – firing

I tried to get the forms as thin as possible, I watered the porcelain down 1/5 and waited 8-10 minutes for it to set in the mould. I broke many of the forms trying to get them out of the mould as they were so thin. I did manage to successfully to get four whole pieces out, the chances of getting the whole one out were around 1/4, this made the piece very time consuming to make.


While firing porcelain to 1280 for the first time, I placed the piece horizontally in the kiln. The porcelain slumped a lot and I didn’t like the form at all as it was very time consuming to make and it wasn’t the result I’d hoped. After getting feedback from others, they encouraged me to explore the piece further.

After adding LED lights into the piece, I really liked the forms. The LED lights create amazing shadows out the pieces which adds an extra element to my work.

I experimented a lot with different orientations to present my work as well. Unfortunately while experimenting I did break one piece. I also had to change the positioning of the LED strip as it was visible when the form was lit. 


They photograph really well for my catalogue, this was one of the main pictures I used for my exhibition.

Olo – Second firing result and photographing

After the second firing at 1260 the results were much better, the glaze was matt. the only issue I came across was that the top where the light would come through was very messy. After the firing, I hoped I could sand away the edges to have a cleaner finish but I couldn’t. I will still photograph my work but I’m not confident in displaying them in the show.  I was very happy with the orange/red colour I achieved.

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With this in mind, I didn’t want the form to go to waste so I decided as I have plenty of bisque forms which were cast to be very bright ready to glaze, I would leave them bare and see what the results would be after firing.

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I much prefer these lights without the black glaze,  they throw a lot of light into the room. The only issue I see is that the base doesn’t match the delicacy of the porcelain as it’s big, chunky and black. If I was to develop these further, I would design a different base and be more aware of the seam line which is apparent.

black circles

I like this image but my flower arranging skills are awful. I do like how the form looks, it’s what I initially thought at the start of the project, I’ve been able to photoshop the faults in the porcelain, I could still add them to my book.


Above this photo shows quite well the difference the hues porcelain can give. The dark orange isn’t very bright but it works well for its purpose of a calming product in a dark room.

porcelain round

These pictures look much better, it’s much brighter and photographs well.

Mira – Glaze and gold leaf

I decided to use the matt black glaze I developed for the outside of this form, the glaze application was very difficult. the glaze chips easily and fingerprints are left instantly. a couple of time I would have to take the pieces back out of the kiln and re-glaze because of the finish. Because of these multiple layers, I would go through a lot of glaze as well especially when I was applying using the spray gun.

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Results from the first firing were very patchy, I decided to reglaze and re-fire the pieces to get even coverage.

To brighten and warm the light on the inside, I decided to plate in gold leaf. My first attempt of applying was poor, I applied the ‘size’ (glue to apply) too thick and the gold would clump up, I also didn’t leave enough time for the glue to dry. The best application I achieved was through thinning down the glue, to test if the glue was ready I was able to stroke my finger across the piece until a rubbery sound was made. The application was much easier after this. To finalise the piece, I would buff the piece up with cotton wool.

Much smoother application in the second piece

To attatch these pieces to the wall, I added keyholes. This worked well but was very time-consuming. I would wait until the pieces were bisque fired before I created the keyholes as I was afraid the delicate pieces would break when green.


Developing my website and changing my name

I currently use the name lliodaviesceramics for my social media but I don’t think this represents me very well, using Designer Maker better describes the work I do.

I changed all my social media to lliodaviesdesignermaker and changed the domain to my website, using my new lifestyle photos and uploading my new CV and branding I think my website better represents me now.


Creating a logo and developing my website

I wanted my logo to be minimal and made up of letters of my name, as Ll is unique letter in the welsh alphabet I thought it would be a good start to the design process. I really struggled with this design as I wasn’t used to illustrator, I found it very hard to create basic adjustments to the letters.


These were the four logos I came up with

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The last design is the one i’m happiest with, there is an element of the Ll and D from my surname whiohc can be seen. I also think you can see an element of my quarter lights in there as well in the corner.

Photographing life style pictures of the lights

After Anna Gravelle came over to talk to us, I realised the importance of having lifestyle photos of my work. I want people to buy and use my products as i’ve designed them suitable for purchase. This also helps me target specific audience, I’ve decided they should be on the high end of the market so I should attract people who are interested in high quality design and have income to spend.

These are some examples of inspiration I found for the shoot. It made me realise I don’t need much props but colour definitely adds a luxurious element to the pictures.


Buy John Lewis & Partners Huxley Task Lamp, Smoke/Antique Brass Online at johnlewis.com

Buy west elm Caldas Table Lamp, Walnut Online at johnlewis.com

Touch Table Lamp

I decided to take a trip to B&Q to buy some boards for me to paint, this will allow me to change background colours quickly without needing to repaint walls. I also cut some flowers from the garden and added a candle to add warmth to the pictures.



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This was the set up I had, after a couple of adjustments and editing on photoshop I managed to get decent photos of my work. If i knew how to use my dslr camera better I could have achieved much better shots, it was very difficult to get the lights to look as they do without the camera adjusting their colour and brightness.



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