FALL 2009
Hadar Jacobson shares her many inspirations Chicago’s Metal Clay World Conference Rocked Meet our first Rising Star Keum Boo... can do!
Publisher’s Notepad
is an on-line magazine presenting an informative and exciting focus on the very creative world of metal clay. The industry is evolving into new technologies and we invite you to explore the rapidly expanding markets of silver, copper, bronze and gold metal clays with us. As an online magazine, we are poised to instantly move in whatever new directions and technologies this market might present. There is a large, and rapidly growing community of established metal clay artists and jewelry-making artisans, as well as those just learning about these mediums. For these fellow clay enthusiasts, Metal Clay Today will feature interesting projects, the latest products and techniques, as well as innovations in these technologies. As we grow we will offer a venue for members of this community to share information on competitions and awards, societies and organizations, shows, faires, and trade shows. Check out all of Metal Clay Today’s features... Projects, Artist’s Spotlight, Rising Star, Web Showcase, Best of the Blogs, Book Review... and listings of Classes, Shows and Organizations and Guilds. If you have an article about any of the metal clays that you believe will be of interest to our readers, or know of someone who should be featured, please get in touch with us at
[email protected]. Artists whose articles are selected will receive free advertising for a year in the magazine and a spot in our Artist Gallery for three months. The Artist Gallery is an online Gallery devoted to Metal Clay Artists who desire to have a web presence but do not want the expense of developing a website. The cost to be a part of the Artist Showcase is minimal. Artists juried into the Showcase can have up to 3 pages devoted to their work, a bio page and a calendar of events. One of the biggest things that Tes and I have learned since embarking on this adventure is that we still have a lot to learn about working on the web. We are now taking classes to bring us up to speed, and we look forward to improving our website as well as making the magazine more interactive. Welcome to Metal Clay Today! Enjoy this ride with us.
Arli Wolfson Editor-In-Chief, Metal Clay Today
Fall 2009 • MetalClayToday.com
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OCTOBER 2009 Volume 1, Issue 1
Metal Clay World Conference
Mini Ring Bead with Charm
An incredible time was had by all learning, networking and sharing
Linda Stlles-Smith walks us through creating a bead on a chain
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Keum Boo
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So easy to do once you see how it’s done
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Features Publisher’s Notepad Welcome to Metal Clay Today... dedicated to all things metal clay
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Artist Showcase Hadar Jacobson An expert in copper and bronze clays, Hadar shares her many inspirations.
Rising Star Michela Verani Meet an artist whose metal clay art is inspired by nature.
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Tips ‘N Tricks Rolling Slats There’s an easier way to use your slats for rolling clay. Check this out.
Blo Best of the Blogs g Lori Phillips Meet Lori Phillips who bring us the bloggers’ latest, brightest talk out there.
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Trends, Forecasts & Predictions Lori Delisle
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Explore the coming season’s trends in Let Loose the Chains.
Challenge Carpe Beadum We’re sending out a challenge for the best metal clay bead out there.
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Classes, Shows, Organization News
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Book Review Patricia K. Evans has found a jewelry-making reference book for everyone’s library.
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Check out the latest happenings.
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Readers’ Showcase Discover the beautiful work of Lisa Dienst-Thomas.
Subscribers are free to print this magazine for their own use. Please share it with your family and friends. The intellectual property and photos of the artists is copyright protected.
Fall 2009 • MetalClayToday.com
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Metal Clay World Conference by Tes Shea
I went to the Metal Clay World Conference hosted by Art Clay World USA in July this year. I knew from the beginning that there would be at least seven friendly faces that I would recognize, and whose company I enjoy. My hope was to spend time with the aforementioned friends, gain new techniques and to get the word out to other metal clay enthusiasts about the launch of Metal Clay Today. Now, I’ve had some experience with other types of conferences which usually resemble a pep rally with lots of fluff and no substance. I really wasn’t certain what to expect at the Kicking off the festivities in st yle. Metal Clay World Conference, MCWC for short. Was I really going to be able to go to so many classes in so short a time period? Would the hotel accommodations be as grand and reasonably priced as they stated on the website? (I’m from Southern California where everything is priced for the rich and famous.) Well, let me tell you, it was everything they said it would be and more. Art Clay World USA had arranged a special price with a limousine service to shuttle conference attendees. Once I arrived at the Hilton Chicago/Indian Head Resort in Bloomingdale, IL, I was directed to a beautifully appointed room with cathedral ceilings and a panoramic view of the golf course. Lucky me, since the room was so reasonable I was able to talk my Mother, Sister and Niece into joining me for a girls retreat! They went sightseeing during the day and at the end of the conference we all spent an additional day together touring Chicago. Just so you won’t get bored with my moment by moment replay of the conference I’ll just give you some of the highlights from my perspective! The very first evening Art Clay World threw a party for all conference attendees, instructors and vendors. There was so much food and drink and just about the time I thought I’d king on the ea sp au sampled everything, the waiter would come around with a new ne bi d Carol Ba s of clasps an countless type es. plate of interesting and delicious appetizers. All around me closur people whom I had read about or whose books I’d purchased were gathering, sharing stories, laughing and having a good time. Jackie Truty of Art Clay World and numerous books fame came Fall 2009 • MetalClayToday.com
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down escorted by her four-legged companion. I saw Tim McCreight, Hattie Sanderson and many others whose names you would recognize. There were people from all over globe stopping by to say hello and to catch up with their metal clay friends. This was just one of several gatherings Art Clay World USA hosted for us. The following morning we all gathered to hear the keynote speaker Alan Revere, who immediately gave us an assignment. We received a sheet of foil and were instructed to create a ring. He then went on to discuss his latest endeavor called Adorn America http://adornamerica.com/ addornamerica.com/MCWC_Keynote. html . Afterwards he asked us to present our rings to the person next to us. They were all so beautiful. Then we were off to various workshops headed by some of the best known instructors in the country, and perhaps Left to right, Ha Scotland, Julia ttie Sanderson, MCWC pr the world. I’d love to tell you about the esenter Rai fro of the Art Clay m England, Lynda Cheney from IL, Emma Baird from World UK Gui from England great instructors and the information I ld), and Lesle y Messam fro (and the chair m England. gained while there, but Art Clay World has promised to post the workshops on their website soon. By the end of my day I had so many new ideas floating in my brain. Breakfast and lunch were catered by the hotel. Everything was fresh, delicious and abundant, but my favorite part of each meal was the drawing. Jackie would come up toward the end of each meal and draw tickets from a bowl. If your ticket was drawn, you received the prize she was offering. Every time she announced a prize I wanted, I would ‘mentally’ send her messag messages to pull my ticket from the bowl. It was excruciating for three days as the numbers that were pulled bounced all around mine. Then on the final day, the second to last prize, Jackie announced a package of Dichroic glass and apron from nya Davidson, To th wi s xe la CBS glass! Now that was what this metal gon Kilns re tta Whimsy. r of Whole Lo helt from Para John Hohens or with PMC Rio and owne clay and glass junkie needed… MORE ct ru Certifying Inst DICHROIC glass! I crossed my fingers, sent my mental message and laughed at myself for being so foolish... after all, “I never win”. But then she called my number, I threw out my arms, and yelled so loud that everyone in the room laughed. Embarrassed but excited I claimed my prize. Among the many special events sponsored by Art Clay World was the charm exchange. Not having a clue and being unprepared, I went to the gathering to check it out. It was a lot like a 99-cent sale at Tiffany’s. The crowd was immense as they moved enthusiastically around sharing and exchanging their well-made and beautifully handcrafted charms. I even received three charms from some very caring individuals who took pity on me. I must have Fall 2009 • MetalClayToday.com
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looked like a child with my nose pressed against the candy store window. Thank you Katie Baum, Deb Wojnaroski and Judi Weers for your generous gift and encouragement. Another event of interest was the Mystery Brown Bag Contest. The contestants were selected in a random drawing. Each person selected was given a brown paper bag with seven random items inside. Each bag had the same items... the only caveat was that each item would have to be used in the creation of the finished piece. Have you ever considered using a coffee bean in one of your creations? What was in the bag you ask? There was 7 grams of clay, a coffee bean, tissue paper, a piece of twine, paper lollipop stick, a wooden bead and brass tube. The tools were provided; the only missing ingredient was the creativity. This is one contest your guild should really consider hosting. In case you think this was all fun and games, there was time set aside to feed our creative needs, as well as to purchase more supplies to make the things floating in our minds and notebooks. I had a chance to shop and speak with such wellknown companies as Rio Grande, Paragon, Whole Lotta Whimsy, Metal Clay Findings and many more.
The Mystery
Brown Bag Co
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One last thing... I never did discover who was selling Aluminum Clay! This was an inside joke at the conference and if you want to know the punch line, you have to be at the next Metal Clay World Conference in 2011.
Fall 2009 • MetalClayToday.com
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Artist Showcase
An interview with...
Hadar Jacobson Tes Shea, Metal Clay Today’s Publisher and Webmaster, recently had the wonderful opportunity to take Hadar’s class in copper and bronze clays. Hadar was kind enough to sit for the following interview.
Tes: You said you were a metalsmith before working with the clays. Can you tell us more about how you got started in metal clay, and about your own copper and bronze clays? Hadar: I came to the US from Israel in 1997, about a year after silver clay was introduced in the United States. I was looking for a new jewelry supplier for my metal fabrication work and saw this new product. It attracted my attention because I was so obsessed with textures. There were so many of them that I could not achieve with the rolling mill. For example, how would I run a biscuit or a waffle through the rolling mill without breaking them? Once I got the clay, the sky was the limit. I used to carry polymer clay in my purse and stick it to cracked curbstone, telephone poles, walls, food... I hammered bricks to crack them and picked up the texture before they crumbled; I went out in the rain with a sheet of glass to pick the raindrops and freeze them... that one didn’t work! :) So, I could do with silver clay everything I could do with sheet metal, and more, except for one thing: combine it with copper and bronze, which was my second obsession. I used silver clay with copper sheet, wires and rods but it wasn’t the same. So I started experimenting with making clay. I read as much as I could about the subject and came up with workable clay, some of which I managed to fire with a torch. However, the results were not consistent until the idea of using carbon was introduced by Bill Struve. And although I wish there was a simpler solution, I was quite happy that I could go back to my copper and bronze clays and combine them with silver clay. Fall 2009 • MetalClayToday.com
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Artist Showcase
Tes: You’ve written a few books. When is your next one due to be released, and where can our readers purchase them? Hadar: The next book will be about mixed metal jewelry from metal clay. The writing is almost complete and I hope to have it ready in November or December. Readers can purchase my books through my online store. They are not available through distributors. Tes: Your style is very unique. Where do you get your inspiration? Hadar: I ask the same question about artists whose work I admire. It’s hard to say. I was greatly inspired by architecture by Gaudi, and by paintings of the Bauhaus Movement. But as silly as it may sound, I am addicted to reading catalogs, always anxious to find new tools. Most of the time it’s an object, a tool or a technique that inspires me, even if they are not designed for metal clay. Or, I can walk through the aisles of a recycling center and pick the weirdest looking objects, even if I don’t know what they are. They can sit around for years, but eventually I come up with something I wanted to do with them, even if this idea was not conscious when I picked them up. Tes: What advice would you give to an aspiring artist? Hadar: When you see something, don’t ask what it is... ask what can I possibly do with it. Learn by copying work that you admire; just ask permission before you sell it. Don’t be afraid to experiment, and expect a lot of failures; you may discover something that you never expected. Look around you and absorb, but also look inside yourself and let the outside images go through your inner filters. If you want to make something, find a way to make it... don’t say it’s impossible. And, also keep moving... don’t let anything distract you. Tes: Where can our readers find out more about your teaching schedule? Hadar: It’s always on my blog: http://www.artinsilver.com/blog/. I also send messages to my blog subscribers. We thank you, Hadar, for taking the time to share your thoughts with us. Hadar Jacobson’s website can be accessed at: http://www.artinsilver.com
Fall 2009 • MetalClayToday.com
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Mini Ring Bead with Charm By Linda Stiles Smith For beginners with some metal clay experience. Beads come in all shapes and sizes and the craze for those shiny balls of clay/glass/metal with a hole is at a fever pitch these days. Collectors search for just the right unique bead at shows and shops wherever they go. But when the bead bug bit me, I decided that if I was going to have a new age charm bracelet (Pandora, Troll, Camilla) I was going to make my own beads! Although I have made a variety of beads, my favorite is the mini ring bead with a charm. Just as the name implies, I start out by making a ring – only in miniature. By adding a jump ring and a charm, which I also make myself, my one- of-a-kind bead takes center stage on my bracelet. Basic metal clay tools are needed as well as some jewelry pliers. If you haven’t made your own jump rings, now is your chance to try it where a perfect shape isn’t critical. The bead consists of a ring with a loop and a charm that will be fired separately and joined together with a jump ring when finished. These are so much fun that after you’ve made one you’ll want to create more! Additional tools for this project: Snake rolling tool – card size piece of Plexiglas Texturing plate, rubber stamp, roller, elbow 4-5mm metal or plastic rod Clay shaper Small shape cutter 3/16”-_” (5-6mm) diameter plastic straw Smallest set of the Clay Punch™ Sanding tools: 3m papers, sponges, sticks, mini files Chain nose pliers Flush cutters Materials: 10 g Art Clay Silver Slow Dry Clay 2” (25mm) piece of 20g fine silver wire Optional 4mm sterling silver jump ring Patina chemical: Liver of Sulfur or Black Max
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Making the ring: 1. Wrap the end of the 20g fine silver wire 4 or 5 times around a smooth metal or plastic rod (not wood) to make a coil. Slide the coil off the rod and cut off 3-4 rings with the flush cutters. 2. Align the ends of the ring up with two pairs of pliers. Slip the ring onto the chain nose pliers as far down as possible with the opening over the flat part of the pliers and press the pliers together. This should re-shape the round ring into a D shape. Open and close the pliers on the flattened area several times to flatten it. 3. Lightly condition one half of the slow dry clay by kneading between your lubricated fingers. Mist with a light spray of water if it feels a little dry. Shape into a cigar and place it onto your work surface (no oil is needed). Using the snake rolling tool, roll the cigar into a coil that is about 1/4” (6-7mm) thick. It doesn’t need to be very long, about 1.5” (33mm) is good. 4. If the coil is showing some cracking either ball up the clay, misting with water and start over or moisten the coil with a brush full of water and let it rest a few seconds so the water can soak into the clay. 5. Lightly lubricate your texturing plate and place the coil on the design. Using the snake rolling tool, gently push down on the coil, flattening it but leaving rounded edges. Again, if it shows some cracking, moisten it with a brush full of water and let it rest – but not too long! You need to work quickly to achieve a smooth product. 6. Choose the part of the design you want to use and cut one end of the coil off at a 45º angle with a sharp knife. 7. Quickly pick up the textured coil and wrap it around the plastic straw holding it gently so as not to distort the pattern. Let the longer end drop onto the cut end and gently cut the same angle in the remaining clay. The one end should now overlap the other at an angle. This will create a good join that won’t pull apart when drying or firing. 8. With the clay shaper tool, gently add a drop of water and mash the bottom cut edge onto the straw. Add more water if needed and press the top edge onto the mashed area. If you can get it right, you will have a tight overlapping join which will be nearly invisible. Smooth the sides and top with the clay shaper and water, being careful not to destroy the outer texture. Tricky, but worth the effort. Don’t forget to wrap up the excess clay in plastic wrap! Fall 2009 • MetalClayToday.com
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9. Press the flattened side of the fine silver D ring that you made into the soft clay. If your ring joining in step 8 was less than perfect, this will camouflage it somewhat. Placing the ring across the join will help to hold it together and eliminate the need to really get the join perfect. 10. Set the ring on the straw aside to dry. I use a dehydrator to speed up drying becaudse placing the plastic straw with ring on a hot plate could cause the straw to melt and also leave a flat spot on the ring. The slow dry clay takes a little longer to dry, but just try to be patient. When the ring is dry on the outside and becomes stiff, you can remove the ring from the straw and finish drying on a heated surface. This added drying time is necessary because the inside of the ring is masked by the straw and will take much longer to dry unless the straw is removed.
Making the charm:
11. Lightly lubricate the texture sheet and roller, pat the remaining clay into a slab shape and place it on the texture you want to imprint. Placing 5 cards next to the copper plate, roll over the slab slowly from one end to the other. If you are using a Cool roller and a copper texture plate as I’m doing here, use the #5 rings. The copper plate is equal to about 2 cards (.6mm), so by using the 5 cards, you will be reducing the slab to 3 cards thick – perfect for a charm! The clay will move and stretch as you’re rolling, but if you judge the pressure and roll slowly, you will get a good impression. You only get one pass, so make it a good one! 12. Remove the clay from the texture plate and cut out the shape with the shape cutter. 13. Using the smallest tube from the Clay Punch™, punch a hole 1/8” (3mm) in from the edge. 14. Dry the charm on a hot plate.
Refining and firing:
15. When the two parts are completely dry, sand and smooth them with the sanding paper and files. If the inside of the ring has any holes or gaps, fill them with a small lump or syringe type clay and smooth with a brush. Also fill in around the D ring so the flat part of the wire that is seated into the clay is covered well. Allow to dry each time you add clay then sand and smooth. The charm’s edges will need smoothing and the hole can be enlarged and smoothed with the round mini needle file. NOTE: It cannot be stressed enough that the gaps and holes that appear be filled in completely and then sanded smooth. Refining well creates a more professional looking piece. If the texture is somewhat covered with your refining efforts, you can carve it and define it with carving tools and/or mini needle files. Take the time here to make a nice piece and you’ll be happy with the results! Fall 2009 • MetalClayToday.com
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16. Fire the two parts to 1472º for 30 minutes. When the parts are cool you will be joining them together with one of the round jump rings that you made before you polish them.
Assembling and finishing:
17. Choose a ring from those you made at the beginning and check that BOTH of the cut ends are FLUSH so they align perfectly and appear to be one continuous ring. There shouldn’t be a gap in between where they meet. When you have made a smoothly mated jump ring, open it and thread the mini ring and the charm onto it. Close it carefully and tap the joint with your pliers to assure it is closed well. Once the parts are assembled, I recommend that the whole piece be tumble polished. It will not only shine up the silver, but also work hardens the wire parts so they are stronger. Alternatively, you can use a sterling silver pre-made jump ring, but it’s more fun to make your own! 18. Patina the silver if desired, and slip it onto your collector bracelet or neck chain!
Linda Stiles Smith
CLASSES Dayton, Ohio
Special tools used in the article, The Clay Punch™ and the Copper Club Concepts™ texture plates are available from www.naturescapesstudio.com
Metal Clay Jewelry School Beginning Sept 8, Tuesdays 6:00 - 9:00pm
Simple Start Art Clay 2 hour sessions
2nd Saturday Sessions
The results are in! We asked you... “Which medium do you work in?” Here’s your answers: 60% will only create in Fine Silver 0% will only create in Bronze 4% prefer to create in Copper 14% prefer Polymer clay 27% will use all mediums in their creations! Do you have a question you would like answered? Send your request to
[email protected]
Scheduled Sat classes on a variety of topics Beginning Sept 5, 9:30 - 12:00
Metal Clay in a Day! @ Riverbend Art Center, Wapakoneta, OH Sept 26, 10:00am - 3:30pm
ACW Level 1 Certification October 7-10, 9:00am - 4:30pm
Beginning Metal Clay October 23-24, 9:00am - 4:00pm
[email protected] 937-433-6249
Visit us at: www.naturescapesstudio.com
Fall 2009 • MetalClayToday.com
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Rising Star
Michela Verani Michela Verani is a metal clay jeweler, artist and felter. Art has been an important part of her life since an early age, having a mother who is a well-known sculptor, an aunt who was a League of NH Craftsmen printmaker, a grandmother who was a weaver and a greatgrandmother who was Dichroic tribal Pendant: Fused dichroic cabs set in a sculptor. As a child in silver metal clay with Pebeo paint and gold accents, her mother’s studio, she strung with Czech glass beads and a handmade box clasp. The glass pieces totally drove the was given paints or clay design of this piece. to occupy her so that her mother could sculpt. All of these women were naturalists and gardeners, giving Michela a deep appreciation of the beauty of the natural world. After majoring in the Arts for a period of time, taking courses such as fashion illustration, drawing, silver smithing, etc., her love of plants and gardening won out. On switching majors she graduated with a B.S. in Plant Science and art became an avocation. However, many years after graduation, art began to call again and she started on the path to her current career.
Dragonfly Pin: I have an ornamental pond in my yard, dragonflies abound here. This pin was all handformed from silver clay.
About six years ago she found metal clay, and after taking a few classes with Carol Babineau, she began to work extensively in metal clay. Since beginning, she has achieved Art Clay Level I and Senior certification. Most recently she earned her Registry I from Metal Clay Masters Registry. Her silver metal clay, and beaded and felted works have won numerous awards and have appeared in many books. She has authored articles for Fired Arts and Crafts, Bead Trends Magazine, The Art Clay Society Quarterly and Art Jewelry (the Art Jewelry article is yet to be published). She teaches metal clay and felting at a number of venues throughout the New England area. Her work is sold at many galleries, as well as by commission, and soon on
Bayberry Wood Spirit: Handmade face with real bayberry leaves, strung with labadorite and metallic seedbeads with handmade toggle clasp.
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Rising Star Lentil Beads and Jasper: Graduated silver clay lentil beads strung with Jasper and colored with Pebeo paint and a handmade button clasp.
her website. Her love of nature is reflected in her jewelry and other artwork. She has the good fortune to live on hundreds of acres of woodland. Mink, porcupine, Michela and Tucker deer, coyote, turkeys and other wildlife are regular visitors (sometimes unwelcome!) and fill her sketch books. Her work is influenced by the natural beauty of her surroundings and the cycles of nature and seasons reflected in the woods and flower gardens that surround her home studio. Leaf earrings: These are molded from real witch hazel leaves. They have the earwire embedded in the clay prior to firing and have dichro dots as accents.
On daily walks with her dog, she collects nature’s ephemera; tiny leaves, berries, pine cones, interesting pieces of wood and rocks. At some point these items end up in her work in one manner or another.
Ice Storm Pendant: Pine cones made from silicone molds taken off real pine cones. Clear CZ’s added throughout the piece to mimic the ice that had collected on all the trees and brass-brushed lightly to look like frost. The endcaps and chain reflect the sparkly, frosty nature of the piece.
For example, in 2008 the devastating New England ice storm broke the tops from 30 to 40 foot pine trees around her home. On these branches were tiny, ‘baby’ pine cones that ordinarily would not be seen. These cones have ended up as metal clay earrings and also as pendants. Garnet ring: This ring is embellished with handmade leaves and tiny silver balls with a real garnet as the center of the flower.
See more of Michela’s wonderful work at www.everlastingtreasures.org
Fall 2009 • MetalClayToday.com
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Keum Boo So easy to do!
Keum-boo (pronounced kum-boo) is an ancient Korean technique of adding gold accents to silver. Also sometimes known as Gold Diffusion Bonding, it is an easy, inexpensive way to embellish your work with touches of gold.
Materials needed: • First, and foremost, 24K Gold Foil. This is heavier than gold leaf which is too thin for Keum Boo and cannot be used for bonding. Avoid touching the foil with your fingers... sandwiching it within a folded piece of paper makes cutting or punching much easier. Little craft punches can be used for cutting shapes of stars and hearts and such, or little slivers of gold foil can be cut to achieve more organic designs. When first trying Keum Boo, start by using small pieces of gold applied to fairly flat surfaces. • Next, a method of applying heat. I use, and can highly recommend, the Ultralite Beehive Kiln which I also use for firing small batches of silver clay. The Ultralite comes with the brass plates needed for Keum Boo, as well as the ceramic plates for firing silver clay. I have been told that Keum Boo can also be done on a small electric hotplate that will reach temperatures of 1000 to 1100°F, using an oven thermometer to confirm temperature. 500 to 700°F is a good working temperature. Some have a smooth burner top... if not, a sheet of copper, steel or brass should be placed on top of the burner grid. Whichever appliance you use, it should be placed on a heat-resistant surface such as a large ceramic tile, with room beside it to place your tools on. • Heavy leather gloves to protect your hands while working over heat (I bought a great pair at Home Depot). • I have found that 2 steel burnishers work best for me... one to hold the piece down firmly, the other to burnish the foil onto the silver. I use a short bodied, and a long bodied one interchangeably, using the best shape to get into the crevices of the specific design. Agate burnishers can be used as well, but steel burnishers are available in a wider variety of sizes and can be quenched in water to cool quickly. (Note: never quench agate burnishers when hot... they will crack.)
• A pair of heavy-duty long tweezers to maneuver the piece while heated. • A wooden chopstick or wooden skewer to test the heat. Fall 2009 • MetalClayToday.com
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And now, the how-to: Freshly fired silver clay pieces need no advance preparation. Decide in advance where you want to add your gold embellishment. Handle pieces by their edges to avoid skin oils on their surface. • Pre-heat the kiln or burner. Test temperature by touching the wooden chopstick or skewer to the surface... it will char when the temperature is correct. • Wearing leather gloves and using the long tweezers, place your piece on the surface and allow to heat to full temperature. With tweezers place gold foil into place, and immediately, using one burnisher to hold the piece steady, use the widest part of the blade of the other burnisher to press gently in the center of the foil to start the adhering process. From the center, start burnishing with even pressure in a circular motion from the center to the outer edges to avoid trapping air bubbles. Make sure all outer edges are securely burnished down, rubbing continuously to make sure the foil has completed fused to the silver. • If desired, additional layers of gold foil may be applied or overlapped to intensify the gold color. • When done, remove the piece from the heat and place on the ceramic tile to air cool. Do not quench. • When cool, examine the surface and edges of the gold embellishment. If anything appears to be loose or bubbled, re-heat and continue burnishing.
Finishing:
After Keum Boo is completed, you can now patina, hammer or finish your piece by brushing with a brass brush or tumbling.
Basking in the afterglow:
Wearing any piece that I have embellished with gold brings a smile to my face, knowing how easy it was to create such a beautiful effect.
Fall 2009 • MetalClayToday.com
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Tips ‘N Tricks Buy an extra set of plastic rolling slats and cut them in half. Tape each two matching halves together at right angles to make slats that you don’t have to keep moving in order to roll your clay top to bottom, side to side... just rotate your surface keeping the slats in place.
Editor’s Note: I used clear packing tape on the slats... works great!
Fall 2009 • MetalClayToday.com
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Blo g
Best of the Blogs by Lori Phillips
For the past few months I have been a Lurky Lou in several Metal clay forums and blogs. I am not a computer wiz kid and have run into a few problems, crawled through a few dark places and yet have also had several pleasant surprises in my journey. I hope you will benefit from my adventures. The very first place I went to was Yahoo Groups Metal Clay forum. http://groups.yahoo.com/group/MetalClay/ I have to say it has some of the best contributors for both PMC and Art Clay I have ever seen in one place. The pictures are inspiring to see. There are several different threads to chose from and if you have a question you will find many answers. Nothing is too simple to talk about. Now mind you, this forum goes on 24/7 and people are posting at 2 and 3 o’clock in the morning. That is dedication! Sorry... my creative beauty sleep is too important. The archives are also worth exploring, but beware... you might become overwhelmed and have information overload before you’re done. Not having participated in any of the conversations, I felt a bit ignorant of many things I needed to know about the site. I wanted to print some of the information I was seeing and instead I ended up with a book of pages of things I did not want. OK, that shows you how little I know. I hope this is encouraging to the newbies of the blog world. I wished I had started at Hadar’s blog. http://www.artinsilver.com Her blog is informative and well presented. She gives step by step instructions and great pictures. I could spend a long time just looking around her site. She has valuable information available for download in PDF form. I have used her information for several of my projects, especially most recently for my bronze and copper clay pieces. She posts information quite often, so check back from time to time. Another site I thoroughly enjoy wandering through is: http://www.squidoo.com/preciousmetalclay My hat’s off to Margaret Schindel who is a major contributor to this site. You go, girl! She does her reseach. All metal clays are represented and I love just watching the videos when I want to understand how to do a particular method. Well, I hope I have given you enough to explore for the time being. I have a lot more to share but these three sites will whet your whistle for more. Caution... lurking can become habit forming and you won’t have as much time to spend creating your next metal clay piece. Balance, Grasshopper, balance.
Happy lurking,
Lori
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Trends, Forecasts & Predictions by Lori Delisle
Let Loose the Chains Trend – Designers are making big statements with necklaces,
and some of the hottest are filled with layered chains; short to super long, the more the merrier! They’ve been seen at fall runway shows including Givenchy, Chloe, and Gucci, and on celebs like Sandra Bullock, Jessica Biel and Sarah Jessica Parker.
Design – ‘Simplify.’ Drama and punch come from extreme length or the sheer number of chains, so keep it simple to avoid looking overworked or busy.
• Small & Simple – Dot small matching beads or metal clay charms throughout the chains.
Necklace by myownlittleuniverse.etsy.com
• Monochromatic – Mix textures and design elements, keeping everything the same color.
• Sparse and Special – Pick one dramatic element, like a metal clay medallion, as the focal point, or scarcely space several interesting pieces; a luxurious gemstone, a unique metal clay link, and some hand-picked beads. Necklace by kdangelo.etsy.com
Take the trend into earrings with chain tassels or waterfalls of looped chain, and bracelets with lots of chain layers.
Necklace by greatbarbarian.etsy.com
Style – To choose lengths, consider height and bust proportions
(bust to waist line ratio). Petites; super long chains can amplify height challenges. Small busts; wear medium lengths if your waist line protrudes. Medium busts; keep the chains well above or below. Richly blessed? Short versions won’t ‘travel’ or add attention to an already obvious asset. The necklace makes the look, so the rest of your ensemble can be simple and chic. For business, wear with a crisp button down shirt, or soft blouse with flirty ruffles and a fitted jacket. For casual, pair with jeans and a peasant top. A solid colored, fitted dress makes the perfect evening look.
Happy Designing!
Fall 2009 • MetalClayToday.com
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Challenge Contest
Carpe Beadum! Seize the Bead!
Metal Clay Today is sponsoring a Bead Contest. Send us photos of your best beads made from metal clay along with your name, the bead’s title, and your contact information. We will post the photos on the MCT website and your peers will vote to decide whose bead is best. Photos must be 4” x 6” jpgs, and be in our hands by October 15, 2009. Winners will be announced November 1, 2009.
First Place Prize - Metal Clay Ring Kit Second Place Prize - 50 grams of Art Clay Silver Third Place Prize - $25.00 Gift Certificate towards products from Art Clay World.
METALCLAYARTS IN - ABOUT - FOR METAL CLAY
TOOLS - GLASS KILN SAFE STONES
LiL BeLLA Humidifier HAND CRAFTED ART JEWELRY WORKSHOPS CLASSES PRIVATE INSTRUCTION GALLERY - LINKS - SOURCES
LiL BeLLA
[email protected] www.metalclayarts.com metalclayarts.Etsy.com DonnaLewis.Etsy.com
Fall 2009 • MetalClayToday.com
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Class Listings, Show Schedules, Organization News
Calling all Guilds! Tell the world where and when you meet. Send us information about your class listings,show schedules... and meeting times and locations of your metal clay, artisan or jewelry making organizations. Please include your name, where and when, name and e-mail address of the contact person. We believe that it is important for all metal clay enthusiasts to have a forum for networking and promoting their work.
If you wish to submit an ad, please contact
[email protected] for advertising rates.
Glass Glass Clay Clay Classes
Classes
and other Glass Technique Classes*
* Photopolymer Mask and Images on Glass Classes
Check it out at www.kaiserglass.com Or e-mail
[email protected]
And other Glass Technique Classes* Classes: At Delphi Glass: Lansing Mi
Check it out at www.kaiserglass.com
• Glass Clay: October 1&2 Oronemail • Images
[email protected] October 3&4 At Weisser Glass: Kensington Md • Images on Glass September 12 & 13 • Glass Clay: December 5&6 At Blue Moon: Texas:on Glass Classes *Photopolymer Mask Austin and Images Jan 15 & 16 Class to be announced.
Fall 2009 • MetalClayToday.com
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Don Butler - The Carving Glove Guy
5 small Dockyard Micro Carving Tools that have been of interest to PMC and Art Clay people. These tools are G2, G15, V15, 75V, SK 15... the smallest of the tools that Dockyard manufactures. Please visit our site at
www.thecarvinggloveguy.com
Fall 2009 • MetalClayToday.com
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Book Review by Patricia K. Evans
Jewelry Techniques: The Essential Guide to Choosing and Using Materials, Stones, and Settings by Anastasia Young, Watson-Guptill Publications, 2008 Jewelry Techniques: The Essential Guide to Choosing and Using Materials, Stones, and Settings barely mentions metal clay, yet it is still a valuable reference for metal clay artists. In concise step-by-step entries, each illustrated with one or more photographs, the book covers hundreds of jewelry techniques, from how to insert hair in tubing, to soldering, to how to create a variety of patinas. Assorted finishing processes could easily be adapted to metal clay use, as could sections on enameling or texturing metals. In addition, materials from plastics to silver to bone to precious stones are described and shown in photographs. A wide range of stone setting techniques are each given a page and several illustrations. Finally, the glossary, resource compilation, and a listing of US and Canadian suppliers add to the reference value of Jewelry Techniques. Although each entry in the book could be the subject of numerous articles or even whole books, the brief overviews serve as quick refreshers--or possibly as a reminder to try new tricks. Young has a gift for breaking down complicated processes into easy-to-follow steps. There is no gallery section, but photographs illustrating the techniques provide inspiration. This is a book that jewelers will return to again and again.
Fall 2009 • MetalClayToday.com
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Readers’ Showcase This issue our contributor is
Lisa Dienst-Thomas
Ruby Mandala
Amethyst Mandala Ranunculus Bulbous Buttercup Pendant
Butterfly
Red GlassSpirals
Reversible Choker
Our thanks to Linda Dienst-Thomas for sharing her beautiful works of art. Send us your photos for inclusion in our Readers’ Gallery to
[email protected] Fall 2009 • MetalClayToday.com
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MCT Online Gallery
Metal Clay Artists Have you been looking for a way to have an online presence at minimal cost?
is hosting an Online Gallery to make having your own website easy and affordable! Artists juried into the Showcase will have up to three pages in which to present themselves and their work... as well as their their upcoming show and/or class calendars.
For more information, please go to www.metalclaytoday.com
Classes in metal clays, Art Clay certification (both Level 1 & Senior level) and cross-over certification for PMC certified artisans are offered at Stan and Ann’s studio, as well as other classes. Contact Stan and Ann Rosier for more information.
[email protected]
619-578-2075 Fall 2009 • MetalClayToday.com
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