What Can You Use to Add Texture to Metal Clay? Continue reading…
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.
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. Continue reading…
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…
At an invitational gallery show in France, Metal Clay jewellery by seventeen international artists is featured until June 11th. The show is the dream project for artist Angela Baduel-Crispin. PÔLE BIJOU GALERIE in Baccarat, France will display the works for the next four months. Are you unable to travel to France to see the show? We have a virtual tour of the show. The artists’ pieces and information is organized by country.
This exhibition is the first of its kind. It focuses on giving visibility to both this relatively new material and to artists of international renown who have pushed metal clay to it’s highest potential! Seventeen international artists (all women) each with her own their different styles and techniques. 70% of the work in the show is jewelry and the other 30% or so is composed of objects in metal clay. We were very thankful that number of artists were invited and submitted their work for the show. Selection was strongly based on originality of the work and technical proficiency.
Kim Booklass – www.facebook.com/KimBooklassWearableArt
Tribal Warrior Woman symbolizes Every woman, at once simple and complex, guarded and protective, secure and vulnerable, functional and decorative. She stands strong, fights fiercely for her own, opens herself with love, enfolds all into her armour for both defense and nurture. Her chains are not only the ties that bind but also the connections between women around the world. Made from the very earth of Australia, Warrior Woman is accompanied by Wolf, a symbol of her visionary creator, loyal yet fierce protector/companion giving both strength and worldly knowledge.
Like every woman, Warrior Woman gives pieces of herself to nurture and enhance others, remaining whole in and of herself. Appearing to be nothing more than a statue, her armour is symbolic and trans-formative, revealing interconnected pieces of exquisite jewellery. Functional and decorative pieces include her arm guards becoming earrings; her shield, a stick pin; the bow and arrow across her back, a bracelet.
Warrior Woman was sculpted completely by hand from Aussie Metal Clay. Unlike traditional metalwork in which precise measurements remain true, metal clays shrink varying amounts during both drying and firing stages. Using five colours in two different firing temperature ranges, Kim combined beauty and functionality, seamlessly fitting the jewellery pieces, while accounting for the differences in shrinkage, malleability, and strength of the two High Fire colours of the armour and three Medium Fire colours of the body, the like types fired together. During her creation, Kim also perfected a unique metal clay glue enabling finer, more delicate pieces to be invisibly affixed.
Kim, a lifelong Australian, has been a renowned designer of dog jewellery and accessories for many years. She pioneered personalized pet sculptures using traditional metal casting techniques. A new world unfolded when introduced to metal clay. “Knowing No Boundaries” Kim’s motto, encourages her to be an innovator in metal clay. Warrior Woman’s inspiration appeared as both form and symbolism in a dream, with a personal message about life’s battles. Kim relates, “Sculpting Warrior Woman pushed me to areas I had not ventured before. She helped make me into the sculptor I am today, and for that I am forever thankful to her.”
A few months ago we ran a survey for our readers and there was a reoccurring question about whether one could make a living being a jewellery artist. Some people asked specific questions wanting me to talk to a certain artist and find out what they made in sales vs how much they spent on materials. Other readers were not as specific but there was an overall hope that there was some magic path to follow to full-time employment at a jewellery artist.
The answer to the question is, Yes, you can make a living as a jewellery designer. But be careful how you define living! Many people have a vision that a full time jewellery artist designs jewellery and people buy it. But the path is more complicated than that.
Being self-employed is tricky as you wear many hats. Artists have to be able to handle marketing, business accounting, sales, shipping and receiving, customer service, inventory control, as well as design and manufacturing of your jewellery. When your desire is to create, stopping to look after marketing and accounting seems like it is taking you away from what you love. But it is those exact things that are keeping you working in your studio!
A jewellery artist needs to be able to self-promote on social media and have a web-site to show off their portfolios of work. Networking events are opportunities to meet new collectors and to show off your work. I personally find this part hard. I’ve worked for years promoting other artists, but always fall short when showing and talking about my own work.
But, all that said, many artists ALSO have jobs outside of their studio. Many work freelance jobs, taking on teaching and some have full-time employment. Most artists need to be good at budgeting as self-employed artists do not have pensions, medical plans or sick leave.
Another thing about being a self-employed artist–there is no time off. It is hard to balance home life and work life. I try to take advantage of blocks of time and get a task done from my to-do list. I keep a notebook and write down items as they come up. (I know there are fancy apps you can use on your phone.) I’m hoping I’m more productive by knocking off something from my to-do list here and therefore creating time off to be with my family. But shutting off the list and being present is something I’m working on!
In conclusion, yes, you can make a living as a jewellery artist just don’t lose sight of making a life while you make a living.
Jeannette Froese LeBlanc is a studio artist living in rural Ontario. She walks the fine line being making a life and making a living–trying to balance life as an artist and a mother. Currently she is working on a new line of jewellery using metal clay and mixed media. To see more of her work please follow her on Instagram: https://www.instagram.com/sassyandstella/
Chicago based jewellery maker Marco Fleseri has been working with metal clay since 2003. “I made some crude dangly shapes and textured them using the point of a toothpick,” he told me. “I knew it had potential, particularly for creating things that would be difficult or impossible to produce using previous/ traditional methods.”
I asked Marco about his earliest memory of being creative. “When I was five years old I made some blobs that I thought resembled fish, using a papier-mâché I had fashioned by soaking crumpled facial tissue with glue. I sculpted the shapes and let them dry. I was later dismayed when I put my ‘fish’ into a bowl of water and they dissolved.”
Marco’s studio is in a building with other artists and I’m always interested to find out how organised other people are. “My studio is usually somewhat organized, unless I have several projects happening simultaneously.” I can relate to that! Continue reading…
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!
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.
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…
Genevieve Tucci Raised in Baton Rouge as part of an entrepreneurial and artistic family, my passion for creating began at a very early age in my mother’s art studio where I would sit every evening watching her paint, sculpt and design. I was extremely fortunate to attend Baton Rouge Magnet High School which offered stagecraft as an elective. Mrs. Ory, a saint in her own right, gave me confidence and the foundation to safely use powerful saws and tools while my mother gave me the confidence to learn any skill. After graduating LSU with a degree in Arts Administration, I strived for daily creative outlets in order the escape the 9-to-5 and this was also the time my husband and I bought our first home. It meant all the home projects I had been looking forward to could finally happen! It also meant my husband could get me power tools for Christmas, and I would be okay with it.
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!