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  1. ACM SIGGRAPH 2006 Teapot Copyright restrictions prevent ACM from providing the full text for the Teapot exhibits (SIGGRAPH '06)
  2. head full of dreams
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Tea set 113/114
Tea set 119/120
Community tea project
1630
The air-teapot
It's tea time!
Contrast
Teapot: the movie teaser
30th Anniversary teapot 1
Coming together/coming apart, teapots and flying saucers, up in smoke, pregnant pause
A terribly scratched teapot
Tempest (inquiry)
SIGGRAPH teapot
Alphabet word gestures: 1243
Wuyi mountains 1
Wuyi mountains 3
Wuyi mountains 8
Wuyi mountains 11
Tea four two
head full of dreams
In this, teapots are like typefaces
teapot
The common world of tea
From digital to analogue or the rebirth of a teapot (process demonstration)
From digital to analogue or the rebirth of a teapot (process demonstration)
Aggregated teapot
Teapot # 1
Teapot # 3
Martin Newell's original teapot
Amazing portrait [al·la prima]; process of drawing teapot (drawing of oils painterly rendering)
“Machined aluminum Utah teapot” by Gershon Elber
“Plastic Utah teapot” by Steve Sady
Animated embroidery: a teapot in modern blackwork
Boston skyline, rendered with teapots
3D Origami teapot
Teapot subdivision
The Utah teapot paperweight 1991
2D origami teapot with diagram
Alphabet word gestures: 1243-231
Alphabet word gestures: all
evolution of a creature
Perfectly rendered
Tea 43

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head full of dreams

Content Provider ACM Digital Library
Author Rench, Scott
Abstract My work represents the next generation of ceramic artists, who fuse today's technology with one of the oldest traditions in art. To some the computer is completely foreign while others have grown up in front of one. During the day I work as an Art Director at a Chicago advertising agency. I use the computer to create a myriad of advertising elements. While at work I am exposed to programs and media that have direct applications for our clients. In the back of my mind I am wondering how can I apply this to my artwork. Upon returning home it is not long before I am situated in front of the computer again. I use the computer in my artwork to illustrate, manipulate, and compose the elements for each piece. It allows me to create several versions of a concept while refining it along the way until there is a version that successfully conveys my vision. Over the years my work has become increasingly narrative with the subjects drawn from my personal life. Once the concept is complete I send my computer files out for film positives. I use the film separations to create silkscreens used in transferring the images onto large sheets of wet clay. The process can takes several hours and is rather delicate as the clay is quite soft and records every push and pull. One accidental slip can ruin a piece. My printing medium is glaze and not ink which presents all sorts of challenges and contributes to the lengthy process. I like to work wet on wet as it gives me freedom. I can emboss a cardboard trompe l'oeil affect on the surface of the clay fooling people into thinking its cardboard and not clay. Once the printing is complete I often give additional volume to the work so it pops off a wall when it is hung in place. I like to make work that makes people think, being that much of my work deals with personal things in my life I often use a complex laying of semiotics to convey the meaning. The basic idea sits on the surface and with successive levels buried in symbolism. I give clues to the viewer and let them unravel the mystery. I think the role of art is to convey or evoke emotion and I hope all of my work succeeds on this level.
ISBN 1595933646
DOI 10.1145/1180098.1180119
Language English
Publisher Association for Computing Machinery (ACM)
Publisher Date 2006-07-30
Publisher Place New York
Access Restriction Subscribed
Content Type Text
Resource Type Article
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