One of the most glorious messes in the world is the mess created in the living room on Christmas day.
Don’t clean it up too quickly.Andy Rooney
I saw this quote and it made me feel all warm and fuzzy. There really is something truly special about sitting amongst a pile of wrapping paper and tangles of curling ribbon, drawing straws as who should leave to the put the coffee on and contemplating that one of you really should hit the shower some time soon and what time does the turkey need to go in? I think perhaps it’s my very favourite part of Christmas; being in my own home, in my nightdress, with my family beside me.
A very close friend of ours passed away a few years ago, having been bravely battling cancer for many years. She went away somewhere fancy one Christmas and when I asked if she’d enjoyed it she said “don’t ever go away for Christmas, all it did was make me realise that the very best thing about Christmas – and what makes it Christmas – is being at home”.
Christmas gifts for my customers:
To thank my wonderful customers for their very valued support during 2016, I will be giving away a pair of entirely hand crafted shimmery leaf earrings with bronze earwires on all orders over £18.
I have individually sculpted the leaves from air dry clay, then sealed with several layers of varnish, with a little metallic shimmer. (This renders them splash proof, but I wouldn’t recommend showering or swimming in them).
They’re hanging from hand crafted scrolled bronze earwires and are incredibly light and comfortable to wear. They drop around 35mm (1.4″) and are around 15mm (0.6″) wide. Each leaf has been individually shaped and they’re put together in co-ordinated pairs.
They’re all gift wrapped in tiny Christmas pillow boxes ready for giving – or for keeping as a treat for yourself. Earrings will be sent whilst stocks last or until the last Christmas postings.
New Facebook page:
I decided recently that, as many technical discussion resources that I previously enjoyed had moved to using the Facebook platform, maybe it was finally time for me to give in and sign up too – having resisted for many years. So I now have a Facebook page in my arsenal, so you’re welcome to visit me there too.
It does actually have a nice easy interface to make quick posts and add photos etc., so I think I may well use it as a supplement to longer articles posted here on the blog. My page is linked to from the top of both the blog pages and my on-line shop.
I’ve been thinking lately about adding more colour to pieces. I’ve always fancied enamelling, but other than heat sources, I have no other equipment, so would need to start from scratch. And if I don’t like it, or am not very good at it, that’s wasted expenditure.
I saw an article recently on UV resin, which sounded very promising. As a trained illustrator, I already have a good assortment of pigments that sounded like they’d be suitable (just a little trial and error would be necessary, to select the best to use) and I already have a UV light source that I use for photopolymer plates, so outlay would be minimal to have a tinker. The long cure time for conventional 2 part resins has put me off before.
I did a few tests and selected the best pigments to try and used this piece I made in bronze especially to take colour in the raised cells. It was really enjoyable selecting and mixing colours and curing them under the UV light. They go under the light as a sticky coloured gel, about the consistency of nail polish and come out from under the light, looking exactly the same, glossy and liquid, except now they cell contents are absolutely rock hard. I was quite magical and now I can’t wait to try some more.
I’m in the process of photographing several new pieces to list in the shop in time for Christmas, but some of the latest pieces are shown in the gallery below and I’ll add to it shortly as I have more photos.
Success is the result of perfection, hard work, learning from failure, loyalty, and persistence.Colin Powell
I’ve posted several times previously on my exploits with the creation of metal clay jewellery. Metal clay is, as the name suggests, a clay-like medium composed of metal particles, an organic binder and water that can be worked and formed as a wet clay, further honed in a dry state (such as components assembled for composite pieces, like many of mine) and then is fired in a kiln at very high temperature to magically become a solid metal creation. There are now a significant number more clays than even when I started, from base metal clays like copper, bronze, iron, steel and brass to various precious variants of silver and now gold.
Not only are there many different metals (and many tones or colours of bronze and coppers etc) but there are many more brands on the market too – with new ones appearing regularly. If you’re feeling truly adventurous, there are even recipes to make up your own.
Each clay has its own properties and some are best suited to particular types of work. I’ve routinely used several brands for different styles of work. You need to work a little with the clay to find out its particular personality and to decide how it best fits into your designs – knowing which one is best for each piece. It’s also true to say that I’ve tried several that I couldn’t get on with, that either didn’t suit my work or were inconsistent for getting reliable results with, so were abandoned.
I recently noticed that one of my suppliers was stocking a new-to-the-UK clay range from Australia; Aussie Metal Clay. There offer a significant range of clays, but the ones being stocked here in the UK at present are a range of bronzes in their medium fire range. The features of the clay looked very interesting and the examples of finished pieces I’d seen made with it were impressive. So after a little research, I decided to try a couple of colours. They make a standard clay and a super flex variant of each colour. As I was hoping to cut some pieces with the Silhouette cutter (that has featured in previous articles as a tool in my jewellery making and design work), their recommendation was to use the super flex, which is what I’ve been working with.
As this clay range is new to the UK and people like myself are only just getting to know it, there is less information available than for other longer-established brands, so whilst I don’t normally talk specifics about materials and suppliers, I hope that posting some more details of this particular clay might help other artisans like myself whilst researching and considering it.
Working the Aussie Metal Clay:
I’ve very much enjoyed working with the clay, it has properties and features that suit my work really well and as I’ve had excellent support from the proprietor Roslyn Bailey and metal clay artist who works alongside her in developing the clay range, Kim Morris, I’m happy to endorse the product and put some information out there to help others.
The two clays I’ve worked with feel the same in use, so I won’t bother distinguishing them. The clay is supplied as a dry powder that you mix yourself to a clay with water – this means that if you buy a 100g packet, once mixed, you get something like 130g of usable clay, justifying the slightly higher initial price than pre-mixed clay of the same initial weight.
The super flex variant also comes with a little sachet of a gel-type substance that you mix into the dry powder before the water. It mixes together very easily and you quickly have a workable clay. My own practice is to mix the clay, then knead it with a palette knife on a glazed tile to mix it thoroughly and then let it rest for a little while and fully absorb the moisture before using.
It rolls out nicely and takes texture very well, it doesn’t stick to your fingers or tools. It has a lovely smooth silky texture which feels very fine and is a pleasure to work with. It retains its workable moisture level better than any other base metal clay than I can think I’ve used before and I don’t often need to add any more water to it.
Occasionally if you’ve been fiddling a lot and maybe re-worked it several times, it starts to feel dry, but I just pop it into my storage box (I keep it in a little dish inside a larger airtight container that has a moistened pad inside, away from the clay) and paint a little smear of water over it and leave it to sink in, then re-knead it before use.
I can roll tiny smooth round balls with it and it makes a nice rolled snake too – which in the super flex variant, I haven’t needed to moisten before I curl and shape, other than for the tightest of coils. I’ve been able to roll thin sheets with it that can then be cut with either the Silhouette cutter, scissors, scalpel and I’ve even used craft punches and decorative scissors. It can even be rolled (if eased very gradually and with care) in its dry form. Kim Morris gave me a super tip that really works; if the clay has been in its dry form for a while, the flex properties diminish a little, but putting it in the fridge overnight restores its flex.
Reconstituting dry clay:
I also found that it reconstitutes really well. My own method is to pile up any scrap and failed elements and loosely break or chop them into smaller pieces and spray them with water, leaving it covered, to soak in for a while. I then roughly mix it and cover with thick plastic film and roll it out and gather it up again repeatedly, at which time it probably still has dry lumps in, which will show as paler patches. These get gradually smashed up as you roll, probably requiring the addition of more water – a little at a time. A couple of rolling sessions later you will have a workable clay. If it was really dry clay, I tend to leave it overnight to fully absorb the moisture into the organic binders and then re-knead with a palette knife before use.
Many re-constituting techniques talk of grinding the clay back to powder in a coffee grinder or the like, then sieving it to get out impurities, but I’ve never had a problem with any clay using my technique; it saves on wastage, doesn’t fill the air with dust and as I don’t use much oil or lubricants with it, feel that the clay remains pretty pure – although I don’t use sanding dust as I think this will have particles from the sanding medium, but I do use anything I’ve carved or trimmed and drilling swarf. I have workable new clay with minimal fuss.
Kiln firing specifics – overcoming firing issues:
Whilst I had good success straight away with several Aussie Metal Clay pieces, some have been less than spectacular. I had several assorted issues and it was obvious that some pieces simply weren’t sintering fully. Base metal clays are fired in 2 stages; firstly to burn off the organic binder particles (the water should already be fully evaporated, clay should be fired totally dry) and secondly to fuse the remaining metal particles together as a metal piece.
Sintering is the process whereby the loose metal particles just start to melt on their surface, allowing adjacent particles to bond together, forming a cohesive metal structure, but short of actually melting. This is why metal clay shrinks during firing, firstly you remove the binder and then fuse the metal particles into a closer solid texture.
The inadequate sintering I experienced manifested itself variously as warping and slumping in thinner pieces, resulting in distortion and some cracking. The thicker pieces simply crumbled on the surface when I started cleaning them up after firing. Any remaining binder will prevent the metal particles from fusing to each other and if burn off is irregular across the piece, warping and cracking will occur. Some of the thinner pieces (mainly a Silhouette-cut bezel – partly the fault of the design too) simply snapped off – no doubt still too brittle where not sintered fully.
I contacted AMC and Roslyn Bailey was very patient with me, working through a series of potential solutions and it became evident that it was the burn-out stage of the firing that was the culprit and she made some suggestions to try. If the organic binder isn’t fully removed, it will remain in the final piece, preventing the metal particles from bonding to each other properly, so this stage is vital to get right. I was able to put into action her suggestions – and thankfully, it worked beautifully, addressing the issues I had. Everything came out fully sintered and with negligible distortion – and that was more down to the design of that piece than the firing schedule.
Burn out – stage one firing on kiln pillow:
I made several test pieces of different thicknesses and also repaired one of the earlier pieces and re-fired that. It was Ros’s suggestion to fire the pieces on kiln pillow (on top of the carbon) to improve airflow around the piece during burn-out and after discussion we also decided to try reducing the temperature of stage one but increase the hold time. The kiln plug was removed to vent the kiln during the stage one burn-out.
In this initial test firing, I used brand new activated coconut carbon to eliminate any potential issues with pre-used carbon, in a stainless steel firing pan (I gave up on flake free foil containers some time ago, I’ve had more consistent results with all clays since) in a Paragon SC2 kiln. The clay was AMC medium fire super flex in Desert Sun. Stage one was ramped at Spd3 (1000°F / 555°C per hour) to 400°C and held for 50 minutes.
When the kiln had cooled enough to be safe to work with, I covered the pieces with kiln paper where there was texture and the wren pendant with holes in (see photos in the Gallery below) I tented with a folded piece of no-flake foil, something I’ve been doing successfully for some time. I then covered everything in more carbon and the pan lid and replaced the kiln plug. After success with the kiln blanket below pieces, I’ll possibly use this in future above pieces too, in place of the paper or tent, as their only purpose is to keep carbon out of texture or holes that can cause cracks if it wedges in crevices as the piece shrinks during firing.
Stage 2 was ramped at Spd4 (1500°F / 833°C per hour) to 780°C and held for 3 hours. The kiln was left to cool to about 200°C and then the pieces removed. I’ve not been quenching the AMC pieces, I let them cool on a ceramic tile. The appearance of the pieces immediately out of the kiln and then after polishing and antiquing can be seen in the Gallery below.
This is a perfect example of a failure being a positive and valuable learning exercise – often it’s the failures that we learn the most from. Without a negative initial outcome, I wouldn’t have sought out assistance, thereby learning an improved technique, which in turn will result in better work overall long-term.
Addendum on Antarctic Moonlight MF clay:
I’ve since done a similar firing with one of the other medium fire clays from Aussie Metal Clay; Antarctic Moonlight, which is reputed to need a slightly lower firing temperature due to the higher tin content with it being classed as a more silver coloured bronze. I did the same basic firing as for the Desert Sun, as outlined above, but lowered the temperature in stage 2 by 20°C to 760°C, still holding for 3 hours and this sintered perfectly.
It is also worth noting that as Antarctic Moonlight is a white bronze, with a higher tin content, it’s significantly more brittle and pieces need to be a bit thicker to be robust enough for wear. The AMC recommended minimum thickness for Antarctic Moonlight is 5 cards thick (approx 1.25mm). I cut some small test pieces using the Silhouette that ended up just under 0.7mm thick, totally forgetting about the thickness recommendation and whilst they fired nicely, I was able to just snap them in my fingers, even though they were solid metal right through the breaks that polished to a shine later.
The thicker pieces in the batch came out really nicely and feel very robust indeed. So bear this in mind, the Antarctic Moonlight won’t be suitable for bezels or prongs that might need moving later to set stones etc. and I doubt it would manipulate successfully if you wanted to straighten any warping or movement during firing.
Aussie Metal Clay kiln test gallery:
Photographs to illustrate the kiln schedule and technique described above, using Aussie Metal Clay’s medium fire super flex clay. There are more details in the captions of the photographs.
A bezel pendant that didn’t fire well. The thick back didn’t sinter in the centre causing it to bow – and that area subsequently crumbled off.
A pair of earring components in Aussie Metal Clay medium fire super flex Desert Sun. The ovals were 2 cards thick and the applique was from the same sheet, cut with decorative scissors.
Wren pendant in AMC medium fire super flex Desert Sun. There were several elements that I use often, like the balls and a D loop bail on the back of the leaf, so it would test those components at that firing schedule.
AMC medium fire super flex Desert Sun components ready for stage 1 burn-out firing. I placed the raw pieces on kiln pillow – a thinnish section split off a much thicker piece. The pendant at the top left wasn’t on the kiln pillow as this was a second firing and I was only firing the repair.
After stage 1 firing, pieces are blackened, but still nice and flat. On previous firings, similar pieces were already distorted at this stage, hence leading us to conclude it was the burn-out stage that needed attention first.
AMC medium fire super flex Desert Sun pieces immediately out of the kiln. Still nice and flat.
The wren pendant (back) straight out of the kiln. It’s difficult to believe that this funny looking rough appearance will soon become shiny metal with the application of some elbow grease.
Finished pieces after polishing and antiquing – AMC medium fire super flex Desert Sun.
Recent work gallery:
I’ve finished several new pieces recently, including a couple of new twig necklaces (well, a necklace and a pendant) featuring tiny hand sculpted naturalistic details.
Pure silver pendant, set with an amethyst coloured marquise shaped cubic zirconia gemstone.
Coil on coil antiqued copper earrings with a loop strung with metallic coated seed bead cubes.
Twig necklace with tiny hand sculpted details, including leaves, tiny berries, seed pods, tendrils and even a tiny ladybird scampering along the twig. Made in Aussie Metal Clay medium fire superflex clay Desert Sun.
Twig pendant with hand sculpted details and set with a pale lavender cubic zirconium gemstone. Made in Aussie Metal Clay medium fire super flex clay Desert Sun.
Amateurs sit and wait for inspiration, the rest of us just get up and go to work. Stephen King.
I’m afraid that I don’t have any [non-jewellery] new photographs to include in this post, bad weather over about the last three weeks has ensured that we’ve hardly left the house for anything other than work, food shopping and appointments. Which is driving me a bit bonkers frankly – I’ve not had any opportunity to capture the fabulous autumn colours this year – and now the leaves have pretty much been stripped from the trees in the torrential rain.
The very few nice days we have had have fallen at times when it’s not been possible to take advantage (like right now, when I have the kiln running and orders to fulfill). It has however forced me to be very productive and I’ve got done a lot of work that has been in the “I really must make an effort to get that done” category.
I live in a perpetual state of having far too many items in my shop as out of stock or ‘made to order’. It is my practice, if something sells, but I know that I could re-make it, to mark it as ‘made to order’ If someone then orders such an item, I try to make at least two of them, so that I can return it to stock.
But having recently sold a couple of items that appeared to be in stock (only because I forgot to tick the stock control button), but weren’t, I decided that it was time to do a proper audit of my shop and check the stock status of all listings. I also took the opportunity to review what I had for sale and decided to simply delete a lot of older items. It was a largely tedious task with almost 800 items listed in my shop – many of which are in the sold section – but also most therapeutic to delete over a hundred of the older pieces to get the numbers more manageable.
During this audit, I realised just how many of my repeat good sellers were not in stock, so I spent one very full-on week addressing many of them and returned over 20 pieces to stock – which was very hard work, but most rewarding too. I still have many more to do the same task with, but I felt pretty smug for a short while that I’d actually faced it.
Sometimes procrastination can work for you:
Whilst in the midst of this task, I wanted a particular shaped component which I was pretty sure I already had a couple made and knew just where they’d be. I’d started a particular necklace some months ago, but simply couldn’t get it to work how I wanted, so in frustration, I packed all the components into a bag and dropped it into my WIP drawer – also known as my procrastination drawer – to return to on another day – and, as they do, the months had passed.
Said component was in the bag, but having got all the other gubbins out, I decided to have a tinker with the original design too and unlike the original session with it, the work just flowed. I found myself totally absorbed with it and went on to finish it completely that day. The result is the flower garland necklace shown in the gallery below. I’ve done various versions of this design before, but this has many more flowers over a wider span than earlier incarnations and features bronze as well as copper. It’s funny how the state of mind on a different day can make such a difference to how the creative mood flows. I’m pretty certain that the time delay has resulted in a better piece, for various reasons.
Tinkering with white bronze:
My current adventure is with a new material; white bronze clay. There have been other versions and brands on the market, but the one I’m trying is by Prometheus and is nickel free, which many non-EU produced white bronzes aren’t. This brand will allow me to combine it with bronze and copper on the same piece – something I’ve been wanting to do for some time. My first batch are in the kiln as I type, so cross your fingers for me – my next post is sure to be about the success or otherwise of that process.
My work this week:
I’ve popped some photos of recent finished pieces into the gallery below and they each have captions to describe them. You can click on any of them and it opens a pop up window and you can scroll through the full set.
A new version of my flower ring pendant with a pure silver flower, ball riveted with a bronze ball.
A new version of my flower ring pendant with a pure silver flower, ball riveted with a bronze ball.
Flower garland necklace featuring copper and bronze flowers, molten buds and twisted ropes.
Flower garland necklace featuring copper and bronze flowers, molten buds and twisted ropes.
Malay Jade coil on coil earrings with copper and bronze coils.
Antiqued copper coil on coil earrings featuring more of the gorgeous faux amber beads I mentioned in my last post.
Gorgeous intense green Mashan Jade (a dyed marble) antiqued copper toggle bracelet.
Lapis Lazuli antiqued copper spiral wrapped toggle bracelet. The toggle texture is from my own texture plate from a digital drawing.
Please click on any of the photographs to see a larger view.
Sometimes the only way I can get through tortuous tasks is to set myself incentives. I’ll allow myself to do something I do enjoy, if I finish something that I don’t enjoy so much first. So it has been this week.
I simply love making things. My mind is perpetually full of ideas and shapes and there are simply never enough hours in the day to bring them to life. But the peril of being productive with work is that I then have to photograph, measure and describe the finished pieces in order to even have the vaguest chance of selling them. Necessary to fund my addiction.
I think this copper bracelet is the last piece to be photographed from a backlog of spiral link pieces from a previous theme.
So I set myself a target yesterday to list a batch of 9 pieces just finished and photographed before I would allow myself anywhere near metal. And I stuck to it, tempting though the lure of my tools was. So now, I’m free for the rest of the day to actually get my hands on some metal. Unfortunately, this didn’t actually make much inroad into my backlog either – to which I can now add a further handful of new pieces not even included in the 9 piece target I set myself.
Antiqued copper bracelet featuring hammered figure of 8 links, joined with hand sawn jump rings and my own toggle clasp. This one’s for me. I wanted to wear it for a few days and see how the toggle performed in practice and I was really happy with it. I have some more like this in progress.
But I have now reached the milestone of 100 pieces in my Etsy shop and I’m approaching 400 pieces in my own shop too – although that number includes some optional extras and now-sold unique pieces – which I leave in place to serve as a portfolio.
Double wrapped loops of antiqued copper with rosy copper buds. Molten buds are a perpetual theme that I haven’t exhausted yet.
Also done in polished Sterling silver. This design was started as I wanted to make a pair for myself to match a pendant I have and I personally don’t suit big earrings, so these are quite small and delicate. My own pair are antiqued, so I must photograph them too as an optional finish.
In line with comments I’ve made in previous blogs, my recent pieces have all been on related design themes – once you sort out a particular design element or perfect a shape or technique, related items just flow from the initial design, so my work always emerges in batches of closely related pieces.
A necklace from an earlier work theme of wrapped rosy copper buds. This necklace features a oxidised and hammered scroll wire wrapped with buds and joined directly to the chain with double wrapped loops.
Dyed jade beads on long wraps of oxidised copper, tumbled to a lovely gunmetal sheen.
And this week has been no different. I honed a technique to allow me to symmetrically wire wrap stones to other shapes and I’ve made several earrings and pendants along those lines this week.
Hammered copper rings wire wrapped with faceted amethyst beads with matching earwires with small roughly faceted garnets.
The same technique used in Sterling silver to make a pendant with 2 faceted amethysts. Antiqued to highlight the wire wrapping.
Fully oxidised and tumbled copper rings with faceted citrine beads.