Artist Profile: Véronique Roy Interviewd by Julia Rai

Honeycomb necklace 2

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?Workshop under the snowa

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.”4 Leaf Bronze Rings

“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.Bark Bracelet
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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 (!!!)”Workshop1

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.”Lilac Twig silver ring

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.com www.facebook.com/Brelokz.Bijoux

www.instagram.com/brelokz https://www.etsy.com/shop/Brelokz

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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 vying for attention alongside her creative and messy side. Each is trying hard to learn from the other and live in harmony.

Ow!!! Is Your Work Hurting You?

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.hands

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. franken desk 1

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.

540704_577388125607677_846842341_nJeannette 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.

 

Finding My Lost Creative Mojo in Time to Help Relief Efforts in Fort McMurray

EtsyAwards_Productslide_CountrySharing news about my own work feels very strange to me. I’d share this story in a heartbeat if it was about another artist. But I’m biting the bullet and sharing a story for my local paper. I now understand that people are sincere when they say “It is an honour to be nominated”. It really is an honour! I joined Etsy in March and applied for their “New Talent” award. I’m one of 60 Canadians in the contest.

Since the demise of our magazine “Metal Clay Artist” I lost my creative mojo. I floundered in my studio not really doing much more than organizing my supplies. That was until my friend, Alabama artist Kathleen Nowak Tucci quite literally kicked me in the butt! She invited me for a visit and had planned activities to spark my lost creative mojo. Etching aluminum caught my attention. I started by etching images my kids drew and I was hooked. Of course metal clay will work it’s way back into my jewellery line…I have ideas to pair etched aluminum components with metal clay pieces. But that’s going on in the background in my studio. Right now I’m trying to establish a business with my etched jewellery.

Metal Clay Artist Magazine had subscribers from all over the world…including subscribers in Fort McMurray, Alberta. I went through our list and tried to contact some of them to see how they were after the huge forest fire that took over their city. I actually found a few who had the same cell phone number as they had when they signed up for the magazine. They were happy to chat. At the same time that I was reaching out to artists, I found out I was in the running  for a $10,000 prize…but it is a “vote for me” contest. I’m currently in 7th place out of 60. I could win it if I had help. And in turn, I could help with relief efforts in Fort McMurray. Many of you know first hand how rocky things were here after the magazine business collapsed. Your generosity and that of my friend Kathleen are inspiring me to shamelessly promote the Etsy contest as I’d like to “Pay it forward” with the prize. So please… “vote for me”.  https://etsyawards.com/ca/Finalist-33/SassyandStella

fireFor background information on the situation in Fort McMurray, Alberta Canada: 1. http://globalnews.ca/news/2679437/fort-mcmurray-wildfire-pet-owners-desperate-to-save-animals-left-behind/

2.http://edmontonjournal.com/business/local-business/insurance-losses-from-fort-mcmurray-fire-could-top-9-billion-analyst-says

Local Artist Wants to Help Fort McMurray Relief Effort as She Competes for $10,000 Prize

Froese LeBlancJeannette Froese-LeBlanc is thrilled to be one of 10 Canadian finalists in the New Talent division and she is eligible for the “Community’s Choice Grand Prize” with a cash prize of $10,000. Voting is taking place online via: EtsyAwards.com in the “Canadian New Talent” division. As her votes come in, Jeannette is dreaming of ways she could use the prize to help with relief efforts in Fort McMurray.

For the past seven years Jeannette promoted the work of other jewellery artists in a magazine she produced called, “Metal Clay Artist”. It was distributed in 67 countries and it was a growing business. “Technology made it possible for 8 people to work in 3 different time zones! It was marvelous! Our editors and designers were located in Canada, the UK, and the USA. Unfortunately, our distributor declared bankruptcy and took ours and many other print magazines down with them. We’ve moved online thanks to our fabulous artistic community and site sponsors.” The new site for jewellery artists is called Creative Fire.

“After mourning the loss of the magazine for about a year, I slowly started to get back into my studio. But I wasn’t going anywhere with my work. A good friend of mine from Alabama invited me to her studio and taught me some techniques for etching aluminum. I haven’t stopped working in my studio since” remarks Jeannette. “It’s funny how even our creative muscles can suffer and get out of shape!”

Prior to starting a magazine, Jeannette was an artist and a school art teacher. “For years I worked in silver and metal clay. But aluminum has changed how I work and how I view patterns. The process takes many steps from setting up the image on my computer to masking the metal, etching, cleaning and polishing. Each step is very different and seeing the pattern evolve is very interesting and often leads me to new ideas.”

When asked why she named her studio “Sassy and Stella” she says, “I know online well as I’ve visited hundreds and hundreds of artists’ sites over the years. But I also knew no one ever spelled my name right so I needed a simple online address. Everything I wanted was taken. I spent weeks trying new names. I asked everyone I knew for suggestions and was just about to give up when my friend’s rescue dog “Sassy” came in the room…followed by her other dog “Stella”. On a whim, I tried their names for an online shop and ‘bingo’ I could get an online site! I think the name really works for my jewellery line, plus, Sassy and Stella are two very cool rescue dogs!”

“Winning this prize could certainly be a game changer for me!” said Jeannette. “There are things I dream of for my studio work that are out of my reach. But instead I want to help someone else. My friend in Alabama was generous in so many ways and I would like to pay it forward. I have so many ideas of how I think $10 000 could help others. I named my studio after two rescued stray dogs…so I think it is quite fitting that I find a way to help some of the animal shelters in Fort McMurray. Many people had to leave quickly and some couldn’t make it home to find their pets. Some pets ran away. Others had to let their farm animals loose as there was not enough time to transport them. I can only imagine how tight resources are in that city to help animals. The prize money could go to some shelters to meet their immediate needs.”

“I also know that there are artists in Fort McMurray are who will be affected by the down time for their businesses as the city recovers. I recently talked to a jewellery artist from the area about getting art supplies in the hands of artists, art students and teachers and hiring them to give free art lessons.  A lot of the area children could benefit from art therapy.  Creativity helps with stress and depression and there is a lot of healing to happen in the Fort McMurray area. This prize money could do a lot of good there.”

etsy finalist sassy and stella dot comTo vote for Jeannette Froese-LeBlanc: https://etsyawards.com/ca/Finalist-33/SassyandStella

Metal Clay 101: Rolling Textures by Kris Kramer

index1 When I rolled my first textures in metal clay, I was excited by the results and truly amazed at the level of detail the clay picked up. Then I moved on to a stage where I noticed tiny cracks in the clay, which left me rolling a texture more than once to get the results I wanted. Time went by and I began to notice double imprints or shadows in the designs, then various depths to my textures that I also didn’t like. I was evolving into a metal clay texture aficionado. Continue reading…

Artist Profile-Patrik Kusek

 

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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.

2016_SBDA_PatrikKusekIN3 2016_SBDA_PatrikKusekIN2Creative 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.
Reference: To see more about the Saul Bell Design Award and all of the winners and finalists: http://www.saulbellaward.com/Winners/Year/2016

Hot Topic: Copy-Cats

copycat
Image credit: www.mostlychelsea.com
cop·y·cat
ˈkäpēˌkat/
noun: copy-cat
-(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.

Creative Chat with Artist Anna Mazoń

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We wanted to catch up Anna since our last interview in MCAM in the Fall of 2013.
I can’t believe it was 3 years ago already! Time flies and so many things happened since then. Thanks to Metal Clay Artist Magazine I started teaching in other countries – I travel a lot ever year and meet fantastic people all over the world. I also learned a lot of new, different techniques and refined those I already have been using. Recently I also started creating a permanent collection of my designs (in addition to my one of a kind pieces) using lost wax casting technique for making pieces from hand sculpted metal clay prototypes. This medium still excites me so much! It brings endless possibilities both for hobbyists creating things once in a while and full time businesses.in_the_eye_of_the_beholder04

Tell us how the style of your work has evolved? Where do you get your design inspirations?
I get my inspirations mostly from Nature, but understood in many different ways. Sometimes just straight from it – raw impressions, forms that I simply see during my walks or hiking trips. Trees, flowers, stones… Sometimes I find my inspiration in Nature as seen through “glasses” of ancient cultures – expressed in myths, old tales, folk songs, philosophy. I am also inspired by modern Earth­-based religions and sometimes fantasy books. Everything that explores our relation with Nature is my inspiration. Recently I am also taking a little journey inward, seeing myself as a form of a microcosm reflecting Nature. I focus on my emotions, reactions to loss and this intense longing to know the answers I will probably never know. This is still before me – I mostly have a lot of sketches, but I guess that my recent piece “Natura abhorret a vacuo” shows this direction the best.index

leshy01slavic_tales_autumn_biesGenerally I feel my style and designs are much more effortless now than there were a few years ago. I focus mostly on what I want to do, what I want to say, rather than how to do that from technical point of view. I see this tendency in whole metal clay community – more and more people are becoming really skilled in metal clay. We know more, we are able to do more. But the thing is that this is the point where real journey and challenges begin. When you can do whatever you have in your mind, then you have to face the question – what do I really WANT to do? How does is it really say “me”? What I want to say through what I do? WHY I am doing this in the first place?lunula

startled strachy_na_lachyThe style and design of your work is very recognizable. How long has it taken you get to the place that your artistic voice is so strong?
Honestly I feel that finding your own style is a process which starts far before you even think about actually creating something. It’s like a potential, a seed within you which is nurtured by your upbringing, by things that happen to you, your actions and all things around you. When you start making things – bringing them from your mind into physical plane – it sprouts. For me it felt like the most natural thing in the world – like speaking my mother tongue. I knew since I made my very first piece of jewellery that this is my style. But don’t get me wrong – the fact that you discover your style is only the beginning. This is were years of hard work (and fun!) start. You have to learn to use it in a beautiful, skillful way. Just like we can speak a language just so­ so, struggling to barely communicate or to create most beautiful, refined poems, saying words straight from your heart. For me it took years, and I feel I still have so much to learn! Exercising your artistic voice is a never-ending, exciting journey. I think that my point is that your style, your designs feel genuine, truthful, only when they come from within you, from who you are, who you are becoming during your whole life, what you actually feel. Otherwise it’s just like trying on masks in a shop. The effect might be pretty, might be interesting, but will never be true.

cobalt_faeryYou teach classes on your techniques. Do you have advice for your students about the difference between inspiration and the copying your work.
Funnily, people who try to copy my style or particular pieces are not those who take my classes or even meet me in real life. During my workshops I teach skills, certain techniques which lead every student to creating a piece that is completely different, depending on who they are, what they like, where they are on their journey of creating their strong artistic voice. It’s just amazing to see how varied are pieces made during each of my classes, even though, they are constructed using exactly the same techniques. It’s also super inspiring and humbling for me. A few days ago I came back from United Kingdom, where for the first time I taught a new, two days class, I created this year. I brought some class samples as I usually do, I thought I knew what kind of pieces I might expect from students. But then – it turned out that at the end of the class I saw a whole bunch of pieces I would never even think about in a million years! This is the most rewarding experience both for the teacher and students. That’s why I always give my students time to look at the samples, to think about what they want to make, to plan a design, I encourage them to bring their sketchbooks if they have one. I always say, that spending time on designing, even during the class, is really worth it. You don’t want to spend 2­3 days working on something that you hate ;­) or doesn’t feel right, because it’s completely not you.

index22Again – I think teaching classes, in a way is similar to language lessons. I am just trying to add some new “words” or, lets say, “grammar constructions” to my student’s vocabulary. They can use them in as many different ways as possible. We are all very different and we came from different places and this is the most beautiful thing to me. But even if you attend classes where you recreate a particular project from beginning to the end, situation is exactly the same. You don’t learn a poem by heart to repeat it over and over in random moments. You learn it because it makes you a more beautiful person. It enriches you. It enables you to maybe create something on your own.

golden_roadWe have noticed that there are imitators of your style. Some people say that it should be considered flattery. What are your thoughts?
Ha. That’s a difficult question. On purely intellectual level I believe this is, indeed, a form of flattery. But it doesn’t feel like one at all. Situations when your work is being imitated are simply super stressful, hurtful and disheartening. It feels really unfair, when you know how long was your journey, how much of yourself you put in your work, and then someone just takes superficial, visual layer of it, and recreates it. Just because they are manually skilled, and for some reason they thought it would make them successful in one way or another. In such situations you just wonder if people see the difference at all. I also wonder what a copyist have to feel. I usually choose to believe that maybe they don’t really understand what they are doing. But that’s just me :­). I can’t imagine someone consciously choosing copying if they have something to say on their own. It would be just excruciating to hide behind a mask all the time. I also wonder if such situations affect me financially – I won’t pretend – my passion is also my work and source of income. Being copied not only means having your feelings hurt, but also a possible financial loss. I think that copying is not totally bad though – personally I believe it’s ok to learn by copying, if it’s your way of learning, perfecting your skills. But then just don’t publish what you make, and definitely don’t call it your own. It’s as simple as that.knotted_tree_of_life over_the_waves

Thank you Anna for taking the time to chat with us!  Best wishes on your upcoming classes!

Where to find Anna: http://drakonaria.com/
http://drakonaria.etsy.com/
http://en.dawanda.com/shop/drakonaria

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Colour your work!

20160419_122106 - Copy (2)Add some colour! Thank you to our article sponsor: PMC Connection.

Alcohol Inks:
20160419_122502 - Copy (2)What I tried: I cleaned up several metal clay pieces with nail-polish remover (acetone).  I painted the pieces with alcohol inks.  I tried mixing colours and diluting the colours, but in the end I liked the colours straight out of the bottles best.  As you can see in the photos the colour fades when it dries. (After image has been buffed and polished. But on the edges you can see the pure colour. I took some of the colour off the middle of the leaf to show the silver.)
20160419_122856 - Copy (3)What I learned: The rougher the surface the better the colour adhesion.  Metal pieces will need to be coated with a spray on sealer.  I did not try the ink on base metals.

 

 

 

 

 

 

20160419_123312 - Copy (2)Gilders Paste:
What I tried: I painted guilders paste on to several metal pieces.  My paste was quite dry, so I diluted it with a bit of paint thinner. Some people like to rub the paste onto the metal with a soft cloth. I had better luck painting it on thick. The next day (almost 24 hours later) I gently rubbed off the extra with a light sanding (1000 grit paper).
20160419_135030(3) - CopyWhat I learned: I think I would have better luck with the colour staying on if  my pieces had deeper crevices and carving recesses. Like the alcohol ink I found the colour adhered better to a rough surface rather that a highly polished one.

20160419_130423 (2)Heat Patina:
20160419_130503 - Copy (2)What I tried: I heated copper rings with a butane torch, just long enough to see the colour change on the surface.
What I learned: The prettier the heat patina, the easier it is to rub off.  I still like the colour and will hope that the spray on sealer will keep some of the colour.  When I was making raku pottery I was told often that the colour would not stay it will oxidize and change over time… I’m sure this is true here.  But many of my pottery pieces still look good 20 years later–so I’m hoping for a similar result with heat treated metal that is sealed. And just a word about this torch.This torch would be a great one for a student.  It is so easy to start and to shut off.

20160419_123530 - Copy (2)Liquid Patinas: Copper Sulfate (base metals), liver of sulfur (silver).
20160419_123825 - Copy (2)What I tried:
Base Metal Copper Sulfate:
I painted the liquid copper sulpate patina directly onto the copper rings.  I liked how easy it was to turn the copper rings a dark black.

Liver of Sulfur:“LOS”, is a staple to a metal clay artists’ repertoire of techniques.  I use dry LOS pieces from a container I bought 10 years ago.  I dilute it in a cup of boiling water.  I let it cool and either dip my silver piece in or paint it on certain areas.
What I learned:
The copper liquid colourant has a distinct cat pee odor.  My poor cat was kicked out of my studio until I discovered the source of the smell. About half of the black patina rubbed off when I vigorously polished the rings.  I will try this product again and see if repeating the process would give me a more solid black colour.  The design potential is encouraging.

Liver of Sulfur: LOS has a distinct rotten egg odor that some artists cannot stand.  For those I’d recommend using the liquid LOS that comes prepared rather than dropping a chunk into boiling water. Fine silver holds its polish and patina well  and so I’ve never used any sort of sealer.

Where to find products I used:

Alcohol Ink: https://pmcconnection.com/embellishment-finishes/alcohol-inks.html
Guilder’s Paste: https://pmcconnection.com/embellishment-finishes/gilders-paste.html
Heat Patina: https://pmcconnection.com/firing/torch-kits/butane-torch.html
Copper Patina: https://pmcconnection.com/embellishment-finishes/patinas/antique-patina-1-oz.html
Liver of Sulphur:https://pmcconnection.com/embellishment-finishes/patinas/liver-of-sulfur-gel-squeeze-bottle-xlgel-1-oz.html
Metal Sealer: https://pmcconnection.com/pym-protectant-pump-6-oz.html

540704_577388125607677_846842341_nJeannette Froese LeBlanc is a jewellery artist and the editor of www.cre8tivefire.com. 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.

 

Exciting New Tool for Metal Clay Students and Teachers

13116516_10153627138506636_1460845564940822998_oaSo often, we are asked if we know of a metal clay teacher in a certain area. All too often, the answer is “no, we don’t.” When this happens, it’s not necessarily because there isn’t a skilled teacher in the area. Instead, there hasn’t been any easy way to keep track of metal clay teachers in many years. Thanks to a joint project between Creative Fire and PMC Connection, metal clay students and teachers now have a much easier way to find each other.

The teacher map on the PMCC site is based on a past project by PMCC president Jennifer Roberts and designer Scott Benton of Cmpreshn, Inc. During the Summer of 2014, Roberts was a member of the Dallas Animal Shelter Commission. Looking for a way to help convince the Dallas City Council to give more money to the shelter, she sought Benton’s help to find a way to prove to the council members that people all over the city used the shelter services more than the council believed. The map at fund- das.org was born and the pair were able to collect and present valuable data to the Dallas City Council about the location of DAS customers and the shelter services they relied on.

“We talked at the time about finding a way to adapt the technology to help put metal clay teachers and students together,” Roberts explained, “but we knew that the teacher map would need some added functionality to really be useful to students looking for teachers.” The new map combines the intuitive map interface of the fund-das site and also allows teachers to list contact information, website addresses, skills taught, certifications and other information. It can also be navigated in a number of ways. Benton, the architect of the map, described one of its key benefits. “Gone are the days of slogging through a list of teachers by state and looking for your city. With our map, you can search by zip code or navigate by using the hand tool and zooming in and out.”

There is an added bonus for teachers, who can list up to five locations. “We know that many teachers work from a home base, but also travel to teach.” By creating one main teacher profile and allowing teachers to list up to five locations within that profile, we can send potential students directly to the resources for those classes away from home. With the ability to edit and delete locations, teachers let students know exactly when and where they will be teaching.

Creating a profile is easy. Head to PMC Connection and get on the map today!

 

Are You Covered? Talking Insurance for Artists By Jeannette Froese LeBlanc

index1So as Monday’s go, today has pretty well lived up to the reputation of a Monday.  I innocently called the insurance company we’ve been with for 16 years about insurance needed for a craft show….and after an hour’s worth of questions about the shingles on our roof and the equipment I had in my studio…(I have a sewing machine, a sander/grinder and a 5 amp kiln)…my home insurance coverage was cancelled.  Awesome.  Why put me though all those questions only to cancel my policy? Was she just curious?  Maybe the agent I was on the phone with wanted to start her own home jewellery making business?

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Sample of one of the pieces of equipment used in my “manufacturing business”.

I’m sharing my story as it may serve as a reminder to check into your own insurance coverage.  Asking about coverage for a show–a show I may or may not get into–led me down the worm hole of studio insurance.

In retrospect, the questions I consider to be quite silly about my “manufacturing equipment” have made me realize that I was not insured by the right company.  We assumed going with a company that bore the same name as our bank, meant that it was part of the bank.  I’ve since learned that it is a company “associated” with my bank.  And while we saved money going with a large insurance company, we were a number and they were unknown to us. Continue reading…