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

 

Beginner Project: Go-Go Silver Earrings by Jeannette Froese LeBlanc

finished Here’s an easy project that teaches you many useful skills for metal clay jewelry making.

  • 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!

Hollow Barrel Beads by Jeannette Froese LeBlanc and Margaret Schindel

10393547_10152501674108157_5796246438284297048_nProject and Photos by Jeannette Froese LeBlanc. Step-by-step instructions by Jeannette Froese LeBlanc and Margaret Schindel

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!

 

Mixed Media Bracelet by Jeannette Froese LeBlanc

Bracelet_beauty2aSince 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.

Dome Ring and Matching Earrings– By Jane Font

Font_DomeRing_beautya

This ring combines several different design elements to create lots of visual interest. The earrings are a fun, simple and striking complement, and you can customize all these pieces just by varying the finish inside the domes.

Project and photos: Jane Font
Editors: Jeannette Froese LeBlanc and Margaret Schindel

Extruded Mosaic Canes by Lisa Pavelka

Readers of Creative Fire have been asking for more polymer clay techniques to use with the metal clay creations. You asked, we listened! In this installment of Clay Convergence we’ll look at a widely popular millefiori method that’s not only easy to make, but gives great results time after time. People with little or no polymer clay experience are often intimidated by the idea of working with polymer clay. They believe it’s difficult and time consuming to learn how to achieve complex looking effects. This is an often-held misconception that this project will hopefully dispel. While it’s true that some millefiori versions can be highly difficult, it doesn’t have to be the rule.

IMG_019211This method is one I learned from polymer clay artist Esther Anderson earlier in the last decade. This article doesn’t address how to create the metal clay bezels or frames that showcase this design. That’s up to you.

As you can see from the photo of the finished pendants a variety of metals, shapes, sizes and textures were used. You’ll have to bring your creativity to the bezel or frame you wish to create, but this step-by-step technique method will teach you how to create canes with a mod, tiled look.

Most directions for extruders call for using separate devices for both metal and polymer clays. Cross-material contamination is undesirable when using these tools. You’ll learn an easy tip on how to use only one extruder for both clays as well as how to keep the device clean between uses. Also included is an extra tutorial on how to create a coiled bail or fired and finished metal clay bezel settings and frames.

As for determining your color palette, this is your choice. I recommend working with three to four colors when creating your cane. Using more than four colors may create a mottled effect. Also, it’s a good idea to use at least one very light and one very dark value for maximum contrast and canes that pop! Using colors that have similar tones can result in muted results. This isn’t a no-no by any means, but it’s good to know what to expect when getting started. The best part is experimenting with color combinations as you create a myriad of mosaic tile canes for your metal clay projects. Uncured millefiori canes can last for many years when properly stored.

Copper-Poly Flora Fusion Brooch By Christi Friesen

 

It’s time for something fun!  And who better than Christi Friesen to lead this adventure?  Here she shares how to combine metal clay and polymer clay in a beautiful mixed-media brooch.  We love the lush colours.  Imagine making a version for yourself in fall colours. We feel very inspired and we hope you do too!

Project Level: Beginner/Christi Friesen_BEAUTYIntermediate
Author: Christi Friesen
Editors: Jeannette Froese LeBlanc, Margaret Schindel and Joy Funnell.

Artist Project Series: Ann Davis “Columns” Pendant

[Cool Tools and Creative Fire are pleased to present another project in our ongoing “Artist Project Series”. This time master artist Ann Davis took up our challenge to design a unique tutorial using FS999.  Thank you Ann for your creative and fun project!]

The mystery and mystique of columns seems to infuse all parts of human history. Sumerians had them, Minoans had them, just about everyone did. There are even some Stone Age columns, admittedly more lithic, rectangular, or kind of ax shaped at Gobekli Tepe.  So they kind of started out stone and then were wood or whole trees turned upside down and planted in holes. Premium stone eventually replaced wood ones, fluted columns are said to simulate tree bark. The representations of columns on early Minoan seal rings, have people dancing around them, makes you think of Maypoles:) The Greeks and Romans took it to the next level, erecting victory columns, highly decorated with statues of heroes on the top. Columns are said to represent the bridge between heaven and earth, important buildings, shrines, and the Egyptian Djed pillar, stability and the spinal column. To me the column represents knowledge, written records, ancient alphabets.

There are so many  archeological sites with columns, standing, fallen, broken. I really like the broken ones, they speak to me of past civilizations. Something epic enough happened to break a column. Makes you wonder. I love a good mystery!

I have 4 fluted and twisted columns holding  glass shelves in my living room.  There are two columns on an antique linen cabinet complete with brass finals, along with 2 brass Nikes in my dining room. I also chose a Doric column to replace the old wrought Iron trellis on my front porch, it supports a Trumpet Vine that spirals up to the roof, the August humming bird’s delight!  Did I do all that on purpose…no not really it just happened, apparently I love a good column. Continue reading…

Artist Project Series: The Tree of Tolerance by Trish Jeffers-Zeh

Cool Tools and Creative Fire are pleased to present a new tutorial by Master Artist Trish Jeffers-Zeh.  This in-depth project is both an artistic and creative soul journey.

“Resolve to be tender with the young, compassionate with the aged, sympathetic with the striving, and tolerant of the weak and the wrong. Sometime in life you will have been all of these.” ― George Washington Carver

My work and designs are highly influenced by my need to find peace in an often hectic and uncompromising world.  Hence, I headed into the studio, followed my intuition and “The Tree of Tolerance” was born.

At first, I had a totally different design in mind. However, once I sat at my bench gazing outside, the stately Elm tree in my front yard drew my attention.  After all, it would be her leaves, skeletonized and carefully collected by me for their lacey, intricate beauty of imperfection.  They were to be central as my bail, texture, and theme for the ceramic pendant.  When I am creating to release my worries, it becomes a meditation or prayer.  It is at these times I let go and trust my intuition.  The works that manifest while under this influence are most often admired by others and are prime examples of my yearning to grow past the techniques I have learned.

The elm is often associated with Mother and Earth Goddess, strength, communication, relationships and its essence energizes the mind and balances the heart.  It attracts love, protects and aids in sharpening intuitive instincts.  Elm is the arbitrator that listens without judgement.  Most mature elms of European and American origin have died from Dutch elm disease, even though they had a long history for their tolerance to thrive wherever they were planted.  Thankfully disease resistant cultivars have been developed that are as tolerant to various growing conditions as their forbearers were before the dreaded disease.  The Tree of Tolerance represents the seed that I hope is cultivated in all of us so that we may lead with compassion. Continue reading…

Part 2: The Tree of Tolerance by Trish Jeffers-Zeh

Part 2: The Tree of Tolerance by Trish Jeffers-Zeh

NOTE: *Click on photos with the black frame for a detailed slideshow of steps*
All images enlarge when clicked on.

Step 10: Tree Details.

It’s Tree time again! Using only the syringe with the 14ga/olive green and 18ga/light green tips I began to add layer upon layer blending each one to create my tree relief. This took some time, which is no issue to me since I’m very process oriented.  With each added layer I used both number 4 and 1 paint brushes as my sculpting tools.  I kept adding to achieve the look I wanted the tree to have.  This was one of my most favorite steps of the project as each layer the tree came more and more to life.  In watching the video you’ll see little tips on how to maneuver the brush to sculpt. Before I add more branches I proceed to set the stone.  In doing so this will give me a visual on how much more I want to build up the branches of my tree.

Step 11: Setting the Stones.
Setting the stones first step for putting it into place had already been accomplished when I placed a concave dome in the doughnut center and drilled the hole. I wanted the stone recessed, however I still wanted to raise it up a smidge so I made a seat for it. First dampening the area I would be laying a syringe line around the cleaned up opening.  Using the 14ga/olive green syringe tip I extruded my line around the perimeter of the hole and used the fine tip brush with water to clean it up and blend the fresh clay. Continue reading…

Artist Project Series: Nesting ring by Tracey Spurgin

 

Nesting Rings

Level: Intermediate

UK Jewellery Artist Tracey Spurgin is the next master to present in the “Artist Project Series” proudly presented by Cool Tools.  Tracey has challenged metal clay artists to create a nesting ring and shows us step by step in close up photos how to create two beautiful rings. This Nesting Cocktail ring is a stunner, the design allows you to wear each of the two rings individually as a stand alone, or simply nest them together to make one statement cocktail ring.

Materials:
EZ960 Sterling
1 fireable square 6mm gemstone
8 x 1mm fireable faceted gems Continue reading…