The Roseate Shade（正文）

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Designer's Message

These 6 artefacts are my final master collection for the MA fashion artefact

(2014-2015), London College of Fashion, University of Arts London.

The collection inspired by the most famous British ship wreck Mary Rose and

this book will show all the process of designing and making, also explain my

own methodology.

Hope you will like it.

Na Kang

Contents

Chapter 2. Context 06Chapter 1. Intro 02 Chapter 3. Research 14 Chapter 5. Development 56Chapter 4. Studio Practice 28 Chapter 6. Conclusion 80

Chapter 1. Intro

01 02

Inspired by the famous shipwreck Mary Rose,

the collection of 6 wearable artefacts present an

abstract concept of shipwreck. Everything from

ship wreck is just like a piece of shade, they are

the reflection of the certain ship lost in the long

history, but they aren’t themselves anymore by the

time and sea.

Research question: How the sea and the shipwreck interact with each other?

As we all know that the ship sank in the sea is the

beginning of the story. For the result of the sea

swallowed the ship we can say that the sea beat

the ship, obviously the ship could not afford the

power of the strength from the wind and the sea

wave. But thinking from the other side, the sea

saved the ship and let it to become into eternity.

In my opinion, a ship turns into a shipwreck is not

because of the ship sank into the sea but the ship

is totally changed after the extremely long period of

time undersea.

The chemical elements of the water in the sea

reacted and corroded the body of ship, the marine

creatures living on the everywhere of the surface

of ship, can we say the ship was eaten by the

sea? I think it is not like that. The metal was hard

and strong originally, after sank for a long time the

metal etched by the salty water of the sea and.

When the metal body of the ship become weaker

and weaker, the microorganism of the sea turns

into the new host within all the metal components.

The tiny little microorganism become a soft but

powerful force to support the huge and heavy

body of the shipwreck, and the home that marine

parasites built transform into the steady foundation.

According to my research question, I found that the

deconstructing and reconstructing with the existing

objects of shipwreck attracted me a lot. Considering

the relationship between the shipwreck and the

sea carefully I inspired by the recombination of

manmade objects and natural creatures, the

alternation of soft and hard materials, and reunion

the multiple textures. I fascinated into these points

and I will take them forward into the concept with

my design of the final master project.

03 04

Chapter 2. Context

05 06

Depending on my idea of combining different material together, I researched some artworks

from the famous Canadian designer David Altmejd. The pieces he made in Fig.1 are using

very different materials combining together such as polyurethane foam, epoxy clay, epoxy gel,

synthetic hair, quartz, glass stain, resin, acrylic paint and so on (David, 2014). I like his ideas

and his way to combine all the materials together. He chose the human’s head as the media

to support his unique material language, there is a big contrast between his materials and the

human-liked components which makes the concept of this collection much stronger.

In the collection which named 11:11 presented from Fig.2, the designer Winde Rienstra showed

her special aspect for the structure and space. The aim of her collection is to discover the

ambiguity between clothing and objects (Winde, 2015). As wearable pieces, the designer utilizes

the original body silhouettes to create the relation of human body and art works. I am fond of the

space created between the wood structures and the body lines of human, I believe that the large

wearable body pieces has to be interacted with the body and space. Fig.2

Fig.1

09 10

From the jewellery pieces presented in the Fig.3, the Japanese jewellery

designer Mari Ishikawa created those brooches with Silver, Black diamonds,

Pearls, Charcoals, Japanese Kozo Paper, Japanese lacquer, and Tahiti

Pearls. The main process of making with these pieces is casting, the

designer cast the original elements of the nature into silver and then combine

the metal components with other materials.(Mari, 2014) I quite like the way

that the designer utilizing the natural and organic silhouette, and creating

with multiple materials gives these pieces more different attractive textures.

Fig.3 Fig.4

The 5 rings of the Fig.4 are jewellery art works designed by the fantastic

British jewellery designer and maker Maud Traon. She is fond of working

with the found objects so much, must of the time found objects are

becoming the starting point of a new piece of jewellery. The found objects

determined the palette of colours, the textures, and the design as well,

therefore the designer has to choose the right elements to match found

objects and balancing the design. The materials that she used in these

jewellery pieces are silver, gold, liquid foam, glitter, synthetic stone, gem,

and varieties of found objects.(Maud, 2015) In my opinions, found objects

have their unique attractions individually, once the designer can control

them in a right direction during cooperating with other materials, the found

objects will fascinated audiences by their specialty.

11 12

Chapter 3. Research

13 14

As I started my journey with some simple experiments of new material exploring, I found

that the transparent, colourful and crystallized test pieces attracted me a lot. Besides

ordinary materials of artefacts, I’d like to discover more from other background of

knowledge. After searching for a long time I found that there is something called “hot ice”

which has similar effect and characteristic with both of the ice and water. It has conditions

in both of liquid and solid, it is a sort of flexible material with non-toxic characteristics;

these drive me to explore more on this material. The hot ice is a kind of chemical reaction

with supersaturated solution of Sodium Acetate, the cold solution turns from a liquid into

a solid just need a few seconds. This process is exothermic and after solid the “ice” has a

warm touch, opposite to the one that people would expect of ordinary ice (Amazing, 2008).

However, the chemical ingredient of hot ice is the sodium acetate, the molecular formula

of it is C2H3NaO2. And the crystalized form of sodium acetate is C2H3NaO2.3H2O which is

called the sodium acetate trihydrate, the crystalized form is very soluble into water and

soluble into the ethanol with 96%, the Fig.5 shows both of them (Council, 1987).

According to my test pieces of the material sodium acetate, I feel

like they have more possibilities in developing into organic and

special textured creatures such as marine organism. The picture

shown in Fig.6 indicates some marine parasites and a few lived in

the seabed. The parasites are an integral part of every ecosystem.

The marine parasites can be either infecting many host species or

infect only one or a few closely related host species (Kate, 2009).

They gathered into small units and quite intensive. The marine

organisms have soft and flexible tentacles, intensive acetabulums,

unique textures, and bright colour conbinations, I can see the

potential of developing from my new explored materials.

Fig.5

Fig.6

17 18

As shown in the Fig.7, the drawings are made by Ernst

Heinrich Philipp August Haeckel, he was a German biologist,

naturalist, philosopher, physician, professor, and artist. These

illustrations reflect delicate details of marine organisms and

structures of different species of marine protozoa. He showed

up the natural beauty of the marine organisms in the illustration

way (Gloria, 2013). Through his drawings I inspied by the

details that he developed from the original marine creartures,

and with complex and delicate detailed structrues the artist

chose a simple colour palette to balance the drawing.

Fig.7

Fig.8

Considering about the mysterious world undersea, except the marine creatures there might be some

belongings left by humanbeings as well like Fig.8 showed. They used to symbolise the craftsmanship

and technology of their times, but after years sleeping under the sea they eroded by the sea and

become homes of parasites. These changing affect their construction of metal components, they

were strong and firm but through the reconstruction they are becoming weak and fragile. After

wrecked for a long time the tiny sea parasites, soft marine plants and elements of water in the sea

become the new members of these ships, these fragile things protect the fragility of the ships on the

contrary (Carl, 2013). The contrast and alternation between the fragility and strong are fascinated me

a lot. And the outlines of ships are fragmentary but we can still recognize the shape of these ships. I

like the effect of rust on the metal surface, uneven colour and the incomplete silhouettes.

19 20

The 2 shipwrecks from the Fig.9 present the condition of their surface after soaking into the sea for a long time. Corrosion is the

deterioration a material experiences as a result of its interaction with its surroundings. The chemical reactions that take place in

corrosion processes are reduction-oxidation reactions. The sea and the salty atmosphere are saline media that are highly aggressive to

metals. Marine structures such as ships, bridges, and drilling rigs and platforms usually suffer heavy corrosion unless they have been

properly protected (Chemistry, 2012). Through my understanding of the background knowledge with the corrosion, I try to create the rust

through my own experiments. I quite like the effect of the rust and I decide to use this as a sort of element into my final collection.

In addition to this, I desired to explore more on the chemical reaction related to the sea. The salt, as the most important

element in the sea cannot be ignored with. The common salt as we all know is a mineral composed primarily of sodium

chloride (NaCl),(wiki, 2015) Regarding to my research within the field of chemistry, there is a chemical reaction with chemical

elements Cu and Na which could get the precipitate in turquoise as the Fig.10 indicated. The chemical formula of that reaction is

2CuSO4+2Na2CO3+H2O=Cu2(OH)2CO3↓+2Na2SO4+CO2↑(Baike, 2014), through this formula I hypothesise that the copper can be reacted

in the solution of salt. After experimented, the turquoise crystal of salt excites me and makes me determined to use it as a special

element in my design.Fig.9

Furthermore, as the picture shown in Fig.11, there is a special

natural phenomenon from a waterfall of Knaresborough. The

petrifying well has a sort of process of evaporation and deposition

in water with an unusual high mineral content so that anything

thrown into the well gets turned into stone gradually (Leeds-

list, 2013). The petrochemical process shows the undeniable

powerful strength of the nature, the varieties of manmade materials

combined together under this strong force during a long period of

time. The reconstruction of existing objects bring the new textures,

components, and silhouettes to the original pieces, the combination

of natural elements and manmade objects inspired me a lot. Fig.9

Fig.11

21 22

Fig.12 Fig.1223 24

Fig.12 shows the research from the museum of Mary Rose which was a warship of the English Tudor navy of King

Henry VIII. After 33 years of fighting against France, Scotland, and Brittany the Mary Rose took her last action

on the date of 19 July 1545. While leading the attack on the galleys of a French invasion fleet, she sank in the

Solent which is located in the straits north of the Isle of Wight (Mary, 2015). As one of the most famous shipwreck

of England in the world, the Mary Rose kept huge amount of beautiful and delicate details of the history. When I

walked into the museum of Mary Rose, I feel like the time frozen at the day that she sank. Regarding to the objects

exhibited in the museum which including broken components of equipment for operating the ship, weapons for

fighting, daily necessities of people on board, currencies, food and containers, and also the atmosphere of 16

centuries, the reflection of that period of time appeared in front of my eyes. With all the stuffs deconstructed and

reconstructed by time and the sea, the existing manmade objects become multi-textured and abstract. Invite all

there mysterious narrative objects into a world of imagination, the unexpected inspiration rises before my eyes.

Fig.13

As the original intention of using metal frame to create the structure

of my final design referencing with the skeleton of shipwreck, I have

to consider about except the structure of shipwrecks what sort of

silhouettes of objects from the Mary Rose could be utilized into my

design. Among the large amount of types of objects, I chose the

clothing at that time as the main inspiration of the outside shape

design which shown in Fig.13 and realize that the silhouettes

of clothing have better effect than others even just with the liny

hollowed shapes, and as wearable pieces the silhouettes of clothing

could be more fitted in following the human body lines.

Fig.13

25 26

Chapter 4. Studio Practice

27 28

In the beginning of the starting stage, I begin to experiment with the

leather and cold enamel. Cold Enamel is a sort of two parts Epoxy

System to achieve an effect like vitreous enamel with resin and

hardener (Hasulith, 2015). Due to the thick layer of cold enamel lost its

transparency, I prefer to create a shell of the cold enamel by moulding

with the silicone. As the result of the experiment in Fig.14, the cold

enamel immerged into leather so that they strongly connected together.

And I like the colourful and transparent stained glass effect.

Since then, I realized that the material with high flexibility attracts me more. Starting

with the cold enamel, I transfer to silicone and resin afterwards. Resin is a sort of

two part liquid that set into a hard lacquer. There are two kinds of resin, one is the

plant resin, and the other one is modern resin, which I used in my experiments

(oxford.2014). Silicone is a two-part system used to create rubber moulds and

casting resins, foams, rubber, and low-temperature alloys. The silicone is typically

heat-resistant and rubber-like (Joe. 2007). As shown in Fig.15, the first piece is made

by clear resin with cold enamel. The resin shell was simply moulded, I’m fond of

the effect but I don't like the bubbles of air in the clear resin, then I replace the clear

crystal resin with the glazing resin. The other two pieces are mainly made by silicon; I

like the soft touch and bouncy texture of it.Fig.14

Fig.15

31 32

According to test pieces from

Fig.16, after soaking into resin

the sponge turned to rock hard

and has a shiny light-reflected

uneven surface. After pigmented

the effect looks like colourful

shining corals from the seabed

which is what I want. Fig.16

Fig.17

Fig.18

Fig.19

There are more test pieces developed from sponge in Fig.17. I tried different kinds of sponge, and I tried to connect the resin soaked

sponge with other materials from the previous experiment. Moreover, I try to build up a frame for the sponge with either laser cut acrylic

or metal. I want to achieve a metal piece with the combination of all related materials on.

With the new material that I discovered, I try to test the sodium acetate combining with other materials like in Fig.18. During the

experiments I found that the sodium acetate has the characteristics of soluble in water which attracts me a lot.

To continue exploring more I set up more experiments. The Fig.19 shows the original mould which is resin-soaked bread; I like the

uneven and irregular surface. I formed the shape of silicone mould with foil and pour the silicone afterwards. After 10 hours of drying,

I heat up the sodium acetate and pour into these moulds. Just a few minutes later, the liquid of sodium acetate becomes solid, but the

crystal will be totally dried in 5 hours. I apply a layer of resin onto the solid crystal, and soaked into water for a few minutes after the

resin dried for 12 hours. The achievement of this experiment is a hollow casted resin shell, I like it’s colourful, fragile, light and bumpy.

33 34

The test pieces presented in Fig.20 show my

experiments of material collaboration. I use

cracked glass pieces, resin, sodium acetate and

laser cut acrylic sheets to create them, and I’m

fond of the combination of different textures.

Fig.20

Fig.21

In addition to this, I cast one of the cracked glass pieces

into sodium acetate and try to fix the broken part of the

glass container. The Fig.21 expresses the process of

silicone mould making and sodium acetate casting. As

shown in the picture, the resin shell brings new colour and

texture to the found object which fascinates me a lot.

35 36

Fig.22

Fig.23

After I done all the material experiments above, I create a test piece which aims at

achieving the cooperation of multiple new materials, interpreting the design concept

of shipwreck, and utilizing metalsmithing skills that I learnt before. In this piece which

presents in Fig.22, I use copper mesh, liquid foam, laser cut clear acrylic sheet and

hollow casted resin shell with the sodium acetate combine with the square copper rod

soldered frame. From the research of shipwreck, I fascinated about the incomplete

metal skeleton of shipwrecks, the residuary components of facilities remain on the

shipwrecks, and all the manmade stuffs reacted with the sea and marine organisms.

Therefore this piece is designed to express all the points above.

Meanwhile, regarding to the research I did from structure of ships,

I build up ship models by myself to feel the different between

multiple types of ships like pictures from Fig.23. In addition to this,

I try to apply a layer of silicone to get a mould of the shape from

the ship because I want to utilize the silhouette of real ships. But

I failed in the experiment of moulding the ship models, the reason

of failure is that there are many undercuts in the ship models so

that the silicone cannot be took off after solid. Thus I have to find

the other way to keep the structure of ships.

37 38

Fig.24

Fig.25

According to the silhouette of ship is complex and professionally standard, I decide to use milling

machine to mill on the foam. Milling is the machining process of using rotary cutters to remove

material from a workpiece advancing or feeding in a direction at an angle with the axis of the tool

(CNC, 2015). With my rhino file, the milling machine could help me to cut the foam into a certain

3D shape as the processes below in Fig.24. After I get the milled foam of ship model, I start to

make a mould of it with the silicone. The container of silicone is made by a piece of foil, the reason

I chose foil is that it is more flexible so that I can make the silicone mould thinner which makes the

mould easier to open and close. Pour the silicone between the foil container and the foam mould,

then take out the ship mould after 10 hours drying. Following next steps are heat up the sodium

acetate, pour into silicone mould, take out the solid sodium acetate from the mould, weight the

resin and apply onto the crystal, at last dissolve the sodium acetate into water to get the hollow

casted resin shell. In this way, I can keep a fragile, translucent, uneven surfaced and incomplete

structure of the ship, that is what I want to achieve regarding to my research and design.

The Fig.25 indicates the process developed from the former experiments.

Before pour the liquid sodium acetate into the silicon mould, I added

some metal and fabric net, mesh, chain, with found objects into the

mould. Therefore the objects was casted into the resin shell.

39 40

From the pictures shown in Fig.26, I use water colour to pigmented

the sodium acetate. After tried different kinds of pigments I found

that the only water soluble pigments can be used in sodium acetate,

therefore I chose the water colour in the end. As I failed many times

on colouring the sodium acetate in even colour, there is a conclusion

drawn: 1. Totally dissolved the water colour into water first. 2. Add the

colour after heat up the sodium acetate. 3. Never stirring.

Fig.27

Fig.26

As the Fig.27 shown, there are 3 colours crystals I made with sodium acetate.

These colours come from the colour palette of my final master project. The

first one is blend with white, black and red. The second one blends with white

black and purple. And the third one is white, black and turquoise.

41 42

Based on the research I did about the sea and salt, I start to experiment

the salt with metal. After tried different kinds of metals I found that copper

is the most active metal reacted with the salt. Soaking into the salt solution

for a week, the surface of copper reacted well with the salt. The product

of this chemical reaction is the copper sulfate, also called bluestone. It is

turquoise colour which shown in the Fig.28, and after dried the salt become

into solid with the turquoise colour as well. I try to soak other materials into

the salt and I add in some metal rust to combine with the bluestone.Fig.29

Fig.28

In addition to this, I developed the result of experiments into components

making for my final collection presented in the Fig.29. I quite like the

effect of natural bluestone colour, I soaked copper mesh, copper net,

fabric net, foam, glass, and other found objects into the solution of copper

sulfate, stirring and pour out randomly, applying a layer of resin after

dried. I am fond of the effect of it, it looks like freeze the moment of the

shipwreck belongings precipitating under the deep dark sea.

43 44

As shown in Fig.30, I made some patterns with the foam sheet in the

thickness of 3mm. I utilize the research I did to create the patterns.

Moreover, inspired by the inner structure of ship I use some of wood

sticks combining with foam sheet to create a structure similar with the

ship. The following next steps before finish are glue them together,

apply resin on the surface, and change to the other side.

Fig.30

Fig.31Fig.32

According to the research of metal oxidation and etching, I experiment the

metal with hydrogen peroxide solution. I soaked coins, metal mesh, metal

nets, and other metal found objects into the solution, after soaking for

about 3 days the surface of metal start bubbling as shown in Fig.31. About

a week after the metal conponents are becoming orange, and there will be

orange precipitation in the container of solution as well.

After decided to focus on the certain shipwreck as the main concept of my

design, I choose the Mary Rose in the end. From pictures of Fig.32 we

can see that there are some wood models of Mary Rose, for researching

deeper into these models I cut them into blocks by the band saw.

45 46

After the wood ship model cutting I got broken ship blocks, I do not like the shiny surface

of the original ship models, so I decided to do sand blasting on the surface as presented

in Fig.33. But after I did some test pieces with sand blaster, I found that the painting of

colour on the surface of models is not strong enough under sand blasting. To solve the

problem of colour dropping off, I came up an idea with spaying a layer of adhesive and

then apply the san on it. In this way, I can keep the sandy effect and the original colour

of the surface.

In the Fig.34, the fishing net is one of the most important found elements in terms of my

research, I found multiple fishing nets in different sizes and textures. The biggest size of

my fishing nets is made by hemp rope, I like the texture and big knots of it. And I try to

Fig.34Fig.33

combine it with the coloured sodium acetate solution,

after dried on the net the crystalized sodium acetate

bring the fishing net multiple colours, different texture,

and harden the rope into a fixed shape.

Pictures from the Fig.35 indicates the process that I

dye with the nylon nets. Nylon belongs to the synthetic

fabric so the normal fabric dye cannot leave the rich

colour on it, but after experiment with them I found the

colour effect looks like already faded, and I like this

sort of way.

Fig.35

47 48

Thinking about how can I connect these two sort of nets together, I came up with the idea of sewing the small net

onto the big one as presented in Fig.36. The thread I choose is the hemp string which has the same texture and

quality with the large fishing net. After I finish the connection between nets, I try to form the shape with sodium

acetate and resin. I found that it is very hard to get a perfect round shape without a mould, then I try to blow the

balloon into the right size and moulding the nets onto it. This method works well, after the resin layer dried the shape

stays into a perfect round.

As the pictures of Fig.37, I break the sea shell to be the found object of my final pieces. I like the original texture and

colour of the sea shell but after broken the shell has more spaces, and can be interact with other mterials better.

Fig.36

Fig.37

49 50

The process showed below in Fig.38 is one of the most important

process of my project which is the soldering process. As my

background is jewellery design, I utilize the metalsmithing skills I

learnt before to create the metal frames as the main structure of my

final collection. They refer to the skeleton under seas and they are

struts of all the other components. The material I use for them are

brass square rods in the size of 3mm, 2mm, and 1.5mm. Because

of the structures I designed are complex and liny, the soldering

process is harder than I thought. To avoid too many soldering points

in the same area, I have to use a special folding way to make the

corners: 1.annealing the rod first to make the metal soft. 2.measure

and calculate the angle that I need. 3.mark the cutting lines on the

one side of the rod. 4.cut down the corner by piercing saw. 5.fold the

metal rod carefully until two cut sections meet together. 6.soldering

the gap. In addition to this, a lot of positions of soldering are very

difficult to hold in my pieces, I need to build up with blocks to find the

safe position of soldering to avoid falling apart under the flame.

Fig.38

51 52

After finished all the frame works in summer, I decided to adjust

one of them which is the gun inspired one. In my previous design,

the main body of this piece was straight. I found that the straight

silhouette is not follow the body shape well when wearing on the

hand, therefore I changed the top part of the piece into curve

shape. I cut all the four lines in the oblique line and re-solder them

together into a sharp angel like photos of Fig.39. After soldering

I re-plated it into antique brass finishing which fits more with the

turquoise colour palette than the silver finishing.

Fig.39

Fig.40

The safety of my structures during air transportation is also a

big problem for me. Because I made all my final structures of

the master project in China and they are big, fragile, and easy

deformation, I need to protect them as much as possible during

the transportation. As the Fig.40 showing below, I assembled a

two parts thick foam box for these structures. After placed them in

the most safe way I groove the foam for certain positions of every

pieces of my structures on both sides of the foam box.

53 54

Chapter 5. Development

55 56

Fig.41

Here are some of my design sheets to

indicate my process of design in Fig.41.

59 60

Except hand drawings I also did collages from the

selection of some research to try the new combination

of colours and textures such as showed in Fig.42.

Fig.42

61 62

Fig.43 is the spec sheet I did

through the way of collage

and computer graphics.

63 64

Chapter 6. Conclusion

79 80

The whole journey of my MA study passed quickly, now it is

almost going to the end. I proud of the 6 final outcomes I made

and I enjoy the process of this 2 years quite a lot. After went

through all the parts of this master course, I found that the

process and method of design is not all the same with every

designer, different people has different way of thinking. In my

opinion, the most important meaning of taking this master

course is to explore my own method of thinking and designing.

I believe that how to think is more important than what to do,

once you discovered your own way, everything is getting easier.

In BA stage, we required design our works through the order

of primary research, secondary research, contextual research,

2D development, and 3D development. The frame restrict our

thinking and not suit for everyone.

As the very beginning of the whole journey, the clueless material

experiments lead me to the direction of exploring new materials.

I feel like that I interested into working with multiple materials so

that I start my design with material experiments.

At first I started with the familiar materials of mine to test new

possibilities of them. Secondly, I selected the most successful

test pieces to analysis that what sort of effect of them are truly

what I want. Therefore I could organize a clear direction from

just clueless tests of material. Depending on my favorite results

of experiments I tried to find related new materials from other

academic fields to test with. Then I did more research on the

new materials and experiment them with every possible ways.

After that I combined new materials with familiar materials

to see if there will be some unexpected surprise. Analyzing

and organizing again with experiments helped me on the

later process of design. Regarding to the most successful

results from material experiments, I researched some related

information of possible concept and inspirations of design. Then

find the best harmony between results of tests and concept of

design. After decided the concept and inspirations, I developed

both of them at the same time and let them support each other.

In this way, I could get the best balance of both material and

design. After all the process I have been through, I realized that

the study of materials needs broad imaginations and lack of

clear directions but the process of design need directly aiming,

so that the balance of them needs to be adjust frequently to

make sure they cooperated well with each other. During the

period of my MA studying, I found that I really enjoy to start my

design process with material exploring. I will take this forward in

my designs in the future. And in my plan of the next design, I will

continue focus on the new material discovering.

83 84

Reference

85 86

Images:

Fig.1: [david] n.d.[image online] Available at:<http://www.davidaltmejd.com/untitled-8-rabbit-holes>[Accessed 4th Sep. 2015]

Fig.2: [winde] n.d.[image online] Available at:<https://www.notjustalabel.com/designer/winde-rienstra?collection=141293>[Accessed 4th Sep. 2015]

Fig.3: [mari] n.d.[image online] Available at:<http://klimt02.net/jewellers/mari-ishikawa >[Accessed 4th Sep. 2015]

Fig.4: [maud] n.d.[image online] Available at:<http://www.maudtraon.com/#precious-metal>[Accessed 4th Sep. 2015]

Fig.5: [sodium acetate] n.d.[image online] Available at:<http://www.visitchem.com/product/sodium-acetate-anhydrous/>[Accessed 4th Sep. 2015]

Fig.6: [marine creature] n.d.[image online] Available at:<http://www.marineparasites.com/introduction.html>[Accessed 4th Sep. 2015]

Fig.7: [ernst] n.d.[image online] Available at:<http://www.britannica.com/EBchecked/topic/251305/Ernst-Haeckel>[Accessed 4th Sep. 2015]

Fig.8&9: [shipwreck] n.d.[image online] Available at:<http://go.huanqiu.com/html/2014/picture_1222/1471_11.html>[Accessed 4th Sep. 2015]

Fig.10: [chemistry] n.d.[image online] Available at:<http://www.baike.com/wiki/%E9%93%9C%E7%BB%BF>[Accessed 4th Sep. 2015]

Fig.11: [leeds] n.d.[image online] Available at:<http://leeds-list.com/out-and-about/weird-and-wonderful-dates/>[Accessed 4th Sep. 2015]

Fig.13: [clothing] n.d.[image online] Available at:<https://thepragmaticcostumer.wordpress.com/tag/16th-century/>[Accessed 4th Sep. 2015]

Except these references, all the images are self-taken images.

Articles:1. David Altmejd. 2014. work. Accessed on 4 Sep 2015 <http://www.davidaltmejd.com/untitled-8-rabbit-holes>

2. Winde Rienstra. 2015. Collection. Accessed on 4 Sep 2015 <https://www.notjustalabel.com/designer/winde-rienstra?collection=141293>

3. Mari Ishikawa. 2014. jewellers. Accessed on 4 Sep 2015 <http://klimt02.net/jewellers/mari-ishikawa>

4. Maudl Traon. 2015. Collection. Accessed on 4 Sep 2015 <http://www.maudtraon.com/#precious-metal>

5. Cold enamel. 2015. hasulith. Accessed on 4 Sep 2015 <http://www.hasulith.com/cold-enamel/index.html>

6. Oxford University Press. 2014. resin, n. and adj. OED Online. Accessed on 4 Sep 2015

<http://www.oed.com/?authRejection=true&url=%2Fview%2FEntry%2F163629>

7. Joe Hildreth. 2007. Chapter 8 - Silicone Caulk Molds. Accessed on 4 Sep 2015 <http://www.myheap.com/chapter-8-silicone-caulk-molds.html>

8. Caristan, Charles L. 2004. Laser cutting guide for manufacturing. Accessed on 4 Sep 2015

<http://books.google.co.uk/books?id=pRah71xUxbMC&pg=PA38&hl=zh-CN#v=onepage&q&f=false>

9. Liverpool museums. 2015. Bracelet, by Peter Chang. Accessed on 4 Sep 2015

<http://www.liverpoolmuseums.org.uk/picture-of-month/displaypicture.aspx?id=333>

10. Amazing rust. 2008. Hot ice. Accessed on 4 Sep 2015 <http://www.amazingrust.com/Experiments/how_to/Hot-Ice.html>

11. Council of Europe. 1987. Sodium acetate. pharmeuropa. edqm. vol 18, numb 1, 2006, P146.

12. Leeds-list. 2013. A day out in Knaresborough. Accessed on 4 Sep 2015 <http://leeds-list.com/out-and-about/weird-and-wonderful-dates/>

13. CNC Machine HQ. 2015. A Guide to the CNC Milling Machine. Accessed on 4 Sep 2015<http://cncmachinehq.com/guide-to-cnc-milling-machine/>

14. Carl Thomson. 2013. Introduction. Shipwreck in art and literature- images and interpretations from antiquity to the present day. Routledge. P1-P26.

15. Marine Parasites. 2009. Kate Hutson. Accessed on 4 Sep 2015 <http://www.marineparasites.com/introduction.html>.

16. Gloria Robinson. 2013. Encyclopedia Britannica. Accessed on 4 Sep 2015 <http://www.britannica.com/EBchecked/topic/251305/Ernst-Haeckel>.

Special thanks: Dai Rees, Naomi Filmer, Mala Siamptani, Spencer Bailey and my family.

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