Project 2 Proposal

Replicating the Tacarigua Figurines: A Digital and Ceramic Fabrication Approach

3D print of the form I'd like to slip cast

Concept Overview:

This project aims to refine the replication process of the Tacarigua figurines using a combination of digital modeling and ceramic slip casting. My goal is to create multiple clean and precise molds that will allow for consistent reproduction of these culturally significant figures. By leveraging 3D modeling software and fabrication techniques, I will produce at least two slip-casting molds that can facilitate small-scale production for sale and distribution. This refined process will improve on my previous DIY attempt, ensuring greater control over form and surface quality.

Hand smoothed clay and slots around 3D print

Lessons from Previous Attempt:

Last year, I attempted to create a slip-casting mold for one of my 3D-printed Tacarigua figurines. However, my approach was amateur and lacked the precision needed for high-quality reproduction. The main issue was that I did not know the proper wait times for plaster, leading me to pour it in when it was already too thick, resulting in an uneven and flawed mold. Additionally, I did everything manually, without using a structured approach like the one Bryan developed for his object design classes. Since I was never in that class, I was unaware of the proper techniques at the time. Now, I have the opportunity to refine my method using a more controlled and intentional process.

Instead of manually creating a mold for a positive form, I will design and 3D print a plastic mold to cast the plaster. This way, the plaster becomes the durable and precise mold for slip casting the final ceramic pieces. This process offers better control, alignment, and consistency in production, ensuring cleaner results with fewer defects.

Process

I am going to follow suggestions from previous OBDF slip-casting project:  project: https://efindlayobdf310.blogspot.com/2020/02/pouring-plaster-parametric-vessel-two.html?m=1

https://www.instagram.com/reel/Cqd2AG0Di-d/?igsh=czB3NWZnaDQxZDYw

Student work from OBDF 310 - 2020

Steps Breakdown:

1. 3D Model Development: I will adjust my digital model of the Tacarigua figurine in Rhino, ensuring that there are no overhangs that will get caught in the mold.

2. Mold Design & Fabrication: Using Rhino, I will design a negative mold that will be 3D printed, ensuring precision and alignment.

3. Plaster Mold Casting: I will pour plaster into the 3D-printed mold to create durable, reusable molds for slip casting.

4. Slip Preparation: Researching and testing different casting slips, including the possibility of red slip, to match historical ceramic aesthetics.

5. Casting & Drying: Slip will be poured into the molds, allowed to set, and carefully removed for drying.

6. Testing & Refinement: Exploring additional features such as making shakers, glazing techniques, and comparing low vs. high fire casting slips.

Benefits of This Process:

• Increased Precision: The 3D-printed mold ensures clean lines, accurate symmetry, and minimal distortion in the final plaster mold.

• Durability: Plaster molds made using this method are more consistent, reducing the chances of warping or breakage.

• Efficiency: Having multiple plaster molds allows for simultaneous slip casting, increasing production capacity.

• Better Material Control: By understanding slip and plaster properties, I can optimize drying times and ensure consistent results.

• Professional-Quality Output: This refined method aligns with best practices used in object design classes, creating more polished and market-ready figurines.

Required Materials & Tools:

• 3D printer for mold fabrication

• Plaster for mold making

• Straps for tightening the molds

• Casting slip (variety of types to test)

• Colored decoration slip for surface finishing

Considerations & Challenges:

• Ensuring the 3D-printed mold design accounts for shrinkage and proper drainage.

• Testing various slip formulations to achieve desired texture and strength.

• Experimenting with different glazing techniques to highlight the figurine’s details while maintaining historical integrity.

• Efficiently producing multiple figurines by refining the mold-making process.

This project will allow for a more systematic and controlled approach to ceramic replication, making these figures more accessible while maintaining cultural and artistic integrity. By using both digital and traditional fabrication techniques, I aim to produce high-quality, reproducible Tacarigua figurines that can be distributed and appreciated beyond a singular handcrafted piece.

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Alternative Exploration: Given the scope of this project, I acknowledge that full-scale production may extend beyond the available timeframe. As an alternative, I am considering a more experimental approach focusing on 3D-printed clay figurines. This direction would allow me to explore large-scale versions of the Tacarigua figurines while experimenting with surface textures, layering techniques, and unique material properties. By pushing the boundaries of digital fabrication in ceramics, I can investigate how scale and texture impact the perception and tactility of these forms, potentially informing future iterations of the project.