Emperor Sun - on a learning curve :-)

Here I am again, trying to learn a little bit of traditional metalsmithing skills and thinking how to marry them with metal clay :-). I really enjoy acquiring new knowledge and challenging myself. Recently, when I taught in Germany I took with me a book written by Andrzej Bandkowski, entitled (loose translation - the book is in Polish) "A class of making artistic jewellery". It's not really a "class", you won't find any real tutorials there either. It's rather a quite personal take on basics of jewellery making with a ton of great tips and tricks. In my spare time I read the book, and what I especially liked, were all kinds of box-like constructions. So this time I wanted to try building something more 3 dimensional out of sterling sheet, train multiple soldering and sawing.




Sooo... Once upon a time ;-) I sculpted this tiny sun, using fine silver clay. I fired it, and left it for later. I even made a mould of it, which I rarely do, and added bronze versions to a few pieces, but the original little sculpture still wasn't used.

Finally I chose a stone and made a rough sketch of a general idea, slightly inspired by Art Deco (As if you could see anything in this sketch ;-)).
I didn't want to do anything too complicated.

Then I made more detailed templates, and glued them on a piece of sterling silver sheet. Note to self - really, really, you should buy a printer and start using vector art programs again (or a protractor, compasses, ruler etc. YAY! I loved geometric contructions at school ^^). Sketching freehand, in case of something that is not "organic" or super "flowy"doesn't lead to anything good. All the irregularities and inaccuracy started here. If you don't have a precise template for sawing, your sawing won't be precise. Yup, learning on mistakes again.

Anyway - I used what I sketched, marked places where I wanted to drill holes with a center punch and drilled them.

And here are my two elements after sawing and some cleaning. It's the first time I tried to saw elements that weren't "organic", but a little bit more geometrical and I have to say that it's so much more difficult than sawing swirls, waves , leaves and other pretty things ;-) (you can see under the links some examples of my other sawing attempts).

Then I started building the boxes. I measured circumference of the round element and cut a strip of sheet to form a circle that had a  diameter and height I needed (more or less... next time I will REALLY measure things). I soldered two ends of the circle together, and then soldered it onto my round element. I also cut two more strips to form a crescent-like shape - the walls of the other element.

You can see in the photo that the strips are of different width. If I used a proper tool to make sure that they are equally wide I would definitely save some time... ;-) But, yeah, no... Learning. I am just too impatient and excited when I try something new. I just cut them freehand.

I formed a crescent shape out of the strips (it was quite difficult to get the same curve - I just used my hands and forming pliers - maybe there is an easier way... Again - coming back to the beginning - if my crescent shape was really made of two nice archs, I could simply use ring mandrel to get the right curve on the strips...). Then I  filed the ends of the strips (I needed the places where they met, to be pointy, so they weren't visible from under the open work crescent shape), soldered them together and then soldered them onto the shape itself. I also found somewhere (you never know what you can find in your workshop one day ;-) ) twisted, decorative wire, and decided that this might be a nice touch to the whole look of my pendant, so I added it to both elements.

In case you're wondering why silver is so clean - I just took all the photos after pickling - otherwise everyhing would be covered with a ton of flux residue.

Now my boxes needed bottoms, and my stone needed a bezel cup. I formed a bezel, soldered it onto a piece of sheet, and cut out the inside. The stone has a nice back, so I wanted to show it, but my cunning plan ;-) was also to use this piece of sheet from the inside, for the bottom of the round element. Of course, because I judged it by eye, it turned out to be too small, so I had to find another piece of sterling to cut out the circle... Seriously... (facepalm ;-) ) Measure, measure! It's not metal clay where I can take a little bit more and roll it out again.

Before the last soldering I also filed/drilled a few holes in the walls, to make it possible to join the two parts of the pendant and to be able to string it somehow later. Then with an easy solder I soldered the crescent shape on top of the part with the bezel cup. In case of the round part, first I applied some solder on the back of my metal clay sun, flattened it on sanding paper, placed it in the right position, and then at the same time I soldered the round shape onto the circle and sweat soldered the sun on top of the box.

When I made sure that everything is really soldered I cut/file off spare silver from the edges and made sure they looked seamless.




I set the stone, made some finishing, and it was ready :-). You can see the back in the other photo below. I have to say that making this piece was a great lesson.... of cursing in all languages I know :-D. Just joking (yeah ;-) ).

Rendez-vous with PMC Sterling :-)

Yes, I know, I am behind everyone when comes to sterling silver clay :-). I guess it's simply because we don't have PMC distributor in Poland (anyone interested? ;-) ), so I rather stick to Art Clay. But last year when I got Rio Grande gift certificate for Saul Bell Design Award, I decided to spend it mostly on something that is not so easily accesible in my country, so PMC Sterling and Argentium :-). I already played with Argentium a little bit (fun!), but sterling clay was waiting and waiting... Finally I decided to try it.
Sooo, my plan for this post is to write a little bit about how did it go ;-).

Generally - I like the texture of this clay when it's wet - it's super fine,  quite similar to PMC3 - a little bit like a bubble gum :-) (if compared to Art Clay). Long working time, darker colour than fine silver clay - blablabla everyone already knows these things -  a lot of really great tests were published in various places.
What surprised me was how dried clay behaves. This material is undoubtedly designed for carving, and I don't really carve. I file. So at the beginning I was super annoyed by the fact that this clay, even when it's dried, is a little bit "buttery" and it clogs files immediately. So, in a way, I was forced to change my way of working, especially for this clay, but you know what - at the end I don't mind it. I learned a lot.



Another thing that I don't like is high shrinkage rate - I really don't need my pieces to become smaller. I can live with 10% of fine silver clays, but 20% is a little bit too much. And it comes with a price ;-) - bigger distortion. It turns out that it's not a problem in case of more or less flat pieces (all the pendants were ok), but in case of rings it is an issue. I had to reshape all the rings that I made so far, to make them round again after firing. I'll have to try firing plugs, but I don't like using additional stuff in firing process.

Yeah - as for the additional stuff - after a few first firings that left some carbon marks on backs of my pieces I learned (thank you Terry Kovalcik and Ros Wood! :-) ) that it's better to arrange firing in such a way that pieces don't have any direct contact with carbon - so cover them with a stainless steel mesh or something like that. With those first pieces I also tested soldering traditional sterling to fired PMC Sterling, and it works ok.






It seems that yes, this clay has its cons - no doubts about that -but the strength - it makes up for everything, and that's the reason why it's definitely not the last time I am using it. I want to use it more, especially for rings, but first I have to solve the distortion problem.

Here is another example of PMC Sterling work, mixed with sterling sheet and wire (the stone setting, bail behind it etc.) - "Dream Keeper". I cut sterling sheet in a shape which fitted exactly in between the ornaments on the back of the pendant, so it was easy to solder it. Then I soldered prongs on top of it and a bail on the back. It worked nicely.





If you are curious, here you can see a few steps of making my "Drawing down the Moon" pendant (the first photo), inspired by a Full Moon ritual. Someone asked in one of the internet groups, where did I get the mould ;-))))))), so I just thought that it might be interesting to show the process at least partially.

Here you can see some progress of making the face. I work mostly in an additive way. Then I take away some clay in "strategic" places ;-) with a file. I don't use any fancy carving tools etc. People who attended my classes know that I have just two favourite tools - something for cutting and a pointy file - this would be all.

Some more details. I didn't do anything to the face from that point - I was quite happy with the expression. I am still learning how to sculpt human faces and there is still a long way to go, but I feel I am finally starting to think about expressions and not only "how to make a face that looks more or less like a face" ;-).

Details, details. It's like building a tiny model :-). Adding a little bit, filing off a little bit. It's not easy, and it's not fast, but I think it's worth it. I just love this complex, three dimensional look I can get this way.

And some more building and filing - the piece might look quite openwork and delicate, but you might notice that each element is attached to something, really firmly, at least in two places.

Almost ready. I just added a little bit of 18K green gold inside the eyes - I wanted to create this feeling of her being "filled" with the Moon, with this otherwordly shine in her eyes :-).
And it was ready for firing. It turns out that manufacturer's schedule works just fine in my kiln, so I fired all my PMC Sterling pieces in two phases - first open shelf 538 °C for 1 h, and then buried in carbon 815 °C. for 1-2 h (depending on the size of the piece). After getting some marks from carbon in my first firings I make sure that I have some ceramic paper under the piece and stainless steel mesh above it. I don't mind quite long firing time at all - especially if I work on a piece for a few days. But I understand that this might be annoying for people who make a lot of simpler pieces.

Because of the green gold addition, in this particular case I repeated the second phase of firing twice. According to the manufacturer (Michelle :-) ), it requires double firing. You can read more about this material here. And I guess that this would be all for today ;-).

Around the World Blog Hop

Recently Kim Paige invited me to participate in Around the World Blog Hop. The point of the whole thing is to write a little bit about yourself and your creative friends, share some links, eye candy, and whatever you consider to be worth sharing ;-).
I met Kim last year, during a wonderful retreat in United Kingdom. We spent some great time together and hopefully we will meet again, this time in USA - during Metal Clay Mojo Conference. Kim will have there a talk on social network marketing and I'll be teaching.
Here you can see an example of work by Kim. Jewellery she makes is nature-influenced with subtle textures and simple, elegant designs.

Ok, so lets answer some questions :-)

1. What am I working on?
At this particular moment I have a very special piece in my kiln. It's special, because I started it... almost two years ago :-)))))))))))). It's not an insanely elaborate work of art or something ;-), it's just that I started it before leaving for North Yorkshire, to teach my first workshop abroad ever (it was May 2013), and I lost my way with it. For some reason I decided to make a sea themed piece, and I don't even like water that much. Unless it's a hot shower ;-). But I already made a base, I chose stones, added a few elements, and I felt I went too far to simply scrap the whole thing. Do you know sunk cost trap? It was exactly the case ;-).
I kept this piece on my desk that whole time, just in case I felt sudden urge to work on it ;-). Finally a few days ago, I decided, that I REALLY want to finish it before the end of this year. So, I'll see. Maybe it will be ready, before I finish writing this post. If so - I'll add some final photos :-).





2. How does my work differ from others of its genre?
This is a really difficult question, because there are many people out there whose work convey similar qualities as mine does.
A lot of jewellery makers love heavily detailed pieces. A lot of them create sculptural jewellery. Thousands of people feel inspired by mythologies, folklore and Nature. But I think that maybe this is not the most important thing - the point is to put all these things together and create with what you do, some kind of a narrative coherence.
What I mean is that I hope that the story I tell through my jewellery is unique and differs me from others. It's mine and it feels true, so I am really comfortable with it.









3. Why do I create what I do?
This one is easy. I am definitely a hedonist, so I rather do things that I like than those that I don't ;-). It is as simple as that. I probably should say something like "through my jewellery I am on a quest to change the world" or "it's this weird inner calling, that forces me to create", or PlaceHereAnythingCoolEnough, but the thing is that for me it's simply about doing what I feel like doing.

Changing the world is just a side effect ;-D.








4. How does my creative process work?
First of all sometimes I feel like it is happening ALL THE TIME -  it's even a little bit tiring. It feels as if I had thousands of moving gears inside my head.
I just keep sketching, writing, memorizing ideas, collecting them for later, because I am doing something else at a moment. The most difficult thing is to choose what to do next, especially that for me the most satysfying part of the process is just producing an idea. I could stop there. The ideas are so perfect, and in hard matter always something is not exactly as I wanted it to be.
Many times I start actually making something and my mind already is elsewhere, focused on another idea, which at the moment feels more attractive. I really have to work hard to keep my mind in one place. Another difficulty is to recall that feeling of excitement that was connected to each idea. I have to feel excitement to work. So- when I produce an idea, later choose to work with it and recall that feeling of excitement, I make a proper sketch which I use as a reference.
Then there is some hard work ;-), and I usually end up hating what I made. But I know myself already a little bit, so I leave the piece hidden somewhere at least for a day. When I look at it again later, it looks better than the day before ;-D. I am sure, that these are faeries or something ;-).
Being more serious - it's just about getting some distance from what I made. Sometimes I decide that it's finished and sometimes I alter or correct something. When a piece is done, I feel something like a relieve - it's a very nice feeling. Addictive.

Who is next in the blog hop?

The next person in Around the World Blog Hop will be Lynne Glazzard. I love her work for its contemporary vibe and elegance. I especially adore her enamelled pieces.

I also have a very special place in my heart for Lynne ;-). She was the very first person who invited me to teach in her studio. Since then I taught in many lovely places, met wonderful people and did a lot of super exciting sightseeing.
Make sure you'll check Lynne's work! :-).






Aaaaaand.... Here it is finished :-). Before the end of this year! I called it "Reef Princess". Now, I am off to have some New Year fun  :-).

Simple pendant with a special touch, AKA, why metal clay is so freakin' awesome ;-)

Of course there is a million reasons why metal clay is so wonderful (and another million why it's not - just like with any other medium :-) ), but what I mean in this case is, that the smallest addition of metal clay can turn boring and very generic piece into something visually exciting. Less than 1 gram of hand sculpted metal clay can raise value of a piece twice, trice or even more.
So, is metal clay such an "expensive" technique (yes, I also hear this all the time)? I guess it simply depends on what you do with it. Of course you can make an "organic" (my favourite word :-P) silver ball, out of 50 grams of clay... It's just about using the medium for what it is the best.

And - by the way - is really "expensive" that important when we are talking about one-of-a-kind, where price of the final piece doesn't really have a lot to do with the price of metal (I am talking about silver or base metals)? Some people say that using a kiln is so pricey - I wonder if they ever made any calculations. I did and what can I say - this just doesn't bother my mind anymore.
Anyway - I guess that what I really wanted to say is, that we, metal clay people, are not a bunch of naive idiots who just can't learn anything else, so we stick to that ridiculously expensive plasticine ;-). It's usually a deliberate choice, which many times leads to very successful businesses.

Well, actually, a few minutes ago, when I started writing this post I had something totally different in mind, but...things happen ;-).

Ok, so just to show a few pictures :-). First I made this tiny element with flowers using silver metal clay and fired it with a few other pieces (because, guess what, metal clay kilns can fire a lot of pieces at once ;-), so the firing becomes even less expensive). Meanwhile I prepared a bezel for the stone and soldered it onto a piece of sterling sheet. I cut out some sheet from the inside of the bezel cup (to save on silver, show beautiful back of the stone, and because I wanted to use that piece of silver later).




I sweat soldered my sculpted piece onto that piece of silver that I cut out from the center of my bezel cup. I soldered a jump ring to the bezel cup, and joined two parts of my pendant.

Wait, soldering, sterling sheet, what? I remember, when I was discussing terms of teaching my Herbarium class in one of the countries I taught in this year, someone said "Why do you want to solder those bezels? The whole point of metal clay is not to solder.". Well, I don't agree with that. The point is to create jewellery using techniques that are the best for what I want to achieve.
This sounds almost smart and serious ;-).
That's why I think that the second most important thing is to keep your mind open and learn new things - whoever you are. The first one is to have fun with what you're doing :-).

Ok, and here you can see the back of the piece before setting the stone, and how both parts are connected. I just cut a strip of silver sheet and formed a bail that also caught the jump ring soldered to the bezel cup. I soldered the bail to the back of the upper part of my pendant, and that was it. Then just oxidizing, some finishing and setting the stone.
From technical point of view this is a super simple piece (and the traditional part took me a half of the day, because I still totally suck at it :-D - practice, practice, practice), but I really learned a lot by making it.

As for other things ;-)- I set up a Pinterest account recently. I am still not sure what's the point of the whole site, but, if you're into Pinterest, here you can find a board with some of my jewellery.


www.drakonaria.com

I see you ;-) "Startled"

Recently I've been trying to downsize my stash of cabochones, at least a little bit. I solemnly pledged not to buy any new stones, but use what I already have (a TON :-D ). Since then I go over all my stones daily, and each time I find something that is particularly inspiring at the moment.

The thing is, that over the years my work became more sculptural, and usually the focus is on metal, not on the stones. I discovered that it was not so easy for me anymore to design something that features a stone, which is relatively big. I think, automatically, about huge forms, because I feel that there have to be a lot of additional stuff around the stone - I feel that the stone is just not enough.
Yeah. I know - when I said this to myself for the first time I realised right away how stupid this is. So, I decided to push myself a little bit out of my comfort zone, and from time to time focus on the stone and let it lead me wherever it wants. This part is particularly hard for me - I am such a control freak... Anyway - this is one of these projects.



When this cabochon of agate caught my attention I immediately felt very strongly about its pattern and its "energy" (no, I don't mean Capricorn-New Moon-red candle&black cat type of energy ;-) ). I mean that it was timid - those muted hues of purple - so not into your face - but very dynamic at the same time, like something that stares at you from behind the bushes and suddenly realizes that you see it too. Then there is a sudden outburst of movement, UP! UP! To the sky, where you can't reach it.
ekhm...
....
:-)

You can see in the picture above, that I scultpted and carved the upper part of the pendant is silver metal clay. The hardest part was leaving this smooth, raised area - I hate empty spaces ;-). But it just had to be there.

After firing I formed bezels for the stones - big one for the agate and tiny one for a small amethyst.

Then I soldered the smaller bezel...



















... and cut out of a silver sheet a shape that became a backing plate for the main stone, and the bail at the same time. I soldered the bigger bezel onto this piece of sheet, then formed c-shaped bails and soldered the whole piece onto the back of sculptural part of my pendant.
It's so dark, because I took this photo after oxidizing and before finishing.







And here is how the front looked like after all the soldering, oxidizing, but before finishing and stone setting.

I called this piece "Spłoszenie" in Polish... I am not sure if this is the best translation possible, but I guess that "Startled" would be the closest thing.













Finished piece looks like this. Of course I am not fully happy with it, I wish some angles (especially the "wing") were a little bit different, but I was really happy with the process itself.  It was different than usually. No sketches, more like "listening" and waiting what comes next. I really enjoyed that.

Ok, and just to share some exciting recent news ;-)
- An interview with me and Christi Anderson, as the winners of "Saul Bell Design Award" 2014, metal clay category, was published on "The Studio" (Rio Grande's blog).
Here you can find the whole interview.
- An article about my newly started collection, "Slavic Tales", was published on "Meet the Slavs" - website devoted to Slavic culture, history and mythology. You can find it here.
Wohoooo and that's it for today ;-).

Winter Holidays themed challenge

Long time without any posts... I'll try to be a better "writer" this year (well, not so much of this year left ;-) ).
You probably noticed that during last month a lot of metal clay folks posted pictures of Christmas related pieces. Quite a lot of people across Europe got some free fine silver clay (I don't know about other countries, but in Poland it was 20 g) to make Winter Holidays related piece, post pictures of it, write about it, and of course, this way, make some good publicity in social medias for Art Clay ;-). I felt for a moment like a fashion blogger who got some free clothes  (which I wouldn't mind at all );-D BUT - free silver is free silver - you can't say "no" to a material that is simply good :-).

Being me, I wanted to make something related to Winter Holiday, Winter Solstice rather that actually Christmas. But at the same time I wanted to create something that would be easily associated with this time of a year by everyone. Recently I'm really into carving faces of all kinds, so I immediately thought about (a little bit speculative, but beautiful) archetype of the Holly King and his neverending "battle" with the Oak King - winter versus summer. I also chose a stone - seraphinite - it has this particular shade of cold green and distinctive feather-like pattern that to me looks like a frost on evergreen plants. Having all that in mind I started sketching. Yup - my sketches are almost always that awful ;-D.


As you can see at the end I switched for a different seraphinite cabochon, and was still thinking red&green - the most "christmassy" set of colours - but as soon as I carved the face, I noticed that the red is not right shade of red and actually he (the creature) already got his own personality :-). I decided that I would simply see where he takes me with his story. It is so true what Carol Douglas says about all the creatures having their own stories. They simply do. Period.

So I started forming some horns (so once again I reached for a Keeper of the Forest atributes), some flowy ornaments.. Honestly, when I look at the photos right now I wish I stopped here :-)))))))). I just love the shapes around his face... But I kept going - one day I'll learn how to edit myself.

When I was ready he looked like this. He already changed into something different. I switched carnelians and red zirconias for white pearls and white cz - I liked that freezing pallete of colours much more. I also decided that all kinds of evergreen plants would be too much - I just felt drawn to a particular one - mistletoe. So the Holly King turned into a Mistletoe Spirit. This suited him much better, and was definitely related to Winter Holidays with all that symbolism surrounding mistletoe.

When he was ready for firing I realised that I definitely hadn't used all 20 grams of clay, so I decided to make a quick, and rather simple winter-related piece with snowflakes, just to use the rest. And then it turned out that 20 grams is really a huge amount of clay :-))))), because I had to make a third piece - well, this time not related to anything ;-). Usually I don't really control how much clay I use, and I was quite surprised by how clay efficient these pieces were. I weighed them before firing, just out of curiosity. The Mistletoe Spirit weighed 12.4 grams, the one with snowflakes - 4.2 grams, and the one with flowers 2.7 grams.



After firing I did some more traditional work on all three pieces. Whenever I see in my design spots that need extra strenght constructionwise (well, I'm not sure if this word does extist, but I just assumed that if you can say "timewise", than you can say all sorts of Xwise things ;-) And it sounds smart ;-D ), I use regular sterling, soldering etc. The same with very simple elements. In case of this seraphinite cabochon, I just wanted to set it in a very simple setting, and I wanted the sculptural part to move freely under the stone, so there was no point in using metal clay for that. I just made it out of silver sheet. So here you can see the piece after some soldering and before pickling.

And here they are - after all the soldering, pickling, and I already set the stones in smaller ones. Plus some heavy LOS patina of course :-).
Please, don't judge me too hard on my traditional work - I'm just learning :-).








And here are the final pieces: