- How to use metal clay tools, including slats, roller, templates, textures and butane torch.
- How to properly handle metal clay for ease of use and to economize the material.
- How to incorporate other jewelry making techniques with metal clay.
- How to enjoy metal clay!
This tutorial shows how to make the textured barrel beads as seen in the image of the mixed media necklace. Barrel beads use very little clay, yet have a lot of volume. And since they are not formed over any sort of burn-out material (i.e. wood or cork clay) they can be fired with a torch rather than a kiln.
When I finished making some barrel beads for this project I thought I needed a “beauty shot”; a photo that would inspire others to want to try making these beads. That was my “rabbit hole”! A month later…I strung this necklace. The other beads in the necklace include round bronze and silver beads, silver bead caps, vintage red plastic beads, rubber beads and rubber cord. It’s a real mix, but it is fun and that’s why we make jewellery!
[Editor’s Note: When we started to put models on the cover our readers noticed! The first issue with a live model featured a beautiful cover photograph of Kathleen Nowak Tucci’s piece Unidinia on a live model. This eye-catching shot generated so much positive buzz in the forums and on Facebook, we decided to go in-depth for our readers and ask a photographer for her point of view on jewellery photography.]
Shooting fashion and beauty is a creative endeavor that entails exploration in order to attain a meaningful photographic expression.
When producing a shoot as a photographer/stylist, I start off with a concept. Along with the input of my creative team, I let the photo-shoot process take on a life of its own to see what can be accomplished. First—I scout a model that suits the look I am aiming for. In terms of styling—with the established concept in mind, I proceed in getting the right clothing and accessories to accomplish the planned look. I then consult with my make-up artist for complimentary beauty looks to match the concept. It’s an enjoyable process that allows freedom to transform ideas into even greater ideas. Last, I seek a location that coincides with the theme of the shoot. Finding the right location with the right amenities for make-up, hair and wardrobe prep can be tedious at times. It is very exciting when all components come together on set and the creative process comes alive. When shooting, I keep my concept in mind and continue to evolve as ideas arise on set. Continue reading…
Holly Ginsberg Gage has had a busy year. She won Second Place in Metal Clay at the 2015 Saul Bell Design Awards and now she is heading up IMPACT Artist Project: International Metal Clay Project Advancing Creativity and Talent. Holly has set up a 25K fundraiser on Kickstater to fund the project. We caught up with her during her fundraiser to hear more details.
Holly tells us that if 25K is raised that it will be just enough to launch the project, “25K is the bare minimum to get us out the door with our most basic goals, which is growing the resources on our website, and maintaining the forum, IMPACT Activity programs and Rewards, and free webinars.” If 50k is raised with Kickstarter, Holly will give away a free book to everyone that has donated. “The Journey of Self Discovery Through Metal Clay, This book is yet to be published, and will be given away as an e-book.” Continue reading…
Every once in a while, if we are lucky, we meet someone who is truly a giving person. Someone who doesn’t expect something in return. Most of us know people who will look for the “what’s in it for me” before they give, such as: a tax receipt, their name listed on a donor page or carved onto a corner stone. But then there are those who quietly give. In the artistic community, artists are often preyed upon to “give” and “donate”. But in this case a scientist and an artist are giving to artists! Bill and Lacey Ann Struve are well known in the metal clay community. They have invented and produced several base metal clays under their company Metal Adventures and now they have a new invention to share with the artistic community. Continue reading…
It’s true that traveling to take a class to learn a special technique can be costly, but I encourage everyone who can to do so once in a while. Meeting other artists and taking part in a class led by an instructor with whom you haven’t studied before will help you step outside your comfort zone and encourage you to try new things. I have traveled long distances to attend classes several times, and I’ve learned a lot about how to make the most of these experiences. Continue reading…
Since I rediscovered polymer clay this year, my mind has been spinning with ideas about how it could be used with metal clay. Add in glass clay to the mix, and my creative juices have been really flowing! Well-known glass artist Paula Radke made the glass cabs out of her glass clay.
I am the first to admit that I’m learning polymer clay and while my finished bracelet is not perfect…there are several ideas to take away and try in your own work:
a) Polymer clay is fun! I love that I can work with both fired and unfired clay.
b) Carving polymer clay is addictive! I took a class with Celie Fago and she showed us how to carve polymer clay and the importance of creating test pieces of polymer clay so that you can test that the clay cured after baking it.
c) Glass clay is divine! Oh the colours! Paula’s cabochons remind me of something I’d find at a European flea-market.
Ever have the thought that because you can’t draw you aren’t an artist? Well, according to the newest craze spreading across the country, if you can hold a pen and make a line, you can draw beautiful pictures. Does this make you an artist? Maybe not, but just about everyone who has tried it creates at least ONE original drawing, often worthy of framing!
Last fall I was introduced to a drawing technique called Zentangle®. A friend found it online, I ordered the kit, three of us watched the video, tried it out and we were hooked! We each have different backgrounds, but we were each able to create a set of diverse and interesting drawings.
The premise behind the process is that you combine some Zen time, soft music and quiet environment with a directed type of mark making, and you create small, 3.5”x3.5” (8.8cm) drawings full of dynamic patterns and shapes. By engaging your right brain in this way anyone can draw some pretty spectacular designs. Zentangle® provides a way to shift your focus and perspective onto the process of what you are doing and away from the results. Continue reading…
Products Reviewed: Helen Breil Designer Texture Stamps,Rivet Piercing/Setting Tool and the Jool Tool
Helen Breil Designer Texture Stamps
Zentangles®, a meditative, repetitive form of doodling, seems to be everywhere these days. Last month, Metal Clay Artist published an article by Linda Styles Smith that explored a number of ways these highly graphic drawings could be used for textures in metal clay. Those who like the patterns, but don’t feel like creating their own, can now get the look from designer Helen Breil’s intriguing line of texture plates inspired by her experiments with Zentangles®. Continue reading…
The real trick to making fingerprint jewelry in metal clay is getting a clean, detailed print impressed into the clay. In my experience, all metal clays types can take fingerprints beautifully. But there are a few different ways – both direct and indirect – to harvest the fingerprint and impress it into the clay, and each has advantages and drawbacks and produces a slightly different result.
The three most common approaches are:
1) Pressing the finger directly into metal clay.
2) Taking an impression of the fingerprint into a molding compound, and pressing the molded print into metal clay.
3) Taking an ink fingerprint on paper and then using the image to create a photopolymer plate (PPP) or to etch a copper texture plate.
In this article, I’ll describe the major pros, cons, and unique considerations for each approach. Continue reading…