I have long admired quilling, but I had never tried this wonderful form of art before until I had an opportunity to participate in the Silver Quilling Certification training at the Art Clay Headquarters in Japan, I had zero expectations. I was so lucky to have Ms. Motoko Maggie Nakatani, a renowned quilling artist, as my teacher. She was also the curriculum supervisor of the certification program. (Top Image: Astari’s award winning piece from the Silver Accessories Contest: “DoPositive” combines many metal clay techniques including silver quilling. Click image to enlarge.)
I first met Roxan Waluk at one of the US conferences and have followed her work ever since. Roxan told me a bit about her home. “Originally a third generation Texan, in 1983 my husband drug me out to Virginia kicking and screaming for his work. After over thirty years here, we have migrated out to the middle of Virginia’s beautiful wine and horse country. We live in the small town of Delaplane situated about an hour’s drive outside of Washington DC.”
“I live on three acres with my husband Joe, and our four legged children,” she went on. Continue reading…
Many times we set out with an idea of how we expect a project to turn out. In this article Janet Harriman takes you through her plans and what she expected and how she repaired and recovered her piece. Thank you to Cool Tools for sponsoring this project.
I had a young apprentice who insisted that I try silver metal clay. As a metalsmith with a fine arts background, I was a snob. But just for fun I did try the clay, worked with it for years and then I ended up demonstrating at the National PMC conference at Purdue University. Metal clay is a tactile pleasure. It is magic. Continue reading…
~ Cool Tools and Creative Fire are proud to present another project in this series by Gordon K. Uyehara. Gordon’s work is always interesting and his projects are sure to inspire artists from all levels. Having a chance to look over the shoulder of Gordon as he works is a treat for metal clay artists worldwide.
Dino Bracelet by Gordon K. Uyehara
What does one do with two leftover pieces of double-knit Viking weave chain? Dig it out of the drawer after many years and make a bracelet. I envisioned a focal piece and end caps created out of silver metal clay. Although it seemed rather straightforward at first, I encountered some challenges along the way. I detail them below. You may choose to steer around some of them.
I learned how to weave the chain in a workshop many years ago, and unfortunately, I don’t recall how to do it. However, I do recall we used a starter wire shaped like a flower and a wooden dowel to weave around. The chain was pulled through a vinyl drawplate (made out of cutting board) with different size tapered holes. This was for drawing down the diameter of the chain. The source book was, “Great Wire Jewelry” by Irene From Petersen. With a little imagination this project can be modified to work with other types of chain or cord. It is a good idea to peruse the entire project instructions first before proceeding. Continue reading…
Enchanting Silver Quilling
cop·y·cat by Harriete Estel Berman
Editor’s note: We orginally published this article in May 2016. But it is a hot topic once again in our community so we are bumping it up on our site for a re-read!
-denoting an action, typically a crime, carried out in imitation of another.
“No one likes a copycat”….in fact I’d rather the word was stronger when it comes to artists stealing ideas from artists. Last week we posted a video on FaceBook that started a lot of conversations. Which is EXCELLENT! What a wonderful use of technology to have artists all over the world talking! But will things really change? Will you stop seeing derivatives of artists’ work? “If you copy someone’s else, that is a derivative work. It doesn’t belong in a gallery or showcase and it should not be published anywhere—this includes your website and all social media.” -Sean McCabe (quote from video)
California artist Harriete Estel Berman has written extensively on the topic of copyrights and copycats on her blog: Ask Harriete. “The issues are serious. By our silence, we in the arts and crafts community are cultivating a climate of copycats. Bringing this issue into the open is not going to be popular, but the undercurrents are eroding our economic, ethical and legal boundaries.”
Here are some links to select articles by Harriete. Be an informed artist!
40 COPYCAT THIEVES that have been seen
Until awareness gains traction in every “craft corner”, workshop, retail fair, wholesale show, online forum, manufacturer, retailer, designer, internet site, and becomes a public discussion, the copycat thieves will continue as pirates of our work, our ideas, and our content.In the “Age of the Internet” and digital technologies we can no longer go back to the studio and come up with the next idea fast enough. Ideas and images are stolen at the speed of light.
- Are you prepared to protect your work?
- Do you understand the concepts of Fair Use under Copyright Law?
- Do you understand DMCA
The Guild Guilt of Unauthorized Sharing
AFTER my lectureThe GOOD, The BAD, and The UGLY in the Age of the Internet, many people have responded. Views of the lecture continue grow. Dialog and discussion continues about many topics…..but, …..
But there is a situation that I didn’t consider, didn’t even think about… until it was brought to my attention after the lecture… “The Guild of Unauthorized Sharing.”
Here are the examples:
- A guild member takes a workshop, then comes home to show everyone else the workshop’s techniques, tips and tricks.
- Guild members distributing copies of handouts that they did not create or own.
- A member demos a skill learned in a magazine tutorial.
- A guild hires a copycat workshop instructor instead of hiring the original innovator of a skill or technique.
Ironically, all this sharing is usually rationalized as “helping” each other. But with some reflection, this “feel good” cloak of generosity is concealing ethical, legal and moral issues that, in the long run, have an impact on our community.
I Love Your Work and Want to Make One for Myself
There are rampant versions of copycats within the arts and crafts community. Some are cloaked in naiveté, admiration and enthusiasm.The problems are multi-faceted. One of the problems is that the copycats don’t realize they are stealing from the professionals they most admire.
Purchase of an Object versus Purchase of the Copyright or Right to Copy
Has anyone ever purchased your art or craft work and then started copying the original? I’ve seen this issue discussed online. Or people write to me when they find out about unauthorized copies of their work, especially when other people are profiting from their designs. The situation is frustrating and nearly impossible to stop – once it is out of control.
Harriete Estel Berman creates jewelry, sculpture, Judaica & installations from recycled materials https://harrieteestelberman.com/ and author of the Professional Guidelines https://harrieteestelberman.com/professional-guidelines/Find Harriete online: http://askharriete.typepad.com/
Metal clay artists all over the world are creating beautiful pieces with Bronze and Copper metal clays! We have so many images to share we’ve broken the gallery into two parts.
I find some jewellery items are hard to tag or mark with my studio name, especially necklaces. Years ago I had some very nice sterling silver tags made. They cost a fortune so it was always a debate for me as to what necklace was worth adding a $2 sterling tag. So most of my work has gone out the door without any branding and I still have a pile of tags on my bench. Recently I found an alternative to my sterling tags. Impress Art sells base metal tags that you can stamp and they now make custom stamps. Continue reading…
Every winter many artists in my area fall into a creative funk. The days are short so those with seasonal affective disorder feel the lack of sun first. Then there are those who feel “let down” after the hustle of shows and sales before the winter holidays. Some artists have pushed so hard to create lines and new work and once the shows are over, they are depleted. Starting over is sometimes hard. Others just fall into a creative funk seasonally.
Every February I’d beat myself up for not creating. Spring shows would be coming up and I’d look at empty shelves with no desire to make. One year I was talking to a local potter and he said he once charted his funky moods and found that if he didn’t give into them, he was even less productive. So when they came, he did what he felt like doing–if it was reading–he read. If it was the desire to take a dance class–he did. Eventually he learned that by giving into these “unproductive times” he was ultimately more productive. I think of him every February and wonder what crazy creative thing he is giving into and then I wonder why I’m fighting my own creative funk. This year I feel very, very far from my studio. I’m working a regular teaching gig. A painting teacher at the school invited me to sit in on his class…so I’ve dug out my paint brushes. I haven’t taken a painting class since 1993. It’s good. I’m starting to dream of colour combinations and to look at light and clouds creatively and not just with the sigh of an artist in a funk. Continue reading…
Learning to solder successfully almost every time (nobody’s perfect) is really a matter of learning to control the heat and position of the flame. I’m not an expert by any means. I solder earring posts, jump rings that connect a pendant or clasp to a chain, and jump rings to the work piece itself. I use solder to close bezels and to solder the bezel to a backing plate. I also solder decorative metal clay elements to bezel settings. My work is relatively small in scale, but when I want to solder a larger project, I know a couple of techniques that can help get the job done. And most of all I know my limits. There are just some things that can’t be done with the torch and the skill set I have. (Image: Fabulous finished piece by Lora Hart. “Purple Chalcedony Necklace”)
- Sheet or wire solder looks like any other metal sheet or wire. Be sure to mark it when you take it out of the package. (or just use paste solder like I do)
- Solder balls up
- Gravity sometimes allows the solder ball to fall out of position
- Flux boils (which can also cause solder to move out of position)
- Solder flows towards heat
- Solder will not jump a gap
- Solder can fill a small gap
- Solder will sink into porous metal clay (and potentially lose the connection)
- Solder will not flow on a ‘dirty’ surface (clean metal/solder with fine sandpaper or a wire brush)
- Solderite is soft enough that you can push T pins in to support work, push elements into the board to support them, and actually dig shallow grooves to ‘bury’ elements that will allow the work piece to lay flat – a hidden bail or brooch findings for instance.
WHAT’S A ‘HEAT SINK’?
- A heat ‘sink’ (also called a heat ‘shield’) is a heavier piece of metal used to draw the heat towards it as opposed to a smaller piece that might be in danger of melting. The third hand tweezer acts as a heat sink to protect a thin and delicate earring post when soldering it to the decorative earring piece.
- You might use the ‘sink’ as a ‘shield’ when soldering the last jump ring on a chain. Position the shield/tweezers below the last jump ring and it will prevent the previously joined rings from melting.
- In order for any solder join to be successful, the two pieces/sides/elements must fit tightly together. This means that you might need to file or otherwise alter the shapes of the elements. Always remember to join flat to flat or convex to concave (this is a helpful tip when joining metal clay parts too).
- When closing a jump ring, the wire may be round, but the cut ends should be perfectly flat to fit together properly.
- When joining a round jump ring to a flat back of a pendant, file a flat area on the jump ring to create a tight fit.
- When joining two jump rings to form a figure 8, file flats on each and solder those areas together.
- There may also be times when you want to use a drill or bur to form a divot to hold a spherical shape.
ABOUT JUMP RINGS
Jump rings must be completely closed, with the ends of the wire flush and fitting tightly together in order for the solder to flow from one side of the wire to the other. Even an opening the thickness of a human hair will prevent the join.
- Using two sets of flat nosed pliers on either side of the opening, twist and wiggle the jump ring together until you think it’s closed. Now hold the jump ring up to the light to make sure there isn’t even a sliver of light shining through the join.
- Now that you’ve closed the jump ring so well it might be difficult to see where the seam is by the time you position it on the soldering board. I like to use black Sharpie to mark each side of the join before closing the ring, so I know where to place the solder and where to aim the flame. The marker will burn away by the time the solder flows.
One of the most important aspects of soldering to get comfortable with is knowing how to set up the objects you want to solder so that their position works for you.
- Gravity will encourage a ball of solder to drop away from the join when possible, so I try to position ‘things’ as close to the soldering block as I can.
- If you’re making a chain, and want to solder a number of jump rings closed, just lay them flat on the soldering block with the seams facing you and place the solder inside the ring, behind the seam. This way you’re getting two of the fun facts to work on your behalf. There’s nowhere for the solder to drop, and the heat of the flame is pulling solder through the seam in the jump ring to make a very secure join.
CHAIN MAKING TIP: Only solder half the jump rings closed. Then join two closed rings with one open ring (and solder it) to make segments of 3. Join those segments with more open jump rings and solder to complete the chain.
- When working with a piece that already has one or more elements soldered to the back side (like a hidden bail or brooch findings) excavate a small cavity in the Solderite board to hold those elements so the piece can lay flat.
- If you’re putting a jump ring through the hole in a work-piece to act as a bail, the work-piece is probably going to be more secure laying flat on the soldering board, which means that the jump ring will be in a vertical position. Use tweezers to position the seam of the jump ring as close to the soldering board as possible. This way if the solder balls up and falls, it may fall near the seam and still be in the correct position. Alternately, dig a thin groove just big enough to hold the jump ring upright, positioning the join at the surface of the board.
- If you’re connecting the work-piece to chain, try to protect the chain from the heat (and potential meltage) by laying it under the work-piece (which will act as a heat sink) and away from the heat.
- You can also lay a sopping wet paper towel over items you don’t want to overheat as you solder. The towel will dry before the edges start to char, and that will give you a bit longer to work on your project.
- Use props like coins, T-pins, nests of binding wire, sheets of metal (I use small squares of titanium which cannot be soldered) to position elements and tools into a more beneficial arrangement. I sometimes place my third hand on a box lid or book to raise it into a better position.
WORKING WITH THE FLAME
- When connecting a small element to a larger element (a jump ring directly to a workpiece or an earring post to the earring element) direct the heat onto the larger piece only! The heat will eventually travel from the larger item to the smaller one. When the flux starts to burn off and you see the solder begin to melt, simply flick the flame onto the thinner element to complete the connection.
- Often I’m connecting jump rings or a clasp to chain, which are all thin, fragile items and prone to rapid melting. In that case I tend to ‘sneak up’ on the solder join by positioning the flame on the corner of the board, or an inch or so in front of the join. The residual heat of the flame will heat the elements enough that the solder begins to flow and ball up. When that happens I aim the flame directly in front of the solder area to complete the join. Sometimes I make a motion that I call ‘hit and run’, whereby I aim the flame on the join and quickly flick it away, then back on the join, then away. In effect I’m heating and cooling and heating and cooling so that I manage to avoid overheating and melting the item.
WHAT IT LOOKS LIKE
When using sheet or wire solder and flux
- Liquid flux will start to boil, then go white and a little chalky, then turn glassy when the solder is about to flow. The solder will pull itself into a ball, then start to melt by forming a blob (don’t pull the flame away yet), and it will finally flow, looking like a silver stream.
- If using paste flux – the liquid in the paste will start to heat, may steam and boil (potentially throwing the solder chips out of position), then get chalky and glassy like the liquid flux. The rest of the appearance is the same.
- Paste solder has the flux built in, so no need to add more unless you’re unsoldering or you just want to protect the work-piece from oxidation (remember fine silver doesn’t oxidize). Paste solder will look a little ‘crispy’, will smoke as the flux evaporates, balls up, starts to melt into a blob, then flows completely.
- When the solder flows onto a metal clay item, remove the flame almost immediately. One cannot ‘draw’ the solder to follow the heat when soldering to metal clay.
- Because metal clay is more porous than milled metal, it is suggested that makers burnish the solder site well to close the surface pores in hopes that the solder will not sink into the body of the workpiece. I almost never do this and have never had a piece come apart.
- Use the right amount of solder for the job you want it to do.
- Closing a jump ring requires a ball of solder only about the size of a poppy seed (think of a bagel)
- Using more doesn’t make a better connection. It just makes a sloppy looking join that you’ll want to file and sand into a prettier profile
- When soldering a jump ring to the top of a ‘medallion’, using a bit too much solder will allow the excess to fill gaps on either side of the join, creating a ‘fillet’ or corbel shaped support (think of molding in a house), strengthening the join.
- Sometimes a piece will shift just as the solder flows, or you may decide you made a mistake adding an element, and would like to disconnect the connection you just made. In this case, position the lighter part in a third hand elevated above the soldering block (the bezel wire in the example we’ve been using). Apply flux to the solder join and heat the heavier piece until the solder re flows and the larger item falls off. Use a titanium pick to poke at the item if it’s not easily dislodged.
Note: the two pieces will separate, but the solder will remain until you sand/file it away.
- Allow a fresh solder join sit still for a couple of seconds, don’t move the third hands or other props you may have used. It takes a little while for the solder to cool and ‘set’. I’ve lost a few connections by moving the third hand too soon and pulling the two pieces out of position too quickly.
To solder larger items, one would think you would need a torch capable of putting out a larger flame. But the issue is really the amount of heat that is surrounding the item.
- Use kiln bricks to build a 3-sided ‘lean-to’ shaped structure to house the soldering board and the item to be soldered. Think of the three-way mirror in a dressing room. Add a ‘roof’ if you have the materials. This will create a kiln-like atmospheres that will hold the heat in a contained area, instead of allowing it to fill the larger room you’re most likely working in.
- If you own an Ultra-Lite or other small ‘trinket’ kiln, place the work-piece on it to heat, then use your torch to complete the soldering job. The small kiln will maintain the heat in the entire work-piece, so you’ll only have to concentrate on the solder join.
YouTube Video Instructors to check out:
More photos from Lora’s bench:
LORA HART was born and raised in Los Angeles, California, and moved to historic Richmond, Virginia in 2012. Lora is the Artistic Advisor and one of twenty Senior Instructors for PMC Connection. A metal clay artist inspired by historic imagery, Lora’s work has been featured in books, magazines, and calendars and her jewels are sold in galleries and online. As a designer, educator, and creativity coach, her passion for the art and business of jewelry making has taken her across the United States to help other makers explore their own passions, develop their craft and expand their skills. www.lorahart.com @lorahart