Since gold clay is so expensive, might there be a way to combine it with silver clay and still have a finished metal that appeared gold in color, but would be less pure than PMC Gold clay and therefore, a little less expensive?
The ancient Greeks and Romans were aware of such an alloy, which occurred both naturally and man made. They called it “electrum” and used it for coins, jewelry and plating. My reading led me to discover that an alloy of more than about one third silver would result in a metal that appeared silver, that is, no gold color at all. Ancient alloys seemed to be no less than about 20% silver. Therefore, my plan was to combine a variety of gold and silver PMC mixes so that the alloys were in that sweet spot of 20-30% silver, to see what shades of gold would result. Continue reading…
My cuff was mailed to artist Hayley Kruger in the U.K. who in turn cut out pieces of it and added to it using paper, crayons, pespex and ink.
A third artist, Lisa Welbourn made a necklace from the work of the first two artists. She added sterling silver, silver clay, lava beads, rubber neck cord. Lisa also decided to combine some of the elements to make them double sided.
A second piece I worked on was started by Joy Funnell. Can you imagine receiving a fine silver and enameled piece from Joy and you are to “change” it or work on it? Oh I was a bit scared! It was a beautiful piece!
Jeannette Froese LeBlanc is the editor of Creative Fire and former editor of Metal Clay Artist Magazine. She keeps a studio in rural Ontario, Canada and works in etched aluminum and metal clays. You can find her work online www.SassyandStella.com
Here is my review of the new clay:
WET FORM: Moisture content and workability:As I waited several weeks to test the clay it may have lost some of its plasticity while in the temporary wrapping. I added a few drops of water and worked it in and found the clay to be beautifully smooth, easy to roll, it picks up texture nicely and joins are solid. (My release agent was olive oil.)
DRY FORM: How was the flexibility, was it easy to carve, sand, join? What an amazing clay to carve! There are no “tears” at the end of a push with a carving tool. Clean edges!
Firing:No blistering or cracking. In my first firing I forgot to support a ring and so it slumped. I was curious about the clay and hammered the ring round and straight–it could take the abuse! All items out of the kiln have the satisfying “clink” of sintered metal and they are a matt grey. Some pieces I hammered and others I tumbled.
Shrinkage:Ring #1-1.5mm thick wet clay, wet clay size: 11.5, dry 10.5 and after firing 9.5, Ring #2-1.5 mm thick wet clay, wet clay size: 12.5, dry 12 after firing 10.
Rings warped in the firing, as I forgot to support them properly, hammering them brought them back into shape without increasing the size.
Finishing:I hammered some pieces directly out of the kiln and then I tumbled them to finish the polishing. Rings were polished further with a 3m polishing brush and patinaed with LOS.
Jeannette Froese LeBlanc is the editor of Creative Fire and is an avid jewellery designer. She has worked in metal clay since it first came on the market. You can find her jewellery online: www.SassyandStella.com.
I was introduced to the work of Canadian artist Véronique Roy by Jeannette Froese LeBlanc and as soon as I saw her pieces, I knew this would be an interesting article. There is a simplicity and purity about her work that is so attractive, I really looked forward to learning more about her. Veronique was brought up in Montreal and now lives in a small village in the Laurentians which is a mountainous region in Québec, Canada.
“I consider myself as a creator, a maker and a jeweller. Also a businesswoman!” she told me. Her studio even has a name! “I work from a small workshop on the edge of the forest, in my backyard. To get there, I have to cross a little stream that runs through the land. The workshop was built three years ago, with the help of my friends. As my work was encroaching too much on the living space of the house, it was time for a change and to have an exclusive space for Brelokz (the name of my studio).” How cute is this snowy little house, like something out of a fairy tale?
Véronique has always valued her creative side. “Creativity has always accompanied me in how I see life. When I look at things, my eyes capture details that can escape others at a first glance,” she says. “From the beginning, I felt that metal clay would play a central role in my professional development.” I asked her about her first experience with metal clay. “I discovered metal clay almost six years ago. I attended a training course to learn basic silver clay techniques. I immediately fell in love with this somewhat capricious material which allows working in so many different ways. I remember that my first piece (a pendant) was not at all to my taste, but it was a model that was required for certification in the course.”
I find the organic nature of Véronique’s work really aesthetically pleasing. “My creative process can find its initial spark anywhere! Ideas can germinate without my noticing it. Sometimes when I am taking a walk in the forest, or even when I am reading a newspaper article,” she explained. “Nature is my primary source of inspiration. Besides living in a small village in the countryside surrounded by mountains, I also have a personal interest and a formation in herbalism. These played an important role in paving the way to create jewellery from nature’s textures. One day, I was tending to my garden, and saw a tomato leaf wrapped around my finger, which brought a clear image of a leaf ring! Step by step, I started using leaves for my pieces. The four leaf rings are the first pieces that defined my artistic process. I consider them as the basic image that represents my collections. They capture the essence of nature. Simply.”
“Initially, I started with medicinal plants thanks to the influence of my herbalist background. Then, I started looking for plant textures suitable for the material. Gradually, I evolved towards other materials, always keeping contact with my initial source of inspiration. Honeycombs found their way to my heart and imagination. Oak bark and coral were to follow. I use the materials as simple and pure as possible, without too much transformation, in order to preserve their primary nature. As a result, the essence of nature is captured in metal, eternally.
I asked Véronique about her creative process. “When the idea is there, I have to find the source material, and usually make it into a mold. As I only work from organic textures, I have to preserve them to be able to work with them even in winter, when they are buried deep in snow. After the mold is ready, I experiment, try, and test. As soon as I find the form and the finish that I wish to bring out, I go for it. Thus a new collection starts to see the day; quite simply. The process rarely involves designs or notes, but is mainly created in my mind and by taking action. This is also similar to how I live my life. If I have an idea, I have to put it into action as quickly as possible; otherwise, the idea loses its breath and lustre. Living with the passion of the moment!”
Véronique likes to keep her creative process somewhat separate from the rest of her life. “I am in the workshop to for the creation process, whereas I have an office at home for complementary processes such as packing online orders for mail,” she explained. “The workshop is the place where magic takes place, and each piece is created from A to Z. While I try to keep regular weekday work hours, in the period of exhibitions (about 15 shows a year) I usually work double time! You can call me someone organised in chaos, which is clearly reflected in my workspace. Forget the Pinterest image of a well decorated workshop, mine is quite far away from that. I make a big clean-up three times a year (!!!)”
I asked Véronique to describe her style. “I like to follow trends from a safe distance as I don’t like them to influence my work. Trends come and go, changing in the blink of an eye, and sometimes enjoying rebirth after many years; whereas I prefer to create by remaining true to myself; thus my pieces remain timeless. I consider my style to be timeless, organic, and even pagan to a degree! Simplicity and beauty of nature is reflected on each piece.”
Véronique uses several other techniques in the production of her work in addition to metal clay. “I make my own earring hooks and rings. I recently started collaborating with a company where I have some of my pieces cast in .925 Sterling Silver. This new way of working allows me to give more time for the creative process while somewhat cutting down on the time required for production. A few pieces of my Oak Bark collection will also be offered in gold as of 2016 summer, thanks to a jeweller working with traditional techniques who helped to open a door for a new path!”
I asked Véronique what she does to relax. “Travel, discovering new places, new faces,” she began. “Last year, I had the chance to visit Costa-Rica. This summer, I intend to visit Turkey, and I dream about visiting Spain next year. This, for me, is a way to open the gates for inspiration and restoring the energy that is somewhat depleted come spring (winters are long in Québec). Therefore, I prepare my backpack and hit the road. I also like to read and go to music shows.” I asked her if she wore her own jewellery when she is travelling, or even day to day. “I love jewellery, I create them, but I only wear small bronze studs,” she laughed.
So where does Véronique see herself going with her jewellery creation? “I would simply like to continue finding inspiration,” she said. “Sometimes, around the month of January, I feel like the well is dried up and I will never have any more ideas! It is winter. The high season of shows has just ended, the excitement has waned, and I feel the need to think about the spring and new collection ideas. I ask myself whether I will be able to find new ideas, and continued inspiration is what I wish with all my heart!” She sells her work in several places. “I sell online, through my Etsy shop. My creations can also be found in several stores that sell works of Canadian creators. And I sell in exhibitions all over Québec and Ontario. I believe that by participating in shows throughout Québec and Ontario, I help demystify this material in the eyes of the public and traditional jewelers. I hope to continue doing this and presenting my creations while introducing the material so that one day people will get to know it better. I see myself continuing to work with this material as long as I have fun doing it, because, above all, it is the pleasure that keeps the passion going!” Absolutely!
Finally, I asked Véronique what she is currently working on. “At present, I am working on my Oak Bark collection as well as a small series of jewellery created from Lilac twigs.”
It was such a pleasure to spend a little time getting to know Véronique and I look forward to seeing her new work in the years to come. To find out more about Véronique, visit her here… www.brelokz.comwww.facebook.com/Brelokz.Bijoux
JULIA RAI is a teacher, writer and artist working in a variety of media. She is the director of the Metal Clay Academy and runs the Cornwall School of Art, Craft and Jewellery. She finds inspiration in science fiction and fantasy and loves a good story where disbelief can be suspended in favour of wonder. Her practical and ultra-organised side is always vyingfor attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.
One night I tossed and turned in bed, sore…so sore. I started think about my day and to try to diagnose the causes for my pains. My hands hurt. That is easy to figure out…I work with my hands. While I’ve had TWO carpel tunnel surgeries, my hands and wrists still hurt and still go numb. I found this article about exercises for hands. It reminded me that my hands and wrists would benefit from stretching and flexing exercises. I am trying several of their suggested exercises in the morning before I get out of bed.
My back and neck hurt too. “Oy! The pain in my neck and back are killing me.” Okay, maybe a little dramatic. I was complaining to a friend who figured that my bench is too high. I made my bench…it’s a Franken bench—and in theory it would be easy to cut some off the 2×4 legs. Having tried this in the past and unsuccessfully cut each leg the same… I’m looking into a higher chair or a chair that adjusts better. My studio chair was a road side find…so I’m sure there are better chairs to be found.
My body also hurts due to decisions I made while in my twenties such as jumping out of “perfectly good planes” with a parachute in the army. I have aches and pains that make sitting for long periods impossible. To compensate I’ve learned to do many tasks standing up. I added a rubber gym mat where I stand to work, that helped. And I added more lights—this may sound strange but more lighting improved my posture! I wasn’t working at weird angles to get the best light.
Where I store my tools is also important to help keep my body happy. I have a small studio and so I take advantage of all and any areas for storage. Under my bench I put a set of drawers. I added wheels and some pegboard to the side. The idea was that I could pull it out of the way while using the bench and it would provide handy storage. That is the theory. In practice–I haven’t the room to pull it out, so I work squished to the left of the bench, the tools on the peg board are hard to get. (Don’t ask me how many times I’ve dinged my head on my bench pin as I bent over and down to get a tool!) Having tools handy is obviously important. I think I’ve held on to this “system” too long and despite the time I spent building it and painting…it has to go.
I hope I’ve started you thinking about where you work and how you work. For further reading, I recommend this paper that was presented at the 2010 Sante Fe Symposium on the topic of studio ergonomics for jewellers. In the article, the authors show many examples of solutions from jewellery studios.
Jeannette Froese LeBlanc is the editor at Cre8tiveFire.com and a jewellery artist. She is definitely “A glass 1/2 full kind of person”. She has learned to enjoy the journey and not solely focus on the destination, which is something her kids taught her. Look down, look around, enjoy where you are.
Patrik Kusek placed 2nd in this years Saul Bell Design Award in the Metal Clay Category. I had a chance to ask him a few questions about his piece and his studio work.
Creative Fire: Can you tell us about the inspiration for your Saul Bell Design Award winning piece?
Patrik Kusek: The piece if part of an ongoing series of work that deals with my mother’s dementia. Molds were made from 18th century plaster cameos called Tour Cameos. I used these to create each of the cameos in the necklace. Tour cameos were collected by Europeans while on their “Grand Tour” As long as 3 years were spent aboard learning about different cultures. I used the Tour Cameos as a metaphor for my mothers life. The fractures and spotty gold represent my mothers memory which is fading away.
CF: Could you have imagined today’s level of metal clay work 10 years ago? Do you think there will be the same level of technical advances in the next 10 years in metal clay art?
PK: I could not have imagined the beautiful work that is made from metal clay today. When I first started using metal clay I could count on one hand the really great metal clay artists. Now we are fortunate enough to have wonderful artists world wide and the new generation is pushing creativity to it’s limits. I don’t think there will be much more advancement in metal clay. There might be smaller achievements but not breakthroughs of the past few years. Metal clay is just a material, and the focus for the future is expressing artistry through the medium of metal clay.
CF: Do you have any advice for a new to metal clay jewellery maker?
PK: Don’t be afraid of making mistakes, we all make mistakes and with metal clay you can always reconstituted, recycle or refine it.
CF: You teach classes on your techniques. Do you have advice for your students about the difference between inspiration and the copying your work.
PK: It’s a thin line to walk sometimes because we encourage our students to copy our work in class but primarily to learn the technique. However they should take the technique and use it to express their own vision. Inspiration is a starting point, a jumping off point to express the idea. A good artist will put there own unique voice into the piece.
CF: What 5 tools do you always have on your bench?
PK: JUST 5????? JoolTool, Dockyard Carving tools, Textures rollers, Water, iPad for music or movies or CNN.
CF: What is your favourite quote?
PK: I don’t really have a favorite. It’s more like my favorite for now…”Commit to Mastery” I like this because it applies to just about any medium. As adults I think we can get too bogged down with being perfect right out of the gate. We need to remind our-self to take our time to really learn the process. If we commit to mastery it becomes a life long process not just a weekend workshop.
CF: If you could spend a day with any artist (dead or alive) who would it be and why?
PK: Picasso, Paris, 1920’s — need I say more?
CF: What’s next for you? (Art shows, lectures, new work….)
PK:I have a couple of videos coming out soon with Interweave. Base metal mosaics and micro mosaics. I love these techniques used in the video they are dramatic yet straightforward.
Thank you Patrik for taking the time to share your responses to our questions. And once again, congratulations on your award. Your design is stunning.
-(especially in children’s use) a person who copies another’s behavior, dress, or ideas -denoting an action, typically a crime, carried out in imitation of another.
“No one likes a copycat”….in fact I’d rather the word was stronger when it comes to artists stealing ideas from artists. Last week we posted a video on FaceBook that started a lot of conversations. Which is EXCELLENT! What a wonderful use of technology to have artists all over the world talking! But will things really change? Will you stop seeing derivatives of artists’ work? “If you copy someone’s else, that is a derivative work. It doesn’t belong in a gallery or showcase and it should not be published anywhere—this includes your website and all social media.” -Sean McCabe (quote from video)
California artist Harriete Estel Berman has written extensively on the topic of copyrights and copycats on her blog: Ask Harriete. “The issues are serious. By our silence, we in the arts and crafts community are cultivating a climate of copycats. Bringing this issue into the open is not going to be popular, but the undercurrents are eroding our economic, ethical and legal boundaries.”
Here are some links to select articles by Harriete. Be an informed artist!
Until awareness gains traction in every “craft corner”, workshop, retail fair, wholesale show, online forum, manufacturer, retailer, designer, internet site, and becomes a public discussion, the copycat thieves will continue as pirates of our work, our ideas, and our content.In the “Age of the Internet” and digital technologies we can no longer go back to the studio and come up with the next idea fast enough. Ideas and images are stolen at the speed of light.
Are you prepared to protect your work?
Do you understand the concepts of Fair Use under Copyright Law?
A guild member takes a workshop, then comes home to show everyone else the workshop’s techniques, tips and tricks.
Guild members distributing copies of handouts that they did not create or own.
A member demos a skill learned in a magazine tutorial.
A guild hires a copycat workshop instructor instead of hiring the original innovator of a skill or technique.
Ironically, all this sharing is usually rationalized as “helping” each other. But with some reflection, this “feel good” cloak of generosity is concealing ethical, legal and moral issues that, in the long run, have an impact on our community.
Has anyone ever purchased your art or craft work and then started copying the original? I’ve seen this issue discussed online. Or people write to me when they find out about unauthorized copies of their work, especially when other people are profiting from their designs. The situation is frustrating and nearly impossible to stop – once it is out of control.