The production and application of Japanese alloys and patination.
Lead Research Organisation:
Sheffield Hallam University
Department Name: Faculty of Arts Computing Eng and Sci
Abstract
The Western tradition of metal patination and colouring is based on the use of a small range of metals and alloys which are coloured by the application of a wide range of patination solutions. In contrast to this, Japanese metalworkers developed a wide range of irogane alloys which are coloured with a single patination solution (the niiro eki or boiling colour solution). This approach allows different alloys to be combined in one piece and patinated, producing a multi-coloured piece of metalwork.
Both alloy production and niiro patination are difficult procedures. Alloys often contain flaws such as air blisters and cracks. The niiro patination is also often flawed, with the surface colour of the workpiece streaked or patchy. It is frequently necessary to repeat work again and again, until a satisfactory result is obtained. It is my aim in this study to develop an understanding of the fundamental process involved in niiro patination, and to develop reliable techniques and procedures for alloy production and patination.
The research is practice-led, my studio work will continue throughout the study. Technical research will feed into, and from, this studio work. There is a tension between the relatively easy testing of small samples and the richer evaluation that is obtained through testing alloys and patination in actual studio work. I will move between the testing of samples, and testing in studio work, as a way of isolating the most interesting possibilities. I will create a new body of studio work developing the present use of irogane alloys and niiro patination in my work.
The research is grounded in Japanese and Western research into traditional Japanese materials and metalworking techniques. It builds on the tacit knowledge of traditional metalworkers while drawing on modern material science to provide technical explanations to the underlying problems. The proposed body of research will look outside traditional practice to find solutions to problems of reliability.
The research will be located at Sheffield Hallam University (SHU) using the facilities and expertise of the Art and Design Research Centre (ADRC) and the Materials and Engineering Research Institute (MERI). There is a strong team of highly experienced and internationally recognised Metalwork and Jewellery staff at ADRC to support my research. MERI has the background of precious metals research, and the equipment and materials characterisation techniques essential to support this research.
The research will be evaluated through my studio work, drawing on my experience of using traditional techniques in Japan, and through a masterclass at SHU and Tokyo Geidai. The masterclass will function as both dissemination and feedback, testing the reliability of the materials and processes outside my working practice while enabling the expansion of creative applications. The research will also be disseminated through international conference and journal papers, and a regular exhibition program. An approach will be made to publishers to propose a book on Japanese alloys and patination. The University website will be utilized for the publication of papers, exhibited works etc. Commercial collaborators will be sought through SHU to exploit any materials or processes that are developed.
The research program will allow me to significantly advance knowledge of technical issues relating to irogane alloys and patination, and to complete a major body of work based on this new research. This research will be a great contribution to the understanding of Japanese metalsmithing techniques, providing information and solutions to the problems faced by contemporary metalsmiths working with these materials, while also widening the area of possible applications and expression. This research will be of interest to metalsmiths, product designers, the metal finishing industry,and the materials science community.
Both alloy production and niiro patination are difficult procedures. Alloys often contain flaws such as air blisters and cracks. The niiro patination is also often flawed, with the surface colour of the workpiece streaked or patchy. It is frequently necessary to repeat work again and again, until a satisfactory result is obtained. It is my aim in this study to develop an understanding of the fundamental process involved in niiro patination, and to develop reliable techniques and procedures for alloy production and patination.
The research is practice-led, my studio work will continue throughout the study. Technical research will feed into, and from, this studio work. There is a tension between the relatively easy testing of small samples and the richer evaluation that is obtained through testing alloys and patination in actual studio work. I will move between the testing of samples, and testing in studio work, as a way of isolating the most interesting possibilities. I will create a new body of studio work developing the present use of irogane alloys and niiro patination in my work.
The research is grounded in Japanese and Western research into traditional Japanese materials and metalworking techniques. It builds on the tacit knowledge of traditional metalworkers while drawing on modern material science to provide technical explanations to the underlying problems. The proposed body of research will look outside traditional practice to find solutions to problems of reliability.
The research will be located at Sheffield Hallam University (SHU) using the facilities and expertise of the Art and Design Research Centre (ADRC) and the Materials and Engineering Research Institute (MERI). There is a strong team of highly experienced and internationally recognised Metalwork and Jewellery staff at ADRC to support my research. MERI has the background of precious metals research, and the equipment and materials characterisation techniques essential to support this research.
The research will be evaluated through my studio work, drawing on my experience of using traditional techniques in Japan, and through a masterclass at SHU and Tokyo Geidai. The masterclass will function as both dissemination and feedback, testing the reliability of the materials and processes outside my working practice while enabling the expansion of creative applications. The research will also be disseminated through international conference and journal papers, and a regular exhibition program. An approach will be made to publishers to propose a book on Japanese alloys and patination. The University website will be utilized for the publication of papers, exhibited works etc. Commercial collaborators will be sought through SHU to exploit any materials or processes that are developed.
The research program will allow me to significantly advance knowledge of technical issues relating to irogane alloys and patination, and to complete a major body of work based on this new research. This research will be a great contribution to the understanding of Japanese metalsmithing techniques, providing information and solutions to the problems faced by contemporary metalsmiths working with these materials, while also widening the area of possible applications and expression. This research will be of interest to metalsmiths, product designers, the metal finishing industry,and the materials science community.
Organisations
People |
ORCID iD |
Coilin O'Dubhghaill (Principal Investigator) |
Publications
Coilin O'Dubhghaill (Author)
(2010)
Original research into Japanese alloys and patination
in The Goldsmiths' Company Technical Bulletin
Coilin O'Dubhghaill (Author)
(2010)
Metal Mosaics: Customizing designs with homemade shibuichi and shakudo
in MJSA Journal
Coilin O'Dubhghaill (Author)
(2009)
Japanese irogane alloys and patination - a study of production and application
in Proceedings of the Twenty-Third Santa Fe Symposium in Albuquerque, New Mexico
A.H. Jones
(2010)
Reliable Irogane Alloys and Niiro Patination- Further Study of Production and Application to Jewelry
in Proceedings of the Twenty-Fourth Santa Fe Symposium in Albuquerque, New Mexico
Title | 'Focus', Contemporary Applied Arts, London |
Description | I showed a group of patinated vessels developed during the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2010 |
Impact | The exhibition provided an important networking opportunity and lead to the sale of work to private collections and further exhibition invitations: domesticMATTERS at CAA in 2012 and Collect at Saatchi Gallery in 2014. |
Title | 'Future Beauty', National Craft Gallery, Kilkenny, Ireland |
Description | Exhibition of vessels produced as a result of the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2013 |
Impact | European networking |
Title | 9 Create, Scottish Gallery, Edinburgh |
Description | This was a follow up exhibition to the Seven Smiths exhibition at Blackwell, I showed a group of patinated vessels developed during the research project. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2007 |
Impact | UK networking |
Title | Beneath the skin, SIA Gallery, Sheffield and Galerie Marzee, Netherlands |
Description | Beneath the Skin brings together eight academic researchers working within the field of contemporary metalwork and jewellery in order to reveal the research that underpins the object. The aim of the exhibition is to visualise and articulate the complex, multi-faceted and often non-linear creative journey that individual researchers make to get to the final object. It built upon and extended the enquiry started during the KeyPiece exhibition and research event in 2009 where the exhibited objects devoid of any textural explanation provided the basis for intensive critical discourse between participants in order to reveal the embedded knowledge. By presenting a range of tangible textual and non-textual material, Beneath the Skin aims to elicit and reveal the knowledge embodied by the object and proposed that there are intangible aspects within creative research that are not possible to quantify. Exhibition Venues and Dates: Galerie Marzee, Nijmegen, The Netherlands [7th October - 12th December 2012] SIA Gallery, Sheffield, UK [24th March - 20th April 2011] |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2012 |
Impact | This exhibition led to the purchase of work for the Marzee Collection, Netherlands in 2012 Article: Crafts Magazine, March/April 2011, page 22-23, " Material Research", article discusses Beneath the Skin exhibition. |
URL | http://www.mariahanson.co.uk/beneath-the-skin/index.php/researchers/coilin-o-dubhghaill |
Title | Coilin O'Dubhghaill at Galerie Marzee, Netherlands |
Description | Solo Exhibition at Galerie Marzee, Netherlands. This research tests the application of irogane alloy and newly developed synthetic niiro patination techniques through the production of a series of decorative vessels. By introducing Japanese alloys into the domain of the traditional silversmith, this work also challenges perceptions of fine crafted metal objects, disregarding hierarchies of value set up by precious metal commodity markets and the institution of the hallmark. Resulting from the application of material and process knowledge developed during earlier laboratory based testing these artefacts are an outcome from the practiced based study into Japanese metalworking techniques. (Irogane alloys and niiro patination).Small scale laboratory samples produced consistent results with the synthetic niiro solution but full exploration of the material and process properties and behaviours required extensive large scale craft workshop activity. Through this ongoing series of vessels, utilising hand forged hammer techniques and fabrication; creative possibilities have been explored by combining an extended range of irogane alloys beyond the standard palette usually encountered. The intrinsic material qualities and subtle variations of colours have been further exploited through surface enrichment and selective polishing resulting in surface finishes with new variegated colours. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2011 |
Impact | Work from this collection was purchased for the Marzee collection, Netherlands in 2012. |
Title | Coilin O'Dubhghaill at Scottish Gallery, Edinburgh |
Description | Solo exhibition of vessels produced as a result of the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2008 |
Impact | UK networking |
Title | Collect, Saatchi Gallery, London |
Description | COLLECT: The International Art Fair for Contemporary Objects brings together the world's finest galleries representing exceptional work of museum-quality from their portfolio of artists. I have shown work developed during the research project at the Collect exhibition in 2010/11/12/13/14, with Galerie Marzee, CAA, and National Craft Gallery Ireland. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2010 |
Impact | Exhibiting at Collect had led to international exhibition invitations, e.g. 'Dubh', AIHS, New York and Oliver Sears Gallery, Dublin; media coverage e.g. Financial Times, and the sale of work to international private collections. In 2012 a piece from the exhibition was purchased for the Crafts Council of Ireland / Department of Foreign Affairs collection Article: Financial Time Magazine, "Touching Base" 20/10/2010 |
URL | http://www.craftscouncil.org.uk/what-we-do/collect/ |
Title | FIVE into FOUR, Oliver Sears Gallery, Dublin, 20 June - 26 July 2013 |
Description | Exhibition with vessels produced as a result of the research program. From Richard Rabel's blog discussing the Five into Four exhibition: C?il?n ? Dubhghaill is one of the brilliant young designers keeping alive the age-old tradition of silversmithing. There are too few artists like him, so we must show our support for ? Dubhghaill! His works have a noticeably Eastern influence and that is no coincidence - he studied in Japan and received a doctorate for research into traditional Japanese metalwork techniques (the Japanese have a marvelous history of incorporating different metals into stunning pieces). One of my favorite pieces in this show is his "Ritual 9". Taking a cue from traditional Japanese koros, this vessel has the most beautiful speckled finish. The paper-thin silver is also an amazing contrast to what appears to be a very weighty object. Another of his works in the show is this elegant bowl "Ceo 7". Fashioned from a copper and gold alloy, I first took this for pottery until I looked closer. An "? Dubhghaill" piece for sure, I thought, this time working outside of silver to create this earthy, yet sophisticated piece. While we mere mortals would think working with copper or silver is the same, the talent in bringing these two different pieces to such a high level of perfection and beauty is actually quite a feat! |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2013 |
Impact | Work from this exhibition was purchased for the Irish State Art Collection. Article: The Sunday Times 07/07/13, "Five into Four" Article: Irish Examiner 09/07/13, "Craft show not by the numbers" |
Title | Frame at Schmuck, Internationale Handwerks Messe, Munich, 2013 |
Description | Exhibition of vessels produced as a result of the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2013 |
Impact | European networking |
Title | Keypiece Exhibition, Sheffield |
Description | KeyPiece was a combined public exhibition and research event bringing together leading UK metalworking practitioners and their work in November 2009. The project was initiated by Coilin O'Dubhghaill and developed in collaboration with Maria Hanson and Christoph Zellweger. The project was described in detail in the publication: HANSON, Maria and WOOD, Nicola (2010). KeyPiece: Creating a critical dialogue in contemporary craft; Design and craft: A history of convergences and divergences: 7th Conference of Design History and Design Studies (ICDHS), Brussels, Belgium, 20-22 September 2010. The exhibited pieces provided the basis for discussion between the makers, along with other pieces brought along by the makers that were considered significant but not necessarily suitable for exhibition. The question of how a keypiece can be identified and defined led the makers to develop an understanding of the different roles objects they make play within their practice. The participants were: Lionel Dean, Coilin O'Dubhghaill, Sara O'Hana, Maria Hanson, Grace Horn, Antje Illner, Drummond Masterson, Tine de Ruysser, Lucian Taylor and Christoph Zellweger. This project was supported by funding from Arts Council England/National Lottery and the Art and Design Research Centre at Sheffield Hallam University. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2009 |
Impact | The Keypiece project developed dialogue looking at the relationship between objects and research within the metalwork research community which lead to the Beneath The Skin project and exhibitions, see: http://www.mariahanson.co.uk/beneath-the-skin/ |
Title | KunstRAI, Amsterdam (2012) |
Description | Exhibition of vessels produced as a result of the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2012 |
Impact | European networking |
Title | Object Rotterdam, Netherlands |
Description | The fair is a platform for the latest limited editions and one-offs from well-known and upcoming designers working in different design disciplines and various materials. OBJECT is the place where the cutting edge between design, crafts, fashion, architecture and art becomes evident and a must see for collectors, professionals and other design minded people. I showed a collection of patinated vessels produced during the research project at Object. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2009 |
Impact | European networking |
URL | http://objectrotterdam.com/ |
Title | PAN, Amsterdam (2011) |
Description | Exhibition of vessels produced as a result of the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2011 |
Impact | European networking |
Title | Seven Smiths, Blackwell, Bowness-on-Windermere |
Description | Seven Smiths: new work in metal and silver 13 November - 31 December 2007 Seven Smiths brings together the new work of seven of the UK's leading silversmiths. Each has exhibited widely both in the UK and internationally, and between them their work is represented in most of the major public collections. Blackwell, filled with exquisite handwork in wood, stone and plaster, provides the peculiarly fitting backdrop for these new examples of an age-old craft. Some of the pieces made for Seven Smiths have evolved as a direct response to the Arts and Crafts Movement, the house and its spectacular setting. Silversmith/designer Coilin O'Dubhghaill studied for a doctorate in Tokyo, where he mastered a range of techniques using coloured metal inlays, or irogane, which he now uses in combination to create vessel forms with an emphasis on surface pattern and colour. He is currently a research fellow at Sheffield Hallam University, researching the production and application of Japanese alloys, such as the copper/gold shakudo alloy, and their patination. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2007 |
Impact | UK networking |
URL | http://www.blackwell.org.uk/exhibitions/seven-smiths-new-work-metal-and-silver |
Title | Shortlisted for National Metalwork Design Award 2008 |
Description | The award was a national biennial event, sponsored by Yorkshire South Tourism, in partnership with Yorkshire Forward and South Yorkshire Objective 1. Organisers looked to reward the best examples of bold, brave and innovative metalwork design. The prize also emphasised the important role production and design of metal has played in both Sheffield Museums' and the city's past. Included in the shortlist, which was chosen by a judging panel including the Duke of Devonshire and Corin Mellor of cutlery firm David Mellor Design, are well known artists in their field alongside emerging artists from across the UK. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2008 |
Impact | The exhibition provided an early means to promote and network for the research project. |
Title | Silverstruck, Ruthin Craft Centre and National Museum of Wales |
Description | The Silverstruck exhibition celebrates the current strength of contemporary silversmithing in the UK, reflecting new directions realised by traditional and cutting-edge techniques. I showed two pieces of patinated metalwork produced during the research program. The exhibition opened at Ruthin Craft Centre, The Centre for the Applied Arts from 12 February until 27 March 2011 and then moved to the National Museum of Wales in Cardiff 12 April until 24 July 2011. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2011 |
Impact | Two pieces from the exhibition were purchased for the The Goldsmiths' Company, Modern Collection, London. This is notable as the Goldsmiths' Company usually only purchases hallmarked precious metalwork. |
URL | http://www.ruthincraftcentre.org.uk/exhibitions/silverstruck/ |
Title | Sterling Irish, National Craft Gallery, Ireland |
Description | This was an exhibition of Irish craftspeople based in the UK. I showed a collection of patinated vessels developed during the research program. |
Type Of Art | Artistic/Creative Exhibition |
Year Produced | 2009 |
Impact | A piece of work was purchased for the Crafts Council of Ireland / Department of Foreign Affairs collection. |
Description | The Western tradition of metal patination and colouring is based on the use of a small range of metals and alloys that are coloured by the application of a wide range of patination solutions. In contrast to this, Japanese metalworkers developed a wide range of irogane alloys that are coloured with a single patination solution (the niiro eki or boiling colour solution). This approach allows different alloys to be combined in one piece and patinated, producing a multi- coloured piece of metalwork. Both alloy production and niiro patination are difficult procedures. Alloys often contain flaws such as porosity. The niiro patination is also often flawed, with the surface colour of the workpiece streaked or patchy. It is frequently necessary to repeat work until a satisfactory result is obtained. This study aimed to develop an understanding of the fundamental process involved in niiro patination, and to develop reliable techniques and procedures for alloy production and patination. Working with industrial production methods we achieved high quality alloy production. Alloys were produced using industrial protective atmosphere casting methods and traditional non-protective atmosphere workshop casting methods. The research gave us a clearer understanding of quality parameters for the various production methods and of the material characteristics of the alloys. We examined the pre-treatment of alloy surfaces prior to patination comparing traditional and non-traditional polishing materials, and studied the use of grated daikon radish. A system for polishing and cleaning was developed based on this work. Rokusho (a traditional Japanese compound for inducing patination in decorative non-ferrous metals) was tested and found to contain copper acetate, sodium chloride and calcium carbonate. The producers of rokusho in Japan confirmed the use of scrap metal in rokusho production. This results in a varying composition that contributes to the unreliability of the niiro process. Traditional niiro solutions and solutions made with standard chemicals were tested on sample alloys and the differences between them were characterised. A systematic method of recording and quantifying the colours produced by niiro patination was developed and a database of alloys, niiro compositions, conditions of immersion and colours produced. We successfully tested a synthetic niiro solution, made from standard laboratory-grade chemicals. It has been shown to produce colours comparable with the traditional solutions in a consistent manner. Its use can eliminate some of the uncertainty in the process and allow the craftsperson better control. The research was practice-led, studio work production continued throughout the study. Research moved between the relatively easy testing of small samples and the richer evaluation that is obtained through the production of studio work. A new body of studio work was created and exhibited nationally and internationally. The research was disseminated through international conferences, journal papers, and through the SHU website. The research program has allowed us to significantly advance knowledge of technical issues relating to irogane alloys and patination, and to complete a major body of work based on this new research. This research will constitute a major contribution to our understanding of Japanese patination techniques. |
Sectors | Creative Economy,Manufacturing/ including Industrial Biotechology,Culture, Heritage, Museums and Collections |
Description | Arts Council England Grants for the Arts |
Amount | £5,500 (GBP) |
Organisation | Arts Council England |
Sector | Public |
Country | United Kingdom |
Start | 11/2009 |
End | 11/2009 |
Description | Sasakawa Foundation award |
Amount | £2,500 (GBP) |
Organisation | The Great Britain Sasakawa Foundation |
Sector | Charity/Non Profit |
Country | United Kingdom |
Start | 12/2007 |
End | 12/2007 |
Description | Keypiece research event and exhibition, Sheffield Hallam University. |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Public/other audiences |
Results and Impact | KeyPiece was a combined public exhibition and research event bringing together leading UK metalworking practitioners and their work in November 2009. The project was initiated by Coilin O'Dubhghaill and developed in collaboration with Maria Hanson and Christoph Zellweger. The project was described in detail in the publication: HANSON, Maria and WOOD, Nicola (2010). KeyPiece: Creating a critical dialogue in contemporary craft; Design and craft: A history of convergences and divergences: 7th Conference of Design History and Design Studies (ICDHS), Brussels, Belgium, 20-22 September 2010. The exhibited pieces provided the basis for discussion between the makers, along with other pieces brought along by the makers that were considered significant but not necessarily suitable for exhibition. The question of how a keypiece can be identified and defined led the makers to develop an understanding of the different roles objects they make play within their practice. The participants were: Lionel Dean, Coilin O'Dubhghaill, Sara O'Hana, Maria Hanson, Grace Horn, Antje Illner, Drummond Masterson, Tine de Ruysser, Lucian Taylor and Christoph Zellweger. This project was supported by funding from Arts Council England/National Lottery and the Art and Design Research Centre at Sheffield Hallam University. The Keypiece project developed dialogue looking at the relationship between objects and research within the metalwork research community which lead to the Beneath The Skin project and exhibitions, see: http://www.mariahanson.co.uk/beneath-the-skin/ |
Year(s) Of Engagement Activity | 2009 |
Description | Lecture delivered in Metalsmithing department, Tokyo National University of Fine Art and Music, Japan |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | The presentation provoked discussion about research into craft processes and the contrasting approaches used in the European and Japanese traditions. The lectures in Japan led to collaborative research with Japanese patination experts which contributed to ongoing research and studio practice |
Year(s) Of Engagement Activity | 2010 |
Description | Lecture delivered in Metalwork Program, Craft Department, Tama Art University, Japan. |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | The presentation provoked discussion about research into craft processes and the contrasting approaches used in the European and Japanese traditions The lectures in Japan led to collaborative research with Japanese patination experts which contributed to ongoing research and studio practice |
Year(s) Of Engagement Activity | 2010 |
Description | Lecture delivered to Association for Contemporary Jewellery, Crossing conference 2010, UK |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Professional Practitioners |
Results and Impact | The presentation provoked discussion about research into craft processes and the contrasting approaches used in the European and Japanese traditions. The lecture led to an invitation to present to the Colour Group GB and some ongoing collaboration with other UK craftspeople |
Year(s) Of Engagement Activity | 2010 |
Description | Lecture delivered to Jewellery and Metalwork Department, National College of Art and Design, Dublin, Ireland |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Undergraduate students |
Results and Impact | The lecture led to a discussion of Japanese metalwork processes and techniques The lecture led to correspondence and advice to students at NCAD relating to their use of patination processes in their work. |
Year(s) Of Engagement Activity | 2010 |
Description | Lecture: Art, Chemistry and Colour in Metalwork, Museums Sheffield / 100 years of Stainless Steel Festival |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | Local |
Primary Audience | Public/other audiences |
Results and Impact | The presentation led to discussion, correspondence and ongoing collaboration with local metalworkers and designers. The presentation led to an interview and article in the Magazine of Sheffield Festival of Science and Engineering 2013. The presentation led to discussion, correspondence and ongoing collaboration with local metalworkers and designers. This has led to the production of work for exhibition internationally and to the production of prototypes for jewellery retail manufacture. |
Year(s) Of Engagement Activity | 2013 |
URL | http://www.museums-sheffield.org.uk/whats-on/events/2013/3/art-chemistry-and-colour-in-metalwork |
Description | Lecture: Irogane, a search for reliability between craft and science, delivered to The Colour Group (GB) |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | National |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | The presentation led to a very useful discussion on methods for colour analysis on metalwork and the contrast between European and Japanese metalwork traditions The presentation led to an invite to present to The Society of Jewellery Historians and ongoing collaboration with museum researchers |
Year(s) Of Engagement Activity | 2012 |
URL | http://www.colour.org.uk/meetingFebruary12.html |
Description | Speaker, "Understanding Interdisciplinarity: Theory and Practice" conference, Sheffield Hallam University, UK |
Form Of Engagement Activity | A talk or presentation |
Part Of Official Scheme? | No |
Geographic Reach | International |
Primary Audience | Other academic audiences (collaborators, peers etc.) |
Results and Impact | The presentation, Radishes or isothiocyanates? A search for control between art and science, led to to useful discussion about the challenges of research collaborations between artists and scientists The presentation led to an invite to deliver a Keynote presentation at, Driving Forces: the role of artists and designers in interdisciplinary research conference, Australian National University, School of Art, Canberra, Australia in 2014 |
Year(s) Of Engagement Activity | 2012 |
URL | http://research.shu.ac.uk/engineering-for-life/Conference.html |