Bague gravée en pâte de bronze avec un cabochon en résine UV par Sabine Alienor Singery

Screenshot (90)Suivez un cours en France…. sans quitter votre maison! Sabine Alienor Singery a réalisé un cours en vidéo pour les lecteurs de Creative Fire ! Dans ce cours, elle montre comment réaliser une bague en pâte de bronze, préparer la pâte pour l’utiliser avec la Silhouette, utiliser la Silhouette pour graver de la pâte flexible, assembler et cuire la bague et enfin, utiliser de la résine UV pour créer un cabochon unique. Bien que ce soit un projet complexe… les artistes de la pâte de métal de tous niveaux apprécieront son cours.

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Etched Bronze Clay Ring with UV Resin Cabochon by Sabine Alienor Singery

Screenshot (90)Take a workshop in France…without leaving your house!  Sabine Alienor Singery has made a video class for Creative Fire readers!  In this workshop she will demonstrate making the bronze clay ring, preparing clay to be used in a Silhouette cutter, using the Silhouette cutter to etch the flexible dry clay, assembly and firing of the ring, and lastly using UV resin to create a unique Cabochon. While this is a complex project…metal clay artists of all levels will enjoy her class. 

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Lava Ring by Angela Baduel-Crispin

This unisex ring has a slightly rough, masculine look and can be a great gift for a man. It has a firing temperature adapted to allow Art Clay™ copper to sinter while being fired together with fine silver, in a way that is safe for both metals. 

The advantage of using a commercial fine silver ring liner is that it guarantees strength and avoids direct skin contact with the copper when the ring is worn. Using a manufactured ring liner instead of making your own fine silver flared ring shank also saves you time.

A fired silver clay ring shank can be used, if you prefer, but it should be sturdy and fired for 2 hours at 900°C regardless of the brand of clay used.
It is important to fire only unequal amounts of copper and silver (i.e. unequal mass), because firing copper and silver of equal mass together tends to make them alloy (see “Caution” at the end of this article).

Co-firing silver and copper clays: In general, it is possible to fire copper and low fire silver clays together successfully as long as they are not in equal amounts (so they don’t alloy) and as long as the temperature is adjusted to suit both clays. For silver ring shanks, however, co-firing silver and copper clays is not recommended. The short (30 minute) firing time required for the copper clay, which helps to reduce oxide build-up, can compromise the strength of the silver clay band (which should be fired for a full 2 hours at 1650°F), while firing the copper clay for longer than 30 minutes produces a thicker layer of copper oxides on the surface, reducing the thickness and strength of the copper metal after the oxides are removed.

Artist Profile-Lori Field

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‘Feral Husband’ is my little bronze tiger businessman. He can be worn under a suit to ward off evil spirits at the office.

Every once in a while I find artwork that stops me in my tracks. I love it when that happens–it’s a moment when I really feel inspired, full of questions and yet I just want to look and look and look at the artwork. Lori Field’s work stopped me in my tracks a few months ago. I am thrilled to share our interview. (Please note: if you click on an image you can see it full size!) Continue reading…

Lava Ring By Angela Baduel-Crispin

Crispin-LavaRing-400 _ TSD2This unisex ring has a slightly rough, masculine look and can be a great gift for a man. It has a firing temperature adapted to allow Art Clay™ copper to sinter while being fired together with fine silver, in a way that is safe for both metals.

Level: Intermediate
Project by: Angela B. Crispin
Edited by: Jeannette Froese LeBlanc and Margaret Schindel
Material List: Lava Ring materials

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Bague Lave Par Angela Baduel-Crispin

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Cette bague unisexe a un aspect un peu brut légèrement masculin et peut être une bonne idée de cadeau pour un homme. La température de cuisson de la Art Clay Copper a été adaptée pour permettre au cuivre de fusionner tout en étant cuit avec l’argent fin d’une manière sûre et fiable pour les deux métaux.

Niveau: Intermediate
Projet par: Angela B. Crispin
Révision française par Soazig Alligand et Jeannette Froese LeBlanc
Liste de matériaux: Bague Lave

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2015 Saul Bell Design Award Finalists-Metal Clay Category: PART 5 of 5

Monday’s are not all bad!  Let’s start off the week with something really good.  Holly Gage is a never ending river of good things! As a teacher, mentor and motivational speaker she has touched many lives. She has been a supporter of Metal Clay Artist Magazine before our first issue came out! I think we chatted at the Art Clay Conference about magazines in 2009. Over the years she has had images in the gallery and she has contributed articles. Maybe some of you remember this piece from an MCAM gallery? Below is our fifth interview with the Saul Bell Award finalists in the metal clay category.
holly_gage_natures_renewal Continue reading…

2015 Saul Bell Design Award Finalists-Metal Clay Category: PART 4 of 5

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“Gentle Hands” bracelet Janet Alexander made for a charity auction to benefit “HEAL” helpendabuseforlife.org.

Untitled-1I have admired Janet Alexander’s work for many years. She has contributed articles to Metal Clay Artist Magazine and she took part in a very special charity bracelet project two years ago. We featured her bracelet on the cover. Her innovative design is a match of beautiful imagery of the mountains in her area, the helping hands of the charity she was spotlighting, along with the complexity of a hidden link system. Knowing her work, I was not surprised to hear that she is a finalist for the Saul Bell Design Award!

Creative Fire: How long have you worked in metal clay?
Janet Alexander: I had been introduced to metal clay in 1999 but then started working in metal clay in 2009. Continue reading…

2015 Saul Bell Design Award Finalists-Metal Clay Category: PART 3 of 5

Our third interview is with Terry Kovalcik from the USA. Terry’s locket “A Tear for Icarus” (2005) was the first piece that caught my eye and made me really look at metal clay. As you can see by Terry’s finalist piece for the Saul Bell Design Award, his attention to detail and excellent craftsmanship have not wavered at all.

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A Tear for Icarus (2005)

Creative Fire: How long have you worked in metal clay? Is there one kind of metal clay that is your favorite? 
Terry Kovalcik: I was first introduced to Precious Metal Clay in 1999 and have worked with it ever since. So that makes it 16 years. As for a favorite, it’s hard to say, I do find myself using the 960 hybrid PMC clay a lot lately. My approach is to pick the best clay for the job. PMC 960 works well for many different techniques, it’s strong and versatile. Continue reading…

2015 Saul Bell Design Award Finalists-Metal Clay Category: PART 2 of 5

The second finalist in the metal clay category to be interviewed is Anna Mazoń  from Poland. We fell in love with her work and profiled her in Metal Clay Artist Magazine in 2012 as “an architect of Poland’s Metal Clay movement.” There are many fabulous Polish metal clay artists, but one who really stands out for her work is Anna Mazoń.

closeupCreative Fire: How long have you worked in metal clay? Do you have a favorite? Do you have any favorite tools for metal clay?
Anna Mazoń: I started working with metal clay in 2008, so it’s been almost 7 years – time flies. Since then I tried really a lot of different metal clays, from different brands and the more I try, the more I am tempted to say, that it really doesn’t matter what you use. The only thing that matters is your talent and perseverance. Continue reading…