Artist Project Series: Anna Siivonen

This is the sixth project in the Artist Project Series.  Anna Siivonen from Sweden shows how she uses sterling silver metal clay and sterling silver wire. Anna is known for her small, whimsical sculpted metal clay jewellery and she brings that creativity to this project.

Materials and tools:
EZ960 10-20g Sterling Silver Metal Clay (available from Cool Tools)
20-25 cm 1,5 mm thick sterling silver wire
Kids modelling clay or any other cheap and easy to use clay to sketch in.
Paintbrush
Baby wipes
Scalpel
Pliers to cut with and pliers to bend wire with
3M radial bristle disc (120 grit)
Steel block
Rubber mallet
Common metal clay tools
Activated carbon and firing box
steel shot and a tumbler (if you want to give it that extra shine)

Step 1: Read through this step by step description before starting. You could also practice the steps by making the parts in modelling clay. I do a lot of my sketching in modelling clay or in copper or bronze clays. For this project I made several versions in modeling clay so I knew how big to make the parts so that the finished piece would have the size I wanted. You can scale up or possible down the size of the finished design depending on what you want to use it for. If you make the smallest component, the seeds, just a little bit bigger than I describe in the project the finished pieces will be quite a lot bigger. You can also change the design of this project quite easily by making more or less petals, changing their placement and adding other design elements. Try out different layouts in modelling clay before you start with the silver clay. Do not worry about making it perfect in modelling clay. It is more difficult to work in than metal clay in my opinion. If you are going to make a bracelet with a thin wire like in this project the design element should be kept small. To make this bracelet I used less than 10g of silver clay and a 1,5 mm thick and 22 cm long sterling silver wire.

Step 2: Start by making three “seeds” with silver clay, one slightly bigger and two smaller ones. I made my biggest about 1 cm long and the two other ones about 8 mm. Dry the seeds. My flower is going to have five petals and will need 5 seeds, but I begin with making only three so that I do not have that much to reconstitute if I were to change my mind about the size and numbers of petals while making it. Continue reading…

Artist Project Series: Iwona Tamborska

The 3 Fish

This is the 5th project in our ongoing series of tutorials sponsored by Cool Tools.  All projects use their new silver metal clay EZ960™ Sterling Silver. This project is quite advanced, however, artists of all levels will learn something new! Be inspired by the way Iwona uses a drawing for the plan and layout of her pieces, or by her use of colour as she adds stones and coloured paste to this project!  Those who want to learn about hollow forms can follow along and learn about using a burn out media.  This beautiful pendant is wearable sculpture! Continue reading…

Metal Clay 101 – Firing Metal Clay – by Katherine Prejean

Depending on the type of metal clay you are using, from original fine silver to base metal clays, there are a number of options for firing. This may include anything from a kiln to a simple hand-held torch.

One of the processes of creating jewelry with silver metal clay that got me addicted was the ability to use a something as simple as a butane torch for firing. In as little time as two minutes, I could have a beautiful pair of earrings or a pendant ready to wear.

TORCH FIRING — —

When teaching a beginner class, I only demonstrate torch firing as a way to help the students understand how easy it is to set up your metal clay studio with minimal cost.

There are a lot of U-tube videos on metal clay, but one of my favorite ones on torch firing is by Jeannette Froese LeBlanc https://youtu.be/OwwZ3RnkEHw.

Here are some additional tips to remember when torch firing your metal clay.

1. Always make sure you are in a well ventilated area and that your piece is not too large or complex. (These need to be fired in a kiln for a longer period of time.)

2. Allow your work to air dry overnight or place it on a coffee warmer or dehydrator until thoroughly dry. One of my favorite ways to test if the piece is dry is to place it onto a small mirror and wait 5-10 seconds, if there is condensation on the mirror when you remove the piece, it’s not quite dry yet.

3. Once the piece is thoroughly dry, place it on a soldering block or fire brick. My torch station consists of a ceramic tile under the brick/block, which is then set on either a fireproof surface or something that can be singed (like a piece of plywood).

If you are working on the kitchen counter and the piece rolls off the block you don’t want to scar the counter-top. I always have a fire extinguisher in easy reach.

4. Light the torch and hold it so the flame is nearly vertical with the tip of the cone, about 3/4″ away from the work. Within a minute, the piece will be enveloped in a soft flame as the binder burns away. Your first instinct is to pull the flame away from the piece. Don’t do that! The flame will soon go out by itself. Within another minute the piece will start to glow red. Continue heating until this becomes a bright and luminous color. At this point, glance at a clock.

5. Hold this color as uniformly as possible for at least 2-3 minutes (glancing away periodically to relieve your eyes). When the time is up, turn off the torch and allow the piece to cool at least until the red color is gone, at which point it can be quenched or left to air cool.

KILN FIRING — —

As I began to create more complex metal clay pieces and increased my production, I realized that my best option for firing was with a kiln. Utilizing a kiln allows me to fire larger pieces (in excess of 1”), as well as groups of smaller items, like earrings. This frees up my time up to get back to creating.

As with torch firing, I always ensure my pieces are completely dry. All types of metal clay can be fired in a kiln. As long as the kiln can ramp up to the required temperature (as high as 1650 degrees F (900 degrees C) for silver metal clay and can hold that temperature for anywhere from 10 minutes to 4 hours, it can be used for firing metal clay. Programmable kilns allow you to set the time and temperature for firing, which removes any guess work. It’s important to check the clay manufacturer’s time/temperature requirements to determine how high and how long clay must be fired.

The main issue with using a kiln, is that you want to make sure the temperature readings and hold times are accurate. If metal clay pieces are under-fired (fired at lower temperatures or for a shorter period of time than required), then they will not be fully sintered and will be subject to breakage. Alternatively, pieces fired too hot will melt. Kiln temperatures can drift slightly over the life of the kiln. So if you find that you are having firing issues, it is a good idea to test the actual temperatures in your kiln using a handheld pyrometer and compare that to the read out on the kiln’s display. This may result in the need to adjust the temperature (higher or lower temperature by as much as 25 degrees) or period of time (longer or shorter hold time).

I always place my work on a kiln shelf that has been elevated with kiln stilts. This allows the heat from the kiln to travel up, down, all around the pieces. I never place my pieces directly on the kiln floor.

Because metal clay may sometimes slump, flatten or warp as gravity acts on the metal during firing, it important to support the piece to help it retain its shape. If you are firing a complex piece (curved or shaped) that needs support, there are several ways to preserve the shape of your piece. The most common varieties of support are a fiber blanket or vermiculite. Vermiculite, which is a naturally occurring material, is my choice of support for my metal clay. It is easy to find – I buy mine at a local garden center and it works well. I just place it in a crucible and place my metal clay pieces on the vermiculite and fire. You can also place vermiculite directly on the kiln shelf. Fiber blanket can be used to support whole pieces. It can also be placed in negative spaces for support of hollow forms.

My final note on firing metal clay is on Safety:

You should always fire in a well-ventilated area or outside. If you’re torch firing, wear cotton; synthetic materials can melt and stick to the skin if burned. Tie back your hair, wear closed-toed shoes, and don’t wear loose-fitting clothes.

If you’re kiln-firing, follow the kiln manufacturer’s specifications on creating a safe firing station. My kiln is in my garage and placed on a concrete block kept well away from the wall of my garage. I always have a fire extinguisher close by when I’m firing either by torch or kiln.

About the author:  Katherine lives in Southwest Louisiana and is a PMC Connection Instructor. She is a member of Louisiana Craft Guild and her class offerings range from introductory classes to Certification. Katherine teaches in her home studio, as well as at the New Orleans School of Art and Craft in New Orleans, Louisiana.

Katherine is one of four founding members of the L’ esprit du Metal, Louisiana Chapter of the PMC Guild where she serves as Treasurer and Secretary. Her jewelry can be found in several galleries both in Lafayette & New Orleans, LA including Sans Souci Gallery, Lafayette Art Association Gallery, Hermann-Grima-Gallier Historic Houses Gallery in New Orleans, LA.

Artist Project Series- Kathy Van Kleeck

Strata Ring by Kathy Van Kleeck is presented by Cool Tools and is part of a special series of projects designed by metal clay master jewellery makers.  Kathy’s unique style and openness about her process is as refreshing as her jewellery.

(Note: click on images to enlarge)

The inspiration for this ring was born out of my curiosity about how thin I could work with the new EZ960® Sterling Silver Clay and still maintain structural integrity.  Favorite themes in my work are repetition of form and layering of elements.  The image of stratified layers came to mind and creating this effect in rings seemed like a good place to start.

I started off making what I call “washer” rings, thin and flat, but with my signature “wonky and weathered” edges.

Wearing a loose stack of the new “strata” rings worked just fine, but as a project to share seemed a bit lackluster.  The idea of joining the rings via rivets, one small to stabilize the stack and one large to secure the group, seemed like it would be visually compelling, not to mention good fun. Continue reading…

Metal Clay 101- Embedding wire in PMC

Embedding wire in PMC

Whether you need to create a simple loop to hang an earring or you need to string together a complex network of components, embedding wire in PMC is an essential design technique. When working with PMC, always use fine silver wire and make sure the wire is clean by running it through some clean folded 320 grit sandpaper.  To insert eyelets, small loops, or prongs, slightly flatten the part of the wire you plan to insert in the clay and rough up the surface with a file to give more tooth for better grip. Insert the wire carefully into the wet clay, pull it back out dip it into the paste, and then reinsert.  Remember, if you are inserting a loop, be sure to embed the bottom 1/3 of the loop.

If you are laying wire through a piece (for example, making a clasp) make your piece in two layers. When the pieces are dry, sand a groove into both halves and then generously cover both with paste. Lay the flattened wire into the groove and sandwich the pieces together. This will eliminate the bump from the wire.

With a little practice, the addition of wire to metal clay designs can expand your creative horizons tremendously!

Ruth Greening
Having a lifelong love of art, Ruth has a diverse background that includes air-brush painting, Australian cake decorating, stone sculpture, lapidary arts, and fine wire wrap settings. Ruth is self-taught and enjoys learning from renowned teachers by attending classes taught in a wide variety of jewelry art disciplines.

Her introduction to PMC was a dream come true – to be able to work in silver with a true freedom in design. But the best reward is being able to share and enable others to create their own works of silver art through her role as a PMC Connection Senior Instructor.

 

Artist Project Series: Marco Fleseri

This project is the third in a series presented by Cool Tools.  A dozen artists will present projects that showcase their personal style and artistry using EZ960™ Sterling Silver Clay. Come and enjoy this unique opportunity to look over the shoulder of some of the world’s premier metal clay artists as they work.

Marco Fleseri presents a project that artists of all levels will enjoy. By combining fine silver with the metal clay he has taken away many issues with shrinkage and it makes the project more economical too!  Enjoy and feel free to share your results with the artist.

Cuff Bracelet Project by Marco Fleseri
This is a how-to guide for creating your own version of my cuff bracelet which I called “Nelumbo vertabralis.” Inspired by vertebrae and lotus flower petals (“nelumbo” is the genus name for the lotus family of plants), this bracelet has an architectural quality while still looking very intentionally organic / biological.

For this bracelet I used EZ960™ Sterling Silver Clay, which is a premixed formula that can be fired in one stage on an open shelf (no need for carbon). Continue reading…

Design Challenge for 2017

It’s a new year and people seem more excited this year to start anew.  I am too, and I’ve come up with a design challenge for jewelry artists working in any media!

A few years ago I went to CJS Sales in New York City.  I interviewed the owners and learned about the “design quarry” of beads, findings and interesting things that jewelry makers and mixed media artists can find there. (Article link.) I came home with 60 pounds of goodies!!  Seriously!  Luckily I had traveled to NYC by train and not plane!

I have divided up part of my stash into 20 equal collections.  Now I’m looking for 20 artists who would like to participate in a design challenge.  Everyone will get the same amounts of vintage beads, chain, and crystals in their design kit. You can use them any way you want and with any media.

Basic Challenge Parameters:
-Due date: March 31, 2017.
-Must send images of finished piece to cre8tivefire (@) gmail.com.
-Must use 4 pieces of design kit in your finished piece. (1 piece = 1 bead, 1 component, or 1″ of chain)
-Artists can submit up to 3 pieces–either separately or as part of a set.

Oh and is there a prize?
Yes there is!  I have 2 original vintage pendants from the 1960’s found at CJS Sales. A little piece of art history!
**Plus we will put together an interesting series of articles showing off the designed pieces, comments by the artists and a gallery.  I think this would be really fun and it gives us a chance to work with unconventional materials and to stretch our design ideas!

Anyone game to join a design challenge? ***NOTE all kits have been claimed*** Stay tuned for the results!

Jeannette Froese LeBlanc is a studio artist living in rural Ontario Canada.  She has been seen in New York City, hauling obscene amounts of beads and copious piles of fabric back to her hotel. Her studio is packed to the rafters with finds too good to use and is only now starting to share.  To see more of her work please follow her on Instagram: https://www.instagram.com/sassyandstella/

Artist Project Series: Cindy Miller

We are proud to present the 2nd project in a series brought to you by Cool Tools using their new metal clay, EZ960™ Sterling Silver Metal Clay.  Cindy Miller created a beautiful project that both new and experienced metal clay artists will enjoy.

Images of owls have been recorded in art and literature throughout history from the Greek and Romans to numerous Native American tribes. The owl represents wisdom and is associated with inner sight.  The owl is associated with the night it has played on the imagination of people throughout time. Here’s a link to learn more about Owl mythology. This is Cindy’s interpretation of an owl totem amulet necklace.

To learn more about our featured artist, please see Cindy’s artist profile by Julia Rai. Cindy was very candid and talked about her journey to becoming a full time jewellery designer. Continue reading…