Search results matching tag 'art clay'

september 2009 Polymer & metal clay

Oopa — Wed, 05 Aug 2009 18:10:04 GMT

Hello,

I am a recent subscriber from the Netherlands. I love the magazine! The polymer clay & metal clay project in this last issue (september 2009) really fired my enthusiasm. I have ordered mica powder from the USA, and now am searching the internet for the mentioned 'acrylic medium' Cindy Silas used to add the mica powder color to the polymer clay. I cannot find any! It probably is a generic name for something, which is unknown to me and my local store. Could you help me out? Also, Cindy uses a silicon spray as a release agent, could this just be any regular spray? Again, no one here can help me with these questions....too specific I'm afraid.

Thank you for your help, and thank you for your wonderful magazine.

Regards,

Marjan (Nuenen, the Netherlands)

Re: Metal Clay Paste Problems

gagedesigns — Fri, 03 Jul 2009 20:53:28 GMT

Jennifer, My answer will address the regular paste vs the overlay paste which I have not used. I'm not clear from your post if you are mistakenly using the overlay paste or not. I know a lot of people thin the paste out, I do not. When "I" do it, it seems to add too many bubbles in it. I teach the following method and it seems to work well on my items and my students. - First I make sure the paste is a nice smooth consistency - a bit thinner than Elmers glue - I load up my brush with lots of slip, so much so that my brush itself really doesn't touch the leaf or other items. I don't load it up so that it is drippy and uncontrolable. - Apply the layer evenly over the leaf. The first layer is the most important as it will be the layer on the top that you see once the leaf burns away. - Let the layer dry completely. - Add the next layer the same way and so on. Using a thick layer and a light touch will prevent that pulling away effect. Just another note. If you are covering the whole seed pod you will get the general shape of the pod, but you won't see the outside detail on the pod because it will be in the inside (understand) If you are interested in seeing the detail. Mold half the pod at a time with a two part molding compound. Then make each half, let it dry and then put the two halfs together. Let me know how it goes. And pics would be cool too.

Submissions: Art & Design of Metal Clay Jewelry by Holly Gage

gagedesigns — Thu, 11 Jun 2009 23:34:31 GMT

Calendar Submission for 2010 Submissions will start June 15, 2009 through Aug. 15, 2009 Release date: Late - October 2009 I am seeking images to feature in our next annual calendar, The Art and Design of Metal Clay Jewelry and More 2010. All jewelry forms - necklaces, rings, bracelets, earrings, brooches, and others will be considered. Unique and diverse design styles and techniques are desired. Metal Clay is the predominant material, but other media - resin, gems, metals, enamel, and more may be incorporated into the design. High digital images will be accepted by mail or e-mail: Gage Designs c/o calendar submission 2010 P. O. Box 614 Bowmansville, PA 17507 E-mail: hgage1@ptd.net Artwork submitted must represent work that is unique and original in design. New unpublished/unseen work is preferred. Group shots or individual pictures will be accepted. Please don't send actual pieces. Professional photo quality is a MUST. Please consider the fact that viewers will only see your photo not your orginal work, so clear, uncluttered photos with an accurate representation will be priority for the selection process. Images should be 300 dpi, in tiff, jpg or psd format with no compression. Artists retain copyright of their work. Each calendar page measures 8.5 x 11, Opened it is 11 x 17. Please include the following: 1. Name 2. Address 3. Website or e-mail (indicate if this information should be included on the calendar) 4. Title of piece 5. Materials used 6. Dimensions 7. Brief Description of process and/or motivation to how it was conceived (50 words or less) 8. File name 9. Has your file been retouched 10. Is your file 300 dpi? Please direct all inquires to: Holly Gage, e-mail: hgage1@ptd.net http://www.HollyGage.com

Re: Burnishing in a tumbler: help!! pieces turn black

pdx silversmith — Thu, 07 May 2009 19:54:39 GMT

I'm amazed at how many different remedies people use to fix jewelry gone bad in the tumbler. I'm still a fan of re-firing if your piece is made of silver clay (sans gemstones, of course) and pickling if it's sterling silver or has a stone that can't be fired. There's a new "green" pickle on the market that's much less harmful so it might be just the thing.

As for maintaining the shine on a piece, that's always tough, even after using Wenol or other similar product with anti-tarnish ingredients. I've actually considered throwing in a treated cleaning cloth with some of my more expensive pieces. Have them printed with my business name & icon.

Innovative Metal Clay Classes by Holly Gage

gagedesigns — Thu, 02 Apr 2009 14:14:07 GMT

Following is a list of innovative Silver Metal Clay classes presented by Holly Gage. They highlight some of the signature techniques she has developed. ____________________________________________________________________________ Gage’s Negative Space Caning Negative Space Caning is a high energy workshop focusing on creating filigree, chambers for enamel or polymer inlay, and patterns easily duplicated for tessellating designs by combining Metal Clay and a combustible material that disappears after firing in a kiln. This exciting new technique developed by Holly Gage is a springboard idea for looking at and working with Metal Clay in a whole new way. The class will include a presentation and handouts on the basic cane making process, what combustible materials are suitable for the process, as well as simple and advance assembly techniques. You will also be introduced to how a complex cane is designed and created. Your finished piece will be of your own design ready for polishing and a patina at the workshop or inlaid on your own. For details and/or registration: http://www.hollygage.com/pages/classes.html ••••• Dates & Places: ••••• April 26 • Miami The Best Bead Show, FL • http://www.bestbeadshow.com July 16 - 18 • MCWC, IL • http://www.metalclayworldconference.com/ September 12 - 1 • Tucson, AZ • http://www.ffstudio.com March 2010 • France Metal Clay Retreat • http://www.hollygage.com/pages/classes.html ___________________________________________________________________________ Making Your Own Prongs for Free-formed Rainbow Titanium Free-formed rainbow Titanium can be very intriguing. It is bright, colorful, sculptural and very different from anything people have seen in the past. Jewelry artisans pick it up, turn it about and examine the brilliant colors on all sides. They hold it under the light, tilting their hand and suddenly they notice the subtle color changes and sparkle at every angle. Then a strange look comes over them. “I love it, but how do I incorporate it into a piece of jewelry.” The answer is a cold connection. One of the methods I use to set Titanium is with hand built prongs. So come with me on an exploratory trip into incorporating Titanium into a piece of fine artisan jewelry. In the process you’ll learn how to work with any uniquely shaped item whether it is titanium, a shell, coral, irregular shaped gem or cab and so much more. The class will include a presentation and handouts on making and incorporating handmade prongs into your work, proper placement and structural consideration for the prongs, basics do’s and don’ts of prong making, as well learning how to design with shrinkage in mind. Your finished piece will be of your own unique design inspired by your individual titanium or free-formed item of choice. For details and/or registration: http://www.hollygage.com/pages/classes.html ••••• Dates & Places: ••••• April 24 • Best Bead Show, Miami, FL • http://www.bestbeadshow.com August 8 & 9 • PA Guild of Craftsmen, York, PA • http://www.hollygage.com/pages/classes.html September 12 - 1 • Tucson, AZ * http://www.ffstudio.com March 2010 • France Metal Clay Retreat • http://www.hollygage.com/pages/classes.html __________________________________________________________________________ Exquisite Designs Pendant: Silver Metal Clay Repoussé, Hand-wrought texture and carved details. I will share my secrets in transforming original photos or drawings into highly detailed, low relief images looking similar in style to traditional repoussé. Students will learn to wet-work a reverse polymer mold of their image; manipulate the clay and use tools to create different hand-wrought textural effects; and to carve details for the finishing touch. The results are unique and original, beautifully echoing the hand of the artist. For details and/or registration: http://www.hollygage.com/pages/classes.html ••••• Dates & Places: ••••• April 25 • Best Bead Show, Miami, FL • http://www.bestbeadshow.com August 8 & 9 • PA Guild of Craftsmen, York, PA • http://www.hollygage.com/pages/classes.html March 2010 • France Metal Clay Retreat • http://www.hollygage.com/pages/classes.html

Re: Lady Liberty Gone Wild

gagedesigns — Wed, 18 Feb 2009 20:58:49 GMT

Thanks for the encouraging words (was having a bad week) I did not see all the faces until you pointed it out. Maybe she should be retitled to reflect her many moods. The titanium can be very sculptural -- I think that's what makes it fascinating. Thanks for pointing that out. ~ Holly

Note: Burned out on Hollow Forms - March AJ article

gagedesigns — Thu, 29 Jan 2009 15:25:58 GMT

Hello, I have an article in the new issue of Art Jewelry. I usually don't announce such things, but there were a couple Editorial liberties taken and I'd like to clarify a few points about this process and provide the pointers I consistently present to my students when I teach this technique: (Of course these comments only make sense if you add them as notes to the article.) * I recommend that you ramp your kiln to 1650°F for 2 hours. In my experience, this ensures that the clay is fully sintered and results in more durable jewelry especially needed for open space or fiigree work as in this technique. * Although one method for joining wet-to-wet metal clay components is to use water to active the binder and pressure, I suggest using metal clay paste in addition, which I've found provides a more reliable bond. * It's possible that a thin film of fired metal clay will form from the dust remaining on the surface or in the pores of the combustible clay parts of your design. Don't worry; you can use a needle tool to "pick out" these bits of fired clay to reveal the negative spaces of your design." There is also a follow up project on how to make a lentil bead on here on the web site. http://tinyurl.com/b94y29 Be sure you read the magazine article first which gives you the basics and is required reading in order to do the project on their site. Please, Please post or send me pictures for those that try the technique. I will be presenting this technique over the year in several formats and I'd love to share the work of others, not just my work. Happy Creating, Holly

Note about "Burned Out on Hollow forms" - March AJ article

gagedesigns — Thu, 29 Jan 2009 13:48:01 GMT

Some new techniques with Metal Clay

gagedesigns — Thu, 11 Dec 2008 20:34:57 GMT

Hi!

Over the year, I've been experimenting with a technique I call Negative Space Caning.

It involves creating filigree, chambers for enamel or polymer inlay, and patterns easily duplicated for tessellating designs by combining Metal Clay and a combustible material that disappears after firing in a kiln. An article explaining the technique will appear in Art Jewelry for the March issue, but here is an example of one of the pieces I did for the article. (The ladder effect down the side is an example of the negative space caning)

This piece is make with Fine silver metal clay, cubic zircons, crystalline rainbow titanium

Thanks for checking it out.
~ Holly

need advice on digital controllers to upgrade my manual kiln

jeweliegirl — Tue, 02 Dec 2008 04:33:16 GMT

I've been working pretty successfully with a Jen-Ken GS manual kiln for some time, but I think it's time to upgrade to a digital controller. (Ok, the truth is I fired a load of pieces into a puddle of fine silver & glass goo the other day . I don't trust the analog pyrometer reading anymore.)

I've been researching various standalone controllers & don't think I need major bells & whistles. I don't need much more than a simple ramp and hold, plus I'd prefer to keep the cost under $300.00.

Does anyone have any ideas? Any help would be greatly appreciated.

Thanks,