You never know where you'll find inspiration

The piece of crystalline titanium came to me in the mail. Sent carefully packaged by Holly Gage, it was nestled in a Newman's Own ginger mints tin. As soon as I took it out I was not only delighted by the titanium, but I was struck by the pretty art on the tin. I squirreled it away.

I took this photo after I started cutting it.

Now I wanted to design something to do justice to that sparkling titanium. I sketched out several versions of a necklace, and decided it would be cool to cut a circle out of that tin and make it into a cabochon to use in the piece.

I liked the bolo idea best.

So this was July, and I had my sketch ready to go—sort of. I started what I call "circling". This is what I do when I'm not 100% certain about carrying something out. I circle, figuratively speaking. I circled and thought about it and never did make it. Something was holding me back, I don't know what it was...

Enter Lora Hart and her 4 a Month challenge for 2012. This group on Flickr is created around the concept of making 4 pieces a month—anything you'd like—but you must make four of them. You can choose your theme and process.

Coincidentally, I also had just completed a "mentorial" with Lora. This is the "creative coaching" service she provides through her web site and Etsy shop. We discussed my being in a stuck spot with my jewelry business. Lora provided much food for thought, and encouraged me to explore and try new things.

The 4 a Month challenge, the mentorial, the tin…inspiration! What if I made that pendant I had sketched out, and 3 more pieces using parts of the tin? Almost right away, I pictured all 4 pieces. I signed up for the 4 a Month group and got to work.

top, left: Holly's Necklace; right: Dragon Cuff
bottom, left: Rainbow Drops Earrings; right, Window Box Pendant
All are precious metal clay except the cuff, which was done with sheet copper.
©2012 Evelyn Pelati Dombkowski

The first piece was the titanium pendant. For this, I cut out a circle from the tin, dapped it into a dome, and set it like a cabochon in a bezel in a bolo above the pendant. I named this piece "Holly's Necklace" in honor of Holly Gage, who I'm sure had no idea she was providing a boatload of inspiration when she tucked that titanium into that tin.

Next came "Dragon Cuff"—because of course I HAD to do something with that dragon!

After that I made "Rainbow Drops" earrings. Last, "Window Box Pendant".

It was a lot of fun and very satisfying to complete a series like this. I am looking forward to continuing on with 4 a Month each month throughout the year.

Thank you to Holly and to Lora for getting me to stop circling and to move forward. You never know where you will find inspiration!

~ Evelyn Pelati Dombkowski

Are you lost in cyberspace ??

I have talked about the importance of crediting your images the right way every time you post a picture of your work in any site in the Internet. This not only gives you the rights and credit of your work but also makes your images have an identity.
I talked about this topic in this post: Do you credit your art work the right way?

Crediting your images is very important but it is also not the only thing you have to do when you post your images on line, tagging your pictures is extremely IMPORTANT !! 
You will be lost in cyberspace if you do not tag your images.


Some people may think this is too hard or they may not want to do the extra job of writing tags for their images, but I am telling you, if you do not do it then I do not see the point in posting your images without tags. Tags help you to make your pictures visible to others when they do search in the Internet.


Tagging an image is simple, tags are words that will describe what is in your picture; for example:

ROSAS
©2011 Lorena Angulo
Sterling PMC
Photo: Speedy Peacock

Tags: Lorena Angulo, Ring, Silver, PMC Sterling, Sterling, Metal Clay, Roses, flowers, leaves, jewelry, textures, hand sculpted


Every word in this list will make my image visible when someone writes a "key" word in any search page. 

I hope you will take the extra time when you see a space that says "tags" or "labels" to write tags in your images the next time you post a picture, this will help you and help others find your work.


Happy Tagging !!!!  


Keep Playing, keep creating !


Lorena Angulo

p.s. I almost forgot !! I need to tag my blog post too ! ;o)

BREAKING NEWS!

Metal Clay Artists Magazine is proud to announce that starting in the new year, the digital subscriptions and back issues will migrate to the Zinio (January 2012) and Nook Newsstand (February 2012) platforms. Being offered through these two platforms will greatly enhance the magazine's offerings and provide a better way to explore and enjoy the magazine. Customers will be able to view the magazine on their iPad, Mac, PC, Android (V2.2 and higher), Nook and Kindle Fire.


Stay tuned for additional details in the new year !

25 grams of PMC Sterling

I was very happy to have the opportunity to play with the new PMC Sterling back in November. Finally we can have a metal clay that it is stronger and can me mark as .925 silver (sterling).


I got a package of 25 grams and I got into my studio to make some pieces with it. The working time for this type of clay is longer and it gives you the flexibility to not worry about the clay drying too fast while you are working with it. The color of the clay is darker and the texture is great and easy to work with.


My plan was to make a ring, earrings and a pendant. The first piece I made was the ring, I hand roll a long snake and wrap it around a mandrel to form the band. The joining of the joints was easy to make and I just added some water to smooth the connections.

I decided to go 3.5 sizes bigger than the size I need it for the ring. I do not use any inserts in my ring when I fired it, I believe it is better to let the clay shrink all the way.


Carving is another thing I wanted to try with this clay since most of my work has carving in it. I was surprise to see how smooth and easy carving was with this type of clay. The carving went perfect and I saved my carving scraps to add some texture in my pendant later on. 

Since the clay has a longer working time before it gets dry, I knew hand sculpting will be easy and great to do. I hand sculpted a rose to add to my ring and it was perfect for sculpting.

I let the rose dry first before I added it to the center of the band, this way you will not deform the rose. Adding the rose was easy by using water and fresh clay to join the rose to the band. I do not like to use paste for this, I prefer to use fresh clay instead of paste. I continue to hand formed little rose buds around the center rose and some leaves.


For the earrings I wanted to use sterling jump rings and fire them in place. I embedded them in the earrings with fresh clay and hand formed flowers and leaves. In the center of the flowers I attached a CZ Garnet. 

For the pendant I play with textures and added my carving scraps on top of the heart with water. I carved and hand formed roses for the front and back of the piece. I always like to add something extra on the back of my pieces.


My firing schedule was different from the package because my pieces were thicker than 3mm. For the open shelf firing I fast ramp to 1000F and hold there for 40 minutes. I let the pieces cool down completely inside the kiln before I took them out to do the second firing.
For the second firing I added a coat of activated carbon at the bottom of the steel pot and added my pieces in one layer. I covered them with more activated carbon and closed the pot with the lid. I fast ramp the kiln to 1500F and hold there for 45 minutes. I also let the pieces cool down inside the kiln when the firing was over.

This is how the pieces look like when they are fired and out of the kiln. A white matte color and they do not have any oxidation or black coloring in them, not even in the sterling jump ring.


I brush them with a brass brush and soapy water, added LOS Gel patina and finally I polished them in a magnetic tumbler.

EL CORAZON
©2011 Lorena Angulo
PMC Sterling
Photo: Speedy Peacock

FLOR
©2011 Lorena Angulo
PMC Sterling, CZ Hessonite Garnet, Pearls
Photo: Speedy Peacock

ROSAS
©2011 Lorena Angulo
PMC Sterling
Photo: Speedy Peacock

I want to continue experimenting and I am going to fire the clay to a longer time, maybe close to 2 hours. I will let you know how this goes and if the size of the ring shrinks more if I add more time to the firing.

I am sure you will all like to work with this clay and the best of all is that the price is very similar to PMC3.


Keep Playing, Keep Creating !!


Love,
Lorena Angulo

Kathleen Nowak Tucci: A wonderful innovative artist.

If you have the latest issue of Metal Clay Artist Magazine, you have seen the wonderful front cover piece made by this incredible artist, Kathleen Nowak Tucci. 

I remember the first time I saw her work, it was magical to see how she was able to transform recycled rubber bicycle and motorcycle inner tubes into amazing pieces of wearable art. I had the pleasure to interview Kathleen to introduce her and her work to our blog followers. 


How did you started creating your work and where?

I knew that I was an artist even as a little girl, but I was also good at Math and Science so I attended college and majored in Computer Science and minored in Biology.  My schedule never allowed time for any college level art classes however I always had some kind of art project that I would work on in my limited free time.

For the rubber jewelry, I initially began using industrial rubber products such as o-rings to construct jewelry.  Then I got an idea that needed thin rubber, the only rubber products that I could find were too thick.  I ended up going to a bicycle shop and asked them for the old inner tubes off the bicycles that they repaired.  My initial idea was a flop and the tubes sat in my studio for months.  I hated to throw them away so one day I just started to “play” with the rubber.  I soon realized that it was a great medium to work with, flexible, easy to cut and to manipulate.  One of the best things about the rubber from the inner tubes is that it is so lightweight.  I can make large, dramatic pieces with little weight.  

What inspires you?

   

Most anything visual is an inspiration to me.  I have been inspired by architecture, paintings, sculpture, nature and other artists.  There is nothing more fun for me than to visit a museum or art gallery and be inspired by the great talents of other artists both past and present.  Somehow all the visual information stews in my brain and then comes out reconfigured in my own original creations.  I am fortunate to always have ideas and only wish that there were more time to make everything. 

Why do you use recycled materials?

  

I really just stumbled upon making work in recycled materials.  I freely admit that it was the properties of the material of the recycled rubber that first drew me to create architectural jewelry in rubber.  As my designs progressed and I began to acquire cohesion of vision, the Gulf Coast was hammered with the Gulf Oil Spill.  I was struck by the devastation of the event, its numbing anguish and our own human interaction with Nature, for good or ill.  I began to see the relevance of my work as an Eco-artist and Eco-designer and am now proud to call myself an eco-designer.  

How did you know about metal clay and why did you started including it in your work?

I have worked in many mediums including, ceramic clay, polymer clay, silversmithing,  and most painting mediums.  Since I have always read art books and magazines, I must have learned about it though one of those resources.  The editor of MCAM Jeannette Froese LeBlanc and I meet at an Architectural Ceramics Class by Peter King held in Pensacola FL, in the Spring of 2001.  We talk to each other about this new medium and how interesting it seemed.  By that fall we signed up to take a class together in silver metal clay.  Because we had both had previous experience in ceramic clay, working metal clay was very intuitive for both of us and we realized that it was an amazing medium.  Though we live a great distance from each other, every time we were able to visit, it seemed that we always made some time to work in metal clay together.  So eleven years after our first taste of metal clay, Jeannette owns MCAM and I combined the metal clay with my rubber jewelry and am on the cover of the magazine!  It still amazes me and I am so proud of Jeannette!

Do you have any advice to a new beginner? 

My advice to a beginner would be to start off working in one of the base metal clays.  Take a class with an experienced teacher to skip over all the trial and much error of working in a new medium.  Also don’t expect a masterpiece the first time you work in any medium.  Even those of us that have much experience, have many pieces and designs that are not brilliant. 

That being said, metal clay is a medium that even a beginner can create some really outstanding work.

To advance in metal clay, learn other metal working techniques such as riveting, sawing, soldering, etc.

Can you share with us what has been one of the best moments in your career and why?

Wow, I have had so many amazing things happen in my career.  I have been an artist for almost 30 years now and it seems publicity has always come my way.  The first time I saw my work in a gallery was exciting as was my first feature in a newspaper. 

Having my rubber jewelry, on the cover, of the controversial ‘Oil Spill Issue” , Vogue Italia. August 2010, certainly has to rank as a very exciting moment in my career.  Vogue Italia is considered by many as the top fashion magazine in the world.  The photography was by Steven Meisel a top international photographer.  Being the first Eco-artist on the cover of a major fashion magazine is still pretty surreal.

A very close second is getting to see the MCAM cover, that my work is featured on, for the first time at the Smithsonian Craft2Wear Show.  What an exciting day!

Can you talk to us about your experience doing the Smithsonian Show ?

The Smithsonian Craft Show, is a beautifully run show put on  by the Smithsonian Women’s Committee.  It is definitely the big league!  I was one of 120 artists juried in out of 1300+ entries.  Because I normally do not do retail shows, it was really a tremendous amount of work to get ready for the show, set up for the show and to be at the booth for five days.  I still don’t know if I have fully recovered.  My favorite part of the show was getting to see all the other amazing art and to be able to meet and talk to other artists that I have admired “from afar”.  It really is the best of the best and it was very exciting to be a part of it.

I was one of forty artists invited to show at the October Smithsonian Craft2Wear Show.  All artists have previously been juried into the Smithsonian Show and it was quite an honor to receive the invitation.  This show was much shorter, three days, and it felt much more manageable.  Once again, I had so much fun seeing people interact with my work and because it was a smaller show, I was able  interact with other artists and their work.

One more exciting thing that happened at the show was that I was the only artist asked to speak at the lecture that was given during the show.  So many exciting adventures!

I want to thank Kathleen for taking her time to give me this interview and to be so generous to share her story with all of us.

To see more of her amazing work click on the following links:

Facebook Page

Website 

Love,
Lorena Angulohttps://www.facebook.com/pages/Kathleen-Nowak-Tucci/154789581247047

More Vocabulary of Chains

Linda Kaye-Moses' The Vocabulary of Chains (in the latest issue of Metal Clay Artist Magazine, vol. 2, issue 4) and Joy Funnell's Summertime Bling chain necklace project (MCAM's last issue, vol. 2, issue 3) will have you thinking about chains and metal clay in a new light.

Coincidentally, I just completed a course about chain-making with Leslie Hartwell at Metalwerx, in Waltham, MA. Inspired by Linda's and Joy's articles and Leslie's class, I thought I'd share some more ideas for expanding your own chain vocabulary.

Often, we spend so much time and effort working on a piece that when it is ready to be paired with a chain, we grab the most convenient commercially-made one and we're done.

Integrating the chain and pendant requires a little pre-planning. Think about the chain, too, when you are designing your piece. What kind of chain will complement the pendant? Will the finished piece look unified?  How will the chain connect with the pendant? Also, think about other things, such as proportion—should the chain be large and chunky? Or thin and delicate?

If fabricating a custom chain is not your thing, there are ways to modify commercially-made chain that might be a solution for you.

Consider altering chain by methods like hammering, cutting apart, or applying patina.

Upper left: Altering commercial chain by cutting apart and interspersing with beads, plus adding patina
Upper right and bottom photos: custom made chains

For example; if you have a chain with large, open links—you can rest the edge of a link on your bench block and hammer it. The link can be turned and hammered all the way around, or just partially hammered. A pattern can be created by hammering alternate links or every link. How about hammering just a centerpiece where the pendant will hang?

Chains can be cut apart and the segments re-joined with interspersed beads—or like Linda's project—custom-made metal clay components. Graduated size chains can be linked into one, unified look. You can connect multiple strands of chain to single strand sections. How about mixing metals?

Adding a patina to the chain might be just that little extra something to bring the entire piece together with a customized feel.

If you enjoy making more complex work, there are many additional ways to design chains to complement a pendant. You can be daring and fabricate a chain, or a section of chain, from metal clay. Or, you can make your own chain by soldering wire. Several books are available for soldered chain technical information and design inspiration. Here are three that I really like:

• The Complete Metalsmith by Tim McCreight. This book has a wealth of information—so it's a worthwhile addition to your books anyway—but in this case it offers many tips on chain construction, chain styles, clasps and bails.
• Creative Silver Chains by Chantal Lise Saunders. Nice step by step instructions on some interesting designs, plus a very good introductory section with information on materials, techniques and design inspiration.
• Making Silver Chains by Glen F. Waszek is another well-organized book with great step by step instructions and a lot of good lessons for working with silver.

~ Evelyn

Now You See It, Now You Don’t…Transforming Your Workspace

The latest Reader Challenge is to show us your workspace. 

We all love to see where other artists work! 

MCAM reader, Yvonne Kuennen shares her experience with organizing her space and clearing the clutter… 

When you work with metal clay, you tend to fall in love with it because it takes up so little space. It’s extremely portable, and a very small toolbox will hold most of your tools. Many of the basic tools are common things you might find in your kitchen or around the house: miniature rolling pin, cookies cutters, picks, emery boards, brushes, etc. In no time at all the tools multiply; and, before you know it, take over a portion of your house! The other people who share that living space are forced to give it up. It really is unfair—to everyone concerned. 

It is a challenge to organize so many tiny tools. You can’t have too many tools or too many beads (everyone knows that)! The question is, what do you let go of? 

In my study of Feng Shui I ran across a book entitled Clearing the Clutter. Then I attended a workshop on the same topic. The basic premise for Feng Shui is in the clearing of spaces. The best tip I learned was to create three boxes (or bins) with these labels: donate/repurpose, pitch and keep. The trick for me was getting the boxes to the thrift store or the trash before I got a chance to pull things back out. I kept telling myself, “less is more.” It is so true. 

Sort it all out and systematically categorize the things you are sorting through. If anything appears to be taking up too much space, find a bin for it. Be ruthless…is it being used? Selling or donating unused items is the easiest route in making them go away. The cash or credit you receive is such a plus that the pain of letting go is minimized.

Space planning is also no small feat. It requires a good deal of thoughtful planning and engineering. It also requires a high degree of organization. Without organization, you don’t know what get rid of. In my own case, the dining room table became a parking lot for all stages of design and production. 

I struggled for months (years to be truthful) to figure out a better order for all these things. I had several different beading rooms, but each one became a cluttered nightmare with no visible tabletop to work on.

VOILA! My husband Michael, the wood artist, built a wall-to-wall bookcase from “stick.” It is five sections from floor to ceiling, made of alder-stained cherry with cupboards beneath each section. Each cupboard now houses the myriad of tools and various pieces of equipment for my trade.

One cupboard has kits for seven students (my maximum for teaching workshops), the next has a tower of drawers to house all the molds I’ve made, a variety of texture tips, cutters and the like. The third holds all my firing equipment in a work bucket. The fourth has all my scrap glass and tools for making the dichroic cabochons. The fifth stands empty—yet to be filled, but that is a good thing since I am not finished. I still have beads to organize (get rid of)? The best organizing tool that I have found for beads are 5.5 x 9 x 1 inch trays with separator black felt bottoms. Some even have tops that snap shut. These trays stack neatly, and once labeled, make it easy to find a particular bead.

Bringing peace into your house by organizing your workspace can be done without a degree in Feng Shui. It is highly recommended to understand the principles of this ancient art of placement and worth any time you can spend studying it. The timing is important because the process is difficult on an emotional level. Several weeks in between “pitches” made it easier for me, and each one was less painful than the first. The art of organizing your workspace is a process, and you have to remember to “trust the process.” What a difference it has made to have a clean dining room table! 

With my new organized workspace, I find myself being much more productive .

My head is clear and I find more room to design and plan new projects. In demonstrating my respect for other people’s space, my relationships have improved. I have started cooking again due to the newly cleared dining room table. The kitchen is no longer permanent parking space for the crème brulee torch, torch stand and tumbler!

~ Yvonne Kuennen