Project: Silver and Gold Pendulum by PATRIK KUSEK

Untitled-61I’ve always been interested in supernatural phenomena: ESP, clairvoyance, telekinesis, observations that are beyond the scope of normal scientific understanding. Today there seems to be an unlimited number of TV shows on everything from Bigfoot to psychic pets. Even The History Channel has gotten into the act with programs on UFOs and psychic phenomena. So when I got the idea to make a pendulum for a necklace, I thought a little investigative research might be in order.

MCAM 5.1_Page_07_Image_0004Pendulum divination has been around for hundreds of years. It has been used to find hidden treasure, diagnose illness, locate missing persons, uncover gemstones hidden in the ground, and even find Russian submarines. Many notable people took advantage of the power of the pendulum. Leonardo da Vinci, General Patton, even Albert Einstien was known to use the pendulum with great success. He believed its power lay in electromagnetism and energy that is unseen and not yet fully understood.

Regardless of how or why it works, you don’t need to be psychic to use it, and now you can make one for yourself!

Artist/Author: Patrik Kusek
Photos: Patrik Kusek
Editors: Jeannette Froese LeBlanc, Joy Funnell and Margaret Schindel.

 

Graceful Petals- Incorporate metal clay into traditional metal working with soldering by CANDACE STEPPES

MCAM 4.3_Page_45_Image_0001Providing elegance and sunshine to everyday, flowers can always brighten a mood. Create a flower of grace and splendor with carved leaves for that added touch of detail. I will then show you how to solder the foliage to a sterling silver cuff that will allow you to take the flower with you everywhere.

Project and Photos by CANDACE STEPPES
Editing by Jeannette Froese LeBlanc, Margaret Schindel and Joy Funnell
(All images and text copyright to the artist and permission must be given by the Artist or Creative Fire to reproduce.)

Project: Grand Inspiration by Helen Wyland-Malchow

MCAM 3.2_Page_47_Image_0001Most metal clay artists have a quite a few pieces that didn’t work out as planned. My metal clay leftovers live in a box on my workbench. I leave them there as a visual reminder, hoping that some grand inspiration will point me in the right direction. I also collect vintage cabs, brass stampings and beads dating from 1910 to 1970, and containers of them litter the shelves on my wall! As fate would have it, I knocked over the box of metal clay odds and ends onto a design board where I had been playing with some vintage cabs and stones. They landed in just the right spot and— voilà!—an inspiration was born. It was the perfect marriage of my collections of vintage stones, polymer clay and metal clay. I have found some of my most interesting stones at tag sales and thrift shops, set in unwanted bracelets, necklaces or pins. Release these stones from their old designs and mix them with your metal clay leftovers and polymer clay to give them an entirely new look! Your local craft store also carries lots of interesting things that can be set into a bezel.

Wishing you grand inspirations with your own leftovers!

Project Design and Photos:
Helen Wyland-Malchow
Editors:
Margaret Schindel and Jeannette Froese LeBlanc

Editor’s note: This project can serve as a springboard for multiple variations. For example, use three stone or glass cabochons rather than filling two of the bezels with polymer clay cane slices, or join the metal components with metal clay oil paste instead of solder.

Tribute to Gaudí 2 by WALDO IŁOWIECKI

MCAM 5.1_Page_48_Image_0001This bracelet was inspired by the work of renowned Spanish architect Antoni Gaudí. I’ll show you how to create this lovely bracelet from Goldie Bronze™ clay using small, individually-shaped elements in layers to build the very sculptural design. The stones in this bracelet are set after firing, giving you a much greater choice of what you can use.

Project and Photos by: Waldo Ilowiecki
Editing by: Margaret Schindel, Joy Funnell and Jeannette Froese LeBlanc

Tutorial: Copper and Sterling Silver Mokume-Gane Earrings By Hadar Jacobson

OLYMPUS DIGITAL CAMERAMokume-gane (a Japanese word meaning wood-grained metal) is a difficult mixed-metals technique that originated in 17th-century Japan. Different colors of metals and/or alloys are stacked and diffusion-bonded into a single billet that is carved and forged alternately to expose the different metal layers, creating unique and detailed patterns resembling wood grain. Creating true mokume-gane is an arduous and time-consuming process that requires a great deal of technical skill and experience.

Polymer clay artists use simple techniques to produce patterns that loosely mimic the look of true mokume gane, but they are not practical to use for combining multiple types of metal clay. Artist, teacher and author Hadar Jacobson shows MCAM readers her own method for simulating mokume-gane with silver and copper metal clays.

Tutorial: Bird’s Nest Bezel Bracelet by Michelle Loon

Michelle Loon_wwwcre8tivefire_comThe original inspiration for this project came from my need to create a unique setting for a wine cork after taking a design class in San Francisco The layers of syringe create bezel like frames with an organic feel reminiscent of a bird’s nest. Each bezel frame is unique and can be filled with a variety of mixed media (polymer clay, resin, paper, etc.) after firing. In this project polymer clay bullseye canes are sculpted and carved with added embellishments for a carved button feel.

Author: Michelle Loon
Edited by Joy Funnell, Margaret Schindel and Jeannette Froese LeBlanc

METAL CLAY AND MICRO-MOSAIC PENDANT

Verani_Mosaic_

METAL CLAY AND MICRO-MOSAIC PENDANT

by Michela Verani

Micro-mosaic is an ancient art form of miniature glass mosaics that were popular during the Victorian era and reportedly no longer are made. Micro-mosaic pieces can be intricately patterned, with microscopically small glass components and carefully grouted, ground and polished surfaces, or simpler and more economical, such as Venetian micro-mosaics in which the pieces are larger and the surface is neither ground nor grouted. . This project uses the Venetian style of micro-mosaic and my own processes.

I use several types of glass rods: flat noodle-shaped rods called smalti filati, multicolored patterned and shaped rods similar to millefiori (tessera), millefiori, and some small lampworking rods. I buy my smalti filati or glass rods that make up the background colors from Miami Mosaics. They carry the filati in quite a number of colors and you can buy sampler mixes. (See the Resources section at the end of this article.) According to some sources, the patterned or complex tessera rods are not being made any longer, so my main source for tessera is damaged micro-mosaic pieces. Micro-mosaic jewelry often is available on eBay, and it’s worth checking out as a potential source not only of damaged pieces to take apart, but also of design inspiration. I also have developed relationships with some antique shops whose buyers will purchase damaged micro-mosaic jewelry for me when they find it and then contact me. You might want to try to develop your own similar source(s) of damaged micro-mosaic pieces. Also, just in case the information I’ve found about micro-mosaic work no longer being done is true, please don’t destroy undamaged micro-mosaics to re-use the glass pieces for your own designs! These are valuable examples of a potentially lost art form that should be preserved for future generations.

Experience Level – Advanced
Edited by Jeannette Froese LeBlanc, Joy Funnell and Margaret Schindel.

Molded glass clay cabochons By Paula Radke

Beauty_Flower buttons3Glass clay is fairly new on the clay scene. Like metal clay, it can be molded and/or sculpted and, after drying and being fired in a kiln, it undergoes a seemingly magical transformation. But instead of textured, sculpted or molded solid metal, glass clay transforms into textured, sculpted or molded solid glass! Easy to use and inexpensive, it comes in powdered form in a wide range of colors (opaque only). You can use your glass clay cabochons as you would use any fused glass cabs, such as in the hinged bracelet project or the mixed media bracelet.

Author and photos except those noted: Paula Radke
Editors: Jeannette Froese LeBlanc, Margaret Schindel and Ann Davis
Photos 1-3: Ann Davis

Experience Level: Beginner

One Hinged Bracelet, Two Choices of Materials Part 2 of 2 Jeannette Froese LeBlanc

beautyIn this article, I will show you how to make a metal clay hinged bracelet with wire bezel-set glass clay cabochons that you can buy or make yourself using Paula’s project. In a previous post I showed you how to make a polymer clay version.

Note: Project assumes some previous soldering experience. If you are new to soldering, you may want to pick up a copy of Joe Silvera’s book, Soldering Made Simple: Easy techniques for the kitchen-table jeweler (Kalmbach Books, 2010) before trying this project.

Author and How-To Photos: Jeannette Froese LeBlanc
Edited by: Margaret Schindel and Joy Funnell
Beauty Photo: Lisa Barth
Illustrations: Roxan Waluk

Experience Level: Intermediate-to-advanced

Silver Clay Embellishments on Lampworked Glass Beads

Ann Davis_MC on Glass_10.jpgI have been trying to combine metals with glass ever since I took my inspiring first glass beadmaking class from Kate Fowle Meleney nearly 20 years ago.. The advent of low-fire silver metal clays it has made it easy to add silver embellishments to glass, which not only is a beautiful touch but also is eminently practical given the rising cost of silver. Even a small amount of embellishment allows you to make something unique very quickly. You will need to buy or make a long-necked lampworked glass bead from soda-lime glass (aka “soft glass”), which has a COE (coefficient of expansion) between 90 and 104 and is manufactured under a number of brands including Effetre (formerly Moretti), Bullseye, Lauscha, Vetrofond and BellaDonna, among others. The secret to a successful outcome is working “wet” with the silver clay and using thick PMC3™ oil paste to adhere it to the glass.

Author: by Ann Davis – USA     Photos: H. Caldwell Davis
Edited by Jeannette Froese LeBlanc, Margaret Schindel and Joy Funnell.

Eye Candy/Samples of Ann Davis’ work to inspire you for this project:
Ann Davis_MC on Glass_15.jpgAnn Davis_MC on Glass_12.jpgAnn Davis_MC on Glass_16.jpg

 

Artist Project Series: Little Red School House Ring by Jeannette Froese LeBlanc

My project is based on a schoolhouse in rural Ontario.  The schoolhouse was built in 1876 and captured my heart as a child.  The school was decommissioned in the 1950’s and purchased at an auction by my mother who then gave it to her father. It sits on 1 acre of land that my relatives had donated for the school.  My grandparents lived in a farmhouse nearby and my grandfather used to give me the keys and I’d ride my bike up to the school…and play inside.  One summer I even conned neighboring kids to come to my school–I was the teacher, of course!  When it came time for my husband and myself to buy or build a house…this was our model and we took as much of the old school to our house.  My dream as a little girl was to live in the “little red schoolhouse”.

In the project I’ll show how I made my ring.  Have fun and design your own dream house!

This project is proudly presented by Cool Tools. (And I thank them and Bill Struve for this wonderful silver metal clay.  It was the perfect clay for my project.  It was strong, but flexible when it was bone dry.) Continue reading…

Artist Project Series: Penannular Brooch by Julia Rai

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Cool Tools is proud to present the next artist project in our series.  This time UK artist Julia Rai presents her artistic talents using EZ960™ Sterling Silver Clay.

Julia Rai has been a contributor to Creative Fire (Metal Clay Artist Magazine) since 2009.  We are thrilled to feature her latest project.

“Penannular style brooches have been used to fasten clothing since the late Iron Age. This style of brooch has a loop of metal with terminals or flattened ends and a moveable pin. The pin is pushed through the fabric and the end of the ring goes under the sharp end of the pin. The ring is then turned locking the pin in place. There are a wide variety of designs for the terminals of historical penannular brooches and this is where the fun comes in on this modern take on an ancient design.

I have used a natural theme for the hoop, texturing it to resemble bark. The terminals use pod, fungi and lichen forms and this is echoed on the curve of the pin.”

Tools and Materials

  • 25g EZ960™ Sterling Silver Clay
  • Thick paste – any silver clay type will do or make some using scraps of EZ960
  • Syringe – any silver clay type will do
  • Liver of sulphur
  • Extruder with tube making attachment
  • Snake roller
  • Craft knife
  • Cocktail sticks
  • Pointed small clay shaper
  • Tweezers
  • Oil
  • Paintbrush
  • Sanding pads
  • Polishing pads/papers/cloths
  • Vermiculite and stainless steel container
  • Half round pliers

Step 1

Using an extruder with a tube making attachment allows you to easily form a tube for the hoop. This makes the brooch lighter and saves on the amount of material used to make the hoop. Choose a round die which is 3-4mm larger than the central rod on the disc that makes the hole. My die is 5mm in diameter and the rod is 1.5mm in diameter.

Step 2

Oil the inside of the extruder barrel, the die and the hole making disc. Put a large lump of clay into the barrel, assemble the tube maker and screw on the end. Turn the handle and extrude a long tube. Cut it off the extruder with a sharp knife. Form this into a hoop the size you want it and trim off the ends. My hoop has two downward facing terminals but you could also have the gap wider and have the terminals facing each other. Allow this to dry.

Step 3

Trim the ends of the hoop so they are angled facing forward. This will allow the embellishments to face forward when they are added. Using a pointed craft knife, thin out the walls of the terminals from the inside being careful not to go too thin and break the ends.

Step 4

Texture the hoop using thick paste. Drag a cocktail stick in random lines through the paste to form bark like patterns. Do this in small sections on one side so the paste does not dry out before you have made the lines. Allow one side to dry, then turn it over and texture the other side the same way. Make sure the hoop is covered on all sides.

Step 5

To make the pin use a snake roller or a CD case and start with a sausage of clay on a non-oiled surface. Roll a tapered snake thinner than the hoop at the thickest end. It needs to be long enough to be bent over the hoop with the potential to almost touch without restricting movement around the hoop. The sharper end should protrude beyond the gap in the hoop, how long that is depends on your design.

Step 6

Cut the thickest end at an angle and then bend the length so it forms a hook shape with the cut angle facing forward. Embellishment will be added to the flat end to match the terminals. Allow this to dry.

Step 7

When the pin is dry, texture the top and sides of the bend down to the angled end using thick paste and a cocktail stick. Take the texture a little way down the back of the pin but not so far that it will interfere with the action of sliding the pin smoothly through fabric. Do not texture the inside as this will make it difficult for the pin to slide around the hoop smoothly.

Step 8

Take a small ball of clay and form it into a cone shape. Form a pod by pushing a small, pointed clay shaper into the end of the cone and creating an asymmetric aperture with the opening facing forward. Make sure the end of this fits into the hole in the terminal. Form another pod roughly the same size. Allow these to dry and then stick them into the ends of the terminals with thick paste.

Step 9

Make a number of small pod forms using the same method as before. These should be different sizes and shapes to make the overall form interesting. Allow these to dry and then add them to the terminals around the larger pod forms and extending up the hoop a little way. Tweezers help to place these small, fiddly forms. The aim is to cover the transition between the hoop and the main pods so they look like growing forms.

Step 10

Form a number of small balls and poke a dent into each ball with a cocktail stick while they are still wet. Allow these to dry and then stick them into any gaps between pods. Add some paste and cocktail stick texture to the outside of the pods if you like or leave them smooth. Make sure the back gets some embellishment too. When you are happy with the overall design, put it to one side to dry.

Step 11

Use some smaller pod forms and some balls to decorate the front facing part of the pin end and slightly up the bend. Add texture if desired. Use a sanding pad to smooth the pin and sharpen the point. Allow the pin and the hoop to dry thoroughly.

Step 12

Nestle the pieces on a bed of vermiculite or fibre blanket in a stainless steel container. Fire at 1650˚F/900˚C for four hours to ensure the pieces are at maximum strength to bend the pin after firing.

Step 13

Use a brass or steel brush to get into all the nooks and crannies of the pods and texture on the hoop and the pin. Tumble polish to a high shine.

Step 14

Mix up a solution of liver of sulphur with boiling water and dip the hoop and the pin until they are black. Rinse in cold water and then use polishing papers and cloths to shine the high spots of the texture, pods and balls.

Step 15

Assemble the pin on the hoop. Using half round pliers, gently bend the decorated end of the pin so it almost touches the stem but allows free movement around the hoop.

Julia Rai is an award winning artist, teacher and writer well known in the international metal clay community. Her work has featured in a wide range of publications and she writes regularly for print magazines and online. She teaches in her home studio in Cornwall and travels to teach by invitation.

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…