Capturing detail in water etching

As we were planning a water etching demo for class this last session, Maria Hartland (a new student), mentioned that she had done Ukrainian egg painting (Pysanky). It's a beautiful traditional wax resist and dye method of decorating eggs (like batik for fabric). She asked about using the beeswax and stylus (kistka) for water etching. I told her I'd seen it discussed as a possibility a few times on the Yahoo Metal Clay group over the years, but didn't know if anyone ever really pursued it - and I'd never had the chance to try it myself. We were all excited when Maria generously offered to bring her stylus to class for us to try.

The following week, Maria not only brought in the stylus, but some of her beautiful eggs as well. These large ones are ostrich eggs, they're amazingly detailed.

The wax is melted until it flows and is applied with the kistka (stylus). Different size tips give different lines. The painting and dying process builds the colors and takes a great deal of time. She also brought several of her smaller eggs as well, also beautifully done.

Maria brought in two electric kistkas and showed us a traditional one too. The traditional ones are heated with a candle flame to melt the wax. We played a little bit with the electric ones in class, but didn't really have time to do much. She kindly offered to let me borrow one for the week.

Well, darn if the week didn't fly by (as usual)... but the night before I had to return the kistka, I grabbed a couple of dry pieces of clay and played. Let me first say that I've always really loved the brush painting and the flow of the liquid wax (and still do), but after using this handy-dandy little wax application device, all I can say is "wow."

Now, these examples were just tests... but what really impressed me was the control and level of detail I was able to get. The images above are two sides of the same piece. It's PMC+ which is the best for water etching and especially for fine lines. It's only one inch tall after firing and just look at the tiny lines - which dried immediately!  These lines withstood the etching process much better than similar fine lines painted with the liquid wax would have. Unfortunately, I didn't have a lot of time to play - so I only tried the one size tip - but there are several sizes available.

This example was the first piece I tried when I was getting the hang of using the kistka and melted wax (hardly a work of art) it's even smaller - only 1/2" tall!

Yes, of course I ordered myself one of these amazing electric kistkas... (now if I could just order some time to play with it!). Will it change the way I water etch? Guess we'll just wait and see.

If you're interested in more info on water etching, Here are some resources. I wrote an article in Art Jewelry Magazine in September 2006. You can also find the instructions I contributed to Sherri Haab's revised and expanded edition of The Art of Metal Clay. And then there's my own little book... The Little Book of Water Etching and Enameling for Metal Clay. Water etching instruction by CeCe Wire can be found in PMC Technic.

If you're interested in getting in touch with Maria about her eggs, you can contact me via comments and I'll pass along your info to her (I won't publish any comment with an email address). 

Old is new, and new is old

Our local chapter of the PMC Guild brought Robert Dancik into town last weekend for a workshop using "Faux Bone," a PVC material he developed. The workshop was a blast. Robert is a wonderful teacher and our group had a great time working with him. Lots of creativity in the air. It was great to spend a weekend just playing...

I have always loved saw-piercing metal and wondered how it would work with the Faux Bone. I decided to give it a try by sawing a cuff bracelet that was inspired by one I'd made 30 years ago as a metals student.

Gail Lannum caught me in the act of sawing...

Alcohol inks were used to color the material. I like the way the white shows around the openings when the color was sanded to tone down the intensity. It's a little rough, but it was a test. I'll probably go back in and finish it a little more one of these days.

Here is my original bracelet. And after all these years, it's still one of my favorite projects from my school days. The section set in the center was my first piece of Mokume-gane.

Many of the pieces made in the workshop took advantage of the possibilities of making Faux Bone look like an ancient relic. Gail made this one in the workshop. It was cool to take this shiny white PVC - something very new - and make it look very old. There are so many things you can do with this material.

We had some serious fun!

The Art of Metal Clay (revised and expanded)

When I saw Sherri Haab at the PMC Conference, she gave me a copy of her revised and expanded book, The Art of Metal Clay. It was fun to see the finished product - Sherri had asked me to contribute to the new section on etching and she included my instructions and photos showing the water etching process.

The new book looks great. I finally had a chance to look it over today - and even found time to check out the DVD that's included. The original edition of the book is one I've always recommended to students, and the new version will now take its place. Sherri does an excellent job of taking the reader through the basics and sample projects that cover a wide variety of techniques. Her instructions are clear, easy to follow, and well illustrated with photos. You'll find instruction in silver, gold, bronze, and copper clays, as well as info on stone setting, mold making, adding resin, polymer clay and much more. 

Several of the sample projects in the book are the same as the first edition, though a number of those are repeated with a different example demonstrated (like the bezel for delicate stones). Other project ideas are expanded with more instruction or information. There are new sections about bronze and copper, etching, and enamel. Some things from the first edition were not included and there are several new gallery images too.

The DVD has four projects (not in the book) and provides an opportunity to watch Sherri at work. It's filmed very well so you can really see how she does each step. My original edition of the book didn't include a DVD (later versions did), so I'm not actually sure if these are new videos or not. 

And I'm not biased just because I'm a contributor. The Art of Metal Clay (revised and expanded) is a thorough and clear instructional book for working with metal clay. Of course, you might guess that I happen to think the water etching part is one of the highlights...
:)

Details, details...

Attending to details has been my focus lately. I've been firing lots of COPPR and BRONZclay inlay pieces from a workshop I taught recently. Fourteen students made dozens of pieces - it was lots of fun... and the detail work of carefully firing all those pieces kept me very busy!

Mentoring details - a bit of adventure this summer has been the chance to act as sort of a mentor for an emerging metal clay artist - a college student who was introduced to me by a metalsmith friend. It's been fun to watch his work evolve as he explores the material on his own - pretty much without instruction or preconceived notions - then he shares his creations and observations with me. It's been fun and different from my usual experience as a teacher. He first tried his hand at silver clay and recently made some really creative rings from the new FastFire BRONZclay. Gotta get those last rings fired before he returns to school. My kilns have been getting quite a workout lately! 

Class details - new classes were listed on my website today. Lots of prep and details for those too. I'm really looking forward to the start of the new session. 

And if you really want to talk about details, check out the amazing jewelry of John Paul Miller. I had a chance to see his work up close again this past weekend - it's on exhibit at the Cleveland Museum of Art. He is known for his incredible work with granulation and enamel. His beautiful presentation renderings and sketch books are on display too. 

A few years ago I was honored to have the opportunity to chat with Mr. Miller about jewelry making and metal clay. You may be surprised to learn that he was among the first artists to try PMC at the Haystack Experimental Workshop in May of 1995. Though he didn't pursue metal clay work, he was very interested to talk about the material and how it had evolved from that first workshop. It would have been great to be in one of Mr. Miller's classes at the Cleveland Institute of Art - some of my friends who are CIA jewelry artists were lucky enough to have that experience. 

Visit the links above, check out some of the images. If you live near the Cleveland Museum of Art, you really should visit and see the work in person - it's all about the details...

The 2010 PMC Conference, inspiration, "big news" and fun.

That's where I was this time last week... the 5th International Precious Metal Clay Conference held at Purdue University. Back in 2002, I attended the very first conference at the College of Wooster and have attended all five. Metal clay has come a long way since then - and it's been pretty amazing to be a part of its evolution.

The speakers and presenters were excellent. Linda Darty's keynote address started us off with some wonderful inspiration - I really enjoyed seeing so much enamel work (as you may know, enamel is near and dear to me). She shared how various events in her life had been a significant influence on her work - the interpretations were wonderful. The second day, Bruce Baker spoke to the group the with lots of energy and insight into the business of craft. He knows the business inside and out and his observations were so interesting. Alison Lee of Craftcast spoke on the third day with a delightful presentation about her "Life in Code." She reminded us how our experiences shape our lives - that when we look back we can see where they have influenced us. And how those of us who have pursued art (for hobby or profession) may have shown some interest/aptitude as children. I could relate to many things she shared about her childhood, specifically the influence of creative parents/grandparents and being given opportunities to try things that sparked even more creativity.

The conference featured some great presentations and demonstrations by many accomplished metal clay artists. I was honored to be among the presenters. And I was sorry I couldn't attend everyone's presentation - we had to choose which ones to attend - and that was really a challenge. The whole time I kept wishing I could be in two places at once!

There was an excellent show titled "Cultural Messages." Well, I heard it was an excellent show... I didn't even get a chance to see it. I kept thinking I'd get to it when I had enough time to see the whole thing but then I never found the time (insert a big frowny face here...). I think the images of the pieces will be online at some point, but it won't be quite the same as seeing it in person.

A new FASTfire BRONZclay was released as of the conference. I haven't fired anything with this new version bronze clay from Metal Adventures, but I've handled it - it has a great texture and consistency. The real advantage is that it will fire in as little as 2 hours!

PMC Pro from Mitsubishi was announced at the conference. There was a lot of buzz about this new material. It's supposed to be stronger than sterling... I tried to bend Barbara Becker Simon's bracelet (she invited me to) and couldn't get it to move. It's 90% silver, which makes it a lower silver content than sterling (.925). This brought a lot of questions about what that remaining 10% might be. Suggestions ranged from copper to germanium to platinum and even aluminum! It may be some combination of the above. We won't know until closer to the release date (October)... the formula is a closely guarded secret - at least until all the patents are in place.

At the 2004 PMC Conference I was privileged to present two seminars. One was on Small Scale Mass Production and the other was on Enameling on PMC. Presenting and preparing two seminars wore me out, so the next two conferences I just attended with no responsibilities. This year, my love of water etching inspired me to offer a Tech Expo presentation on the process - specifically Water Etching on Hollow Forms (another favorite of mine). In addition, I was invited to be part of a demo team during one of the lecture sessions. Sherry Fotopoulos and I had fun demonstrating "Creating with Coils." 

It was so wonderful to see old friends and meet new ones. That was so much fun. I love connecting with artists from all over the world. The people I've met through metal clay are pretty amazing. I'll be counting the days 'till we meet again.

Zentangles... so there's a name for that?

Recently, I started hearing about a "new" drawing phenomenon called Zentangles. The term started popping up in various blogs I read, so I began to investigate. The word "new" appears in quotes because doodling in this way isn't really new - it surely wasn't new to me... I've been doing it for years - as have many others (like Zoe Nelson and Catherine Witherell). The part that's new, is the phenomenon of lots of people drawing and doodling who weren't in the habit of doodling or making art. It's pretty much gone viral, with workshops, websites, books and related materials - including kits - appearing practically everywhere. There's even Zentangle Flicker Group.

Isn't it great that so many people have discovered this? It's always been a meditative form of drawing for me. Many of my jewelry designs were inspired by these patterned doodles, some of which I've been repeating for over 30 years - which I always just called "doodles." But now, I guess there's another name for it...

Another form of Zentangle that appeared on the scene is the Zendala. Zentangle + Mandala = Zendala (you may have read how much I like Mandalas and creating them in many ways). The images to the left aren't quite the style of the Zentangles drawn in a circle, but they are Mandalas made from some of my favorite doodles with an iPod Touch kaleidoscope program. They were later used as designs under transparent enamel... the possibilities are infinite.

Maybe I'm only helping to fuel the Zentangle "craze" by blogging about it. But this definitely a craze I can support. I love this kind of drawing and have filled pages with similar looking doodles over the years. And I found that many of the patterns I've used are commonly used by other doodlers. No doubt many posted are offshoots of things seen on the internet or in Zentangle instructions, but still, it's kinda fun to see that somebody thought of the same pattern I did - I might see a pattern I started doing 20 or 30 years ago. I hadn't seen theirs - and they hadn't seen mine... I actually think that's pretty cool.

Learning about the Zentangle phenomenon has been useful because for the last several years my doodles have been drawn with only one weight of pen - a fine line marker - mostly because I carry only one such marker with me. And mine look more "sketched" because of it - filling in the larger areas with a fine marker. Vickie Hallmark was inspired to make Zentangles - and hers are far from sketched, they have a cut paper or woodcut print quality. Seeing the various markers people are using for these has reminded me to go back and use different size markers to get more varied line width. I used to use Koh-I-Noor Rapiograph pens for doodles in the days when I did a lot of technical illustration. They aren't so practical for doodles now, but back then I always had them handy.

So grab a pen and start to doodle. You'll get lost. Everything old is new again... I'd be curious to hear how many others have been making "Zentangles" and didn't even know it...

You too can be a winner...

Lucky me! This past week, I won a drawing at Tonya Davidson's blog. Tonya is the driving force behind Whole Lotta Whimsy, one of my favorite places to shop for metal clay stuff... the prize was an Ice Resin Kit and some bezels! And all because I made a comment or two about some of the fantastic projects presented by the Master Muses.

Earlier this year, Tonya, a creative business woman and talented jewelry artist, started a program with 8 other talented artists to creatively meet various project challenges. The Master Muses have come up with some amazing projects which will eventually be available as tutorials so you can see in detail how each project was made. You'll be a winner if you just check out these cool projects - but if you comment on the blog, you'll be entered (just as I was) in the next drawing. Can't win if you don't play... (yes, the link goes where you think it does... how long can I keep mentioning this?).

Tonya's blog is also full of great information on everything from marketing to artistic growth, fashion trends, artist interviews, and more. She's provided the metal clay jewelry community with another great resource. Thanks Tonya, for the Ice Resin Kit, but especially for sharing the Master Muse program and all the other ways you support us as artists... your generosity is appreciated!