Creating Linus Jewellery September, 2012 by nicole baxter

September 2012 Volume 2

Jewellery

inside 34

8 2

From the Editor . . . . . . . . . . . . . . . 4 Meet the Artists . . . . . . . . . . . . . . . 6 In the Classroom . . . . . . . . . . . . . 46 The Wall . . . . . . . . . . . . . . . . . . . . 94

ON THE COVER:

Joan Tenenbaum

EXECUTIVE EDITOR:

Nicole Baxter

CREATIVE DIRECTOR:

Christine Mytrunec

from the editor My first job in the jewellery industry came with a camera over my shoulder. My employer claimed security reasons, but ultimately it was so he could be sure his staff were working hard and not messing about. I received several phone calls from “upstairs” asking what I was doing; since from the cameras point of view I appeared to be just sitting there. I had to explain to my employer, who was not a Goldsmith, that I was thinking. Thinking about what? He asked. The “process” I responded. He asked me if I knew what I was doing; implying I was not qualified or somehow lacking in skills. No, I was qualified and certainly had the skills to do the job, but every piece of jewellery is different and spending some time thinking and mapping out the process with drawings, or running through the steps mentally will often solve many technical problems before even touching the metal. Mapping out process or steps will help significantly with increasingly difficult designs. I begin a complicated design by envisioning it in my mind. Then start drawing the “feel” of a form; not being too concerned about all of the details. Some designs just spill out onto the page and others will take many sketches before I am happy. Then I do drawings of specific technical aspects and details of the design, making refinements to the form; for example what will the hinge on a pair of sunglasses look like and how will it function. I often make notes reminding myself which bit needs to be made first and what to pay close attention to and not rush through - some designs heavily depend on making sure the technique is perfect before moving on to the next bit. Drawing need not be intimidating. With a lot of concentration, I can do a very good rendering of a design in 3-point perspective to scale. But this is rarely required. I am sure if anyone else looked at my design book, the drawings would not make much sense to them. My drawings are to help me work through design and technical problems and to keep me on track with the original design concept. Like any skill, practice makes perfect. Set aside a little time each week to improve drawing skills. Begin by drawing simple objects around you, a cup, a book, or even a pencil. Don’t allow yourself to be overwhelmed by the details; do quick sketches, limit the time allowed to no more that 1 minute, this will “loosen” you up; much like limbering and stretching before exercise. Gradually build up the time and start adding in details. Move on to more complicated objects, including existing jewellery. If you persist, eventually your drawing skills will improve. Remember be gentle on yourself, you are not Michelangelo nor do you need to be; after all even Michelangelo was not Leonardo. Nicole Baxter, Jewellery Designer & Educator nabstudios.com

Navigating the magazine As an online magazine, ‘Creating Linus Jewellery’ is able to offer functions that print magazines can’t. Links will allow us to bring readers directly to websites in an instant. If you see a word underlined, highlighted or a web address, click on it and you will be redirected to that site. As long as you are logged into the Creating Linus website all of the links will work. If you need further assistance with navigation click on the “?” icon and a legend will appear telling you what each toolbar icon means.

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If you like the Creating Linus magazine duo make sure you spend some time on our website too. If you’re a member you have access to some great features like:

The Artist Index Did you see an artist in one of our issues, but can’t remember which one? In the Artist Index you’ll be able to quickly find who you’re looking for and one click will take you directly to their feature.

Magazine Archives Did you miss an issue or want to reference something you’ve read? This is your virtual Linus magazine rack. Here you can view any issue, any time without the cluttered stacks on your coffee table.

Members Forum Got something to say? Maybe a question to ask? Post it in our Members Forum! We want our readers to talk to each other; answer questions, give suggestions and discuss. This is your opportunity to meet and connect with fellow makers and art lovers from around the world. How cool is that?

creatinglinus.com

meet the artists

Nicole Schuster

Joan Tenenbaum

Teresa Faris

Els Vansteelandt

Andrew Cooperman

Emma Fielden

meet the artist

an interview with

nicole schuster When I was a child I wanted to become an architect. Watching me constantly drawing houses, my father showed me some construction plans, so I could do it â&#x20AC;&#x153;the rightâ&#x20AC;? way. Adapting ever new impressions I was drawing these until I finished school, but finally did not follow this path. Fascinated by metalwork and the handcraft, I happen to become a goldsmith instead. After three years of studying the craft, I wanted to learn and experiment more about jewellery, so I went to Pforzheim University/ Germany to study jewellery and objects design for another four years. During my practical term I went to Ireland where I continued to stay for four more years after my diploma. Working part time in a jewellery studio I could experience the routine and business of the trade, whilst developing my own jewellery. Helping to built up an attractive business from a small studio to a well located gallery and workshop was an interesting experience. Now back living in Munich/Germany, I feel this is an amazing environment of art, where I can grow with my pieces. Exploring the resemblance of both natural and artificial landscapes, which finds a great balance here, I am now, in jewellery, creating my own pieces of architecture. I am taking part in exhibitions and fairs, my jewellery has been represented in several galleries in Germany, Switzerland, Poland, Luxembourg, Ireland and New York.

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nicoleschuster.com/en

In your opinion, how important is it to have formal training as an artist?

Training has been an advantage for me. Education is an important base for becoming an artist, which is, I think, a lifelong process of learning, reflecting and developing.

Q: Q:

Which artists have influenced you, and how? There are many artists from many fields that influenced my perception, my ideas, my ideals. Each of them left an impression which forms my whole picture. Besides art, what are your interests and how do they influence you in the studio?

My inspiration to create comes from deep inside, itâ&#x20AC;&#x2122;s an urge to express myself and keep evolving. Well, if things get tough I look at other positive things in life.

How have you handled the business side of being an artist? Doing most things myself and trying to keep a balance.

Sport is relaxing and refreshing, also a time for stepping back and to reflect my point of view in a neutral time without any pressure. Travelling gives me besides the beautiful images and impressions, a little insight in different places, cultures, ideas and perceptions, which allows me to see things with different eyes, to understand relations and gain experiences â&#x20AC;&#x201C; which finally will be transformed into my work.

What inspires you to create and how do you keep motivated when things get tough in the studio?

Could you talk about your latest series and what you are trying to achieve with it? Distinctively the jewellery pieces allude to growth and transformation. I pursue in my pieces a resemblance between both natural and artificial landscapes; finding a balance in an inspiring mix of tradition and innovation.

What advice would you give to an artist just starting out? My advice would be to always believe and to stay focussed in what she/he wants to achieve.

â&#x20AC;&#x153;I am an artist because it is challenging and fulfilling to me.â&#x20AC;? nicoleschuster.com/en

Why are you an artist, and how did you first decide that art was your path in life? The desire was there since I was very young, but of course was formed during education and after, when I collected and refined my tools of expression. I am an artist because it is challenging and fulfilling to me.

What is the best and worst part of being an artist?

Can you tell us something about your work?

Best for sure is the luxury to express myself through my work, formed and developed in an intensive processâ&#x20AC;Ś This is such a beautiful, fulfilling thing. Worst part - I donâ&#x20AC;&#x2122;t think there is any thing specific; even if there are ups and downs, as in any other job.

Using traditional goldsmithing techniques I mostly work in silver. An additional technique is designing in a 3D program for rapid prototyping. I prefer doing rings, as I like my jewellery to adapt to the body, and if worn on the hand, the wearer will look at her treasure, having a private dialog with it and communicate at the same time to the viewer. My pieces always have a story, a statement of their own. For me it is very important that my jewellery is wearable and functional whilst being an expressive sculpture.

Where are you located? in Munich, Germany

meet the artist

an interview with

joan tenenbaum joantenenbaum.com 14

PHOTOS BY

Doug Yaple

A linguist, an anthropologist, an award-winning jeweler, an artist and a poet—Joan Tenenbaum fuses her technical, intellectual and creative abilities into jewelry that is imbued with beauty, spirituality and mystery. From the age of 13 Joan’s first love was always making jewelry. However, her path led at first to an academic life. Joan received her B.A. from the University of Michigan and her Ph.D. from Columbia University. Research for her dissertation took her to a village in Alaska where she lived with the Dena’ina Athabaskans and wrote a grammar and dictionary of their endangered language. She also compiled 24 stories for her book Dena’ina Sukdu’a: Traditional Stories of the Tanaina Athabaskans. She later lived with Yup’ik and Iñupiaq Eskimos in several villages, teaching and coordinating programs for the University of Alaska. During all these years, she continued to make jewelry and never gave up her dream to one day be a full time artist. In 1990 Joan moved to Washington State, where she now focuses on her jewelry and teaching. “I experienced first-hand the three things that are the most important to the people—the land, getting food, and their families. The Anthropologist’s job is to live with the people, understand their culture and interpret it to the world. Usually this is done through books, but I’m doing it through jewelry.”

Photo Descriptions (left to right) My River Walk, 2011, Brooch/Pendant, Sterling Silver, Reticulation Silver, Mokume Gane Palladium/Sterling, 14 Karat Pink and Yellow Gold, Champagne Diamond ,08 tw, Orange Sapphire, 2 x 1 ¾ x 5/16”. The Shaman’s Power, 2011, Brooch/Pendant, Sterling Silver, Royston Ribbon Turquoise in Matrix, 2 ½ x 1 5/8 x ½”.

Brazilian Agate Drusy Urn Ring, 2010, Sterling Silver, 14 Karat Pink Gold, Brazilian Agate Drusy, 3/4 x 1 1/4 x 1 1/4”. Tundra Swans Ulu Landscape Pendant, 2011, Pendant, Sterling Silver, Dichroic Glass, Keum Boo (Fine Gold and Silver), 2 ½ x 2 9/16 x ½”.

In your opinion, how important is it to have formal training as an artist?

Which artists have influenced you and how?

I do not feel it is necessary to have formal training as an artist. I do feel that technical instruction in your field and with your medium is important, especially with metalsmithing and goldsmithing. But as far as design or the discipline necessary, many people have a natural gift. I, myself, have no formal training in art but many years of classes and workshops in jewelry making and silversmithing plus private tutorials with my personal mentor in goldsmithing.

Probably the most significant influence has been from my private teacher and mentor, Stewart Jones. I began studying with him about twenty-five years ago and the refinement of my precision skills of fabrication, layout, stone setting and engraving is due to his influence. Stewart has also mentored me in the business side of jewelry making from the process of doing custom work, to relationships with clients, vendors and galleries. In the mid 1970’s I discovered the work of Mary Lee Hu and have been encouraged by watching the development of her unique work to pursue my own individual creative path. The work of Barbara Heinrich inspired me to develop my own signature textures, and the fine work of both Eleanor Moty and Tami Dean has made me pay particular attention to small details and edges.

Besides art, what are your interests and how do they influence you in the studio?

What inspires you to create and how do you keep motivated when things get tough in the studio?

I am intensely drawn to the natural world and seek beauty and serenity in wild places. Also, I was extremely fortunate that during my career as an Anthropologist I was thrown into some of the most remote places on this continent and bonded deeply with the landscape and the native peoples who lived there and whom I continue to visit. Both of these interests interweave and drive both my designs and the stories that I tell in my pieces.

What inspires and motivates me the most are the stories I want to tell about how people connect to the natural world. My desire to honor the people and land who literally gave me my education and who welcomed me into their homes and families is so strong—I have reams of ideas for pieces and whole series that I never will have time to make in two lifetimes. I am also inspired to push myself to tell new stories in new ways by the many collectors who come every year to my shows to see what new things I’ve come up with. They want to see the latest work and I am motivated to create fresh and unique pieces for them to choose from. I am always amazed how people see things in my work that I never knew were there! When things get tough—if I am up against a fabrication challenge I make mock-ups in card stock and/or try out technical solutions in scrap metal until I’m satisfied they will work. It also seems that if I get stuck on a design or fabrication problem spending some time outside always clears the way for me. I have to remember to give myself permission to take these interludes.

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PHOTOS BY

Doug Yaple

Photo Descriptions (top to bottom) Ice Overlap Wedding Rings, Narrow and Wide, 2010, Wedding Rings, Sterling Silver, 14 Karat Gold, Raw Diamond Cube .5ct tw, 8.7mm and 11mm. Feasts of Tradition, 2011, Brooch/Pendant, Sterling Silver, 14 Karat Yellow, Pink and Palladium White Gold, 18 Karat Green Gold, Keum Boo (Fine Gold and Silver), Champagne Diamond ,015 tw, Red, Blue, Orange, and Green Sapphires, 2 ¾ x 2 3/8 x ½”.

Photo Descriptions (left to right)

Salmon in the Trees Cuff Bracelet, 2011, Bracelet, Sterling Silver, Copper, Mokume Gane Copper/Sterling, 1 7/8 x 2 5/16 x 2 x 5 5/8”.

Careful Stratigraphy Wedding Rings, Narrow and Wide, 2009, Wedding Rings, 18 Karat Pink and Yellow Gold, 6mm, 7mm.

Bunchberry Pendant, 2011, Pendant, Sterling Silver, 18 Karat Gold, Raw Diamonds, 1 ½ x 2 1/8 x ¼”.

Brother Tree, 2010, Pendant, Sterling Silver, 18 Karat Green Gold, Ebony Wood, 1 13/16 x 1 13/16 x 3/8”.

Raven The Observer, 2012, Pendant, Sterling Silver, 14 Karat Gold, Keum Boo (Fine Gold and Silver), 1 3/4 x 2 x 3/16”.

Raven Sensing Falltime Cuff Bracelet, 2009, Sterling Silver, 1 3/8 x 2 1/2 x 1 3/4 x 5 3/4”.

PHOTOS BY

Doug Yaple

How have you handled the business side of being an artist?

Where do you see yourself in 10 years?

Could you talk about your latest series and what you are trying to achieve with it?

What advice would you give to an artist who is just starting out?

I have had no formal training in business. Everything I know I have gleaned from reading, workshops and talking to other professionals in the field. I have kept careful records ever since I started my jewelry business in 1976, 36 years ago! I think good record keeping is invaluable. I am able to do all the bookkeeping and accounting myself. Much of it is basic common sense.

In ten years I will be 76 and will have been making jewelry for 63 years. I do not plan to retire but I may take more time to travel to the places of beauty that inspire me. I see myself focusing on providing work for only one or two galleries and doing private commissions, and continuing to teach private students as they come to me. I also want to make sure my tools and equipment have a good home when I can no longer use them.

My latest series is called “A Sense of Place”. It is one of the deeper themes I have explored and draws heavily on my Anthropological background. In it I survey the many ways we as humans and animals connect to our landscape, ranging from the way native peoples are allied spiritually and economically to their land in order to wrest a living from it, to animals in their natural habitat, to modern humans in their own backyards or daily walks. In this body of work, as in all my work, I use techniques, signature textures and surface treatments to tell the story of the piece. I also include a haiku poem with each piece in this series. The poem is my own way of summing up the concept of each piece and adds meaning and depth.

I would say to them: Learn your craft. Practice your skills until you have mastered them. There is no substitute for fine craftsmanship. Then make your work unique. Tell your stories using your shapes and your design vocabulary. And, when you have a body of work you are proud of, have it photographed by a professional.

“ Making jewelry was so right and so fluid for me, right from the start”

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Why are you an artist, and how did you first decide that art was your path in life? In the ninth grade at the age of thirteen I took my first jewelry class. I latched onto both the medium and the scale immediately, and continued jewelry classes through all four years of high school, winning awards along the way. By the time I graduated I knew I wanted to be an artist. However, going to art school was inconceivable to my family and myself at that time. I kept on making jewelry and studied silversmithing during the summers and again after college graduation but was not aware that I could pursue a graduate degree in metalsmithing. Instead I pursued a doctorate in Anthropology and Linguistics, which led me to Alaska to document an endangered language, acquiring along the way all the stories I would later tell in my art work. So for me it took another twenty years during which the increasing desire to be an artist became a burning need I could no longer resist, and though my colleagues implored me to stay in the academic field, I said, “I have to be a jeweler NOW”. Making jewelry was so right and so fluid for me, right from the start, almost as if I had been a goldsmith in a former life. I am an artist because my soul requires it and my creativity trumps everything else in my life.

What are the major challenges you’ve faced as an artist?

What are 3 words that best describe your work?

What is your favorite tool?

Where are you located?

First of all, my family was dead set against my pursuing art as a career. The only other artist in my extended family was referred to as “Crazy Esther”. So I had to overcome that. Also I was extremely proficient and successful in my academic career and so breaking away from that and from colleagues who felt I should continue with that work was difficult and wrenching emotionally. When I finally took the leap to pursue jewelry making full time I was living in a rather isolated region and pretty much had to teach myself for the first ten years. And then there is the ever-present challenge of making your work unique from everyone else’s and staying true to your own artistic vision.

Three words to describe my work: meticulous, spiritual, and earth-based

My digital calipers which allow me to be so precise in measurement, followed by my new high intensity flashlight which allows me to see into tiny areas when making stone settings or doing other precise fitting, and which is especially good for finding dropped gemstones on the floor!! But the tool I miss most of all when away from my bench for an extended period of time is my jeweler’s saw.

My studio is in my home in Gig Harbor, Washington.

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PHOTOS BY

Doug Yaple

Photo Descriptions (top to bottom) Earth and Sky: The Journey, 2010, Pendant, 14 Karat White and Yellow Gold, 18 Karat Pink and Yellow Gold, Sterling Silver, Damascus Steel, Mokume Gane 14K Palladium White/Sterling, Boulder Opal, Lapis Lazuli, Champagne and Raw Diamonds .55tw, 1 3/4 x 2 5/8 x 5/16”. Taking A Step Back II: The Twice-Born, 2010, Pendant, 14 Karat White and Yellow Gold, Sterling Silver, Boulder Opal, Teal Blue Diamond, Damascus Steel, Mokume Gane Sterling/ Palladium, 2 x 2 x 7/16”. The Names, The Ancestors, The Land, 2011, Brooch/Pendant, Sterling Silver, Reticulation Silver, 14 and 18 Karat Gold, Mokume Gane Palladium/Sterling, Keum Boo (Fine Gold and Silver), Aquamarine, Sapphires, 1 5/8 x 2 1/8 x ¼”.

meet the artist

an interview with

teresa faris Teresa Faris is the Assistant Professor and Area Head of the Metals program at the University of Wisconsin Whitewater where she recently received the Women in Leadership Award. Former teaching appointments include San Diego State University and the University of Wisconsin-Milwaukee. Teresa is co-author of the Women of Metal Exhibition and Oral History Project, and is the recipient of numerous awards including: National Endowment for the Arts 2008 Grant Award: Access to Artistic Excellence - Visual Arts, in support of the Women of Metal project. Teresa participated in the Artist in Residence program at John Michael Kohler Arts Center, WI (1999). And, she exhibits extensively in Europe and the US. Recent exhibitions include: One from Wisconsin-Teresa Faris, Museum of Wisconsin Art, Elie Hirsch // Teresa F Faris - Lea, Dora, Olga, Adama & a collaboration with a bird, Silke Gallery, Antwerp Belgium, Touching Warms The Art, Museum of Contemporary Craft, Portland, OR, Metalsmiths and Mentors, Chazen Museum of Art, Madison, WI. Wisconsin Teapots, West Bend Art Museum, West Bend, WI. Resources: Steel, Rubber, Coal and Salt, Cleveland Museum of Natural History, Cleveland, OH. Selected Publications include: Clowes, Jody. Metalsmiths and Mentors. Chazen Museum of Art, University of Wisconsin-Madison. Making Metal Beads, 500 Necklaces, 500 Bracelets, and 500 Plastic Jewelry. Lark Books/Sterling Publishing Co. Inc.

â&#x20AC;&#x153; I like the challenge and I am a very stubborn person.â&#x20AC;?

teresafaris.com

In your opinion, how important is it to have formal training as an artist?

Which artists have influenced you, and how?

Besides art, what are your interests and how do they influence you in the studio?

I think that for many people, formal training is invaluable. Formal training allows people the opportunity to learn many social, professional and technical skills quickly through watching masters and peers at work. While working (in a supportive and constructively critical environment) toward mastery of material students may build critical relationships with mentors and colleagues. Confidence is gained with each new technique learned. When technical abilities are not limited, the creative mind is free to explore and grow.

The two artists that immediately come to mind are Yoko Ono and Karl Fritsch. I remember researching Yoko Ono’s “Instruction Paintings” when I was a student, and they were the first works of art that made sense to me conceptually. That was the moment that I understood the importance of congruous material and content. And, Karl Fritsch is just a genius.

I am interested in communication, particularly silent communication of humans and nonhumans. From bowery birds to “Goth” kids, I look at body language, fashion/color and body adornment and contemplate how those things attract or repel. I have lived with a rescued parrot for 19 years and I am endlessly inspired by our ability to communicate non-verbally. I have to admit that I am most interested in non-humans and objects/ patterns found in nature. My other primary fascination is the way that living beings react to anxiety, and I am deeply moved when I find an object that has been repetitively worn by the hands/beak/trunk… of an anxious being. As someone who deals with certain anxieties by performing repetitive movements I find comfort in knowing that these actions may be universal and offer some sense of connectedness to all living things.

What inspires you to create and how do you keep motivated when things get tough in the studio? As stated in my artist statement: “Rhythmic and repetitive movements encourage introspective or creative thinking. As a maker I have adopted this practice and find that it eases the mind when the body is testing and acting as a reminder of impermanence.” And to simplify my answer: I like the challenge and I am a very stubborn person.

How have you handled the business side of being an artist?

Where do you see yourself in 10 years?

I don’t think I do that very well. I am always envious of the people who are really good at marketing themselves. I try to keep my website updated, but I think that is only a small part of the equation… networking is the most important thing. I teach at a University and it seems like 2 full-time jobs, and leaves me little time to prioritize the rest of the precious time that I have to research and work in my studio.

Living in the country (preferably on the eastern flyway) with a barn, many rescued animals and a big studio full of natural light.

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Could you talk about your latest series and what you are trying to achieve with it? Artist Statement: When things are literally and figuratively torn down to pieces I am called to return order to them. Rhythmic and repetitive movements encourage introspective or creative thinking. As a maker I have adopted this practice and find that it eases the mind when the body is testing and acting as a reminder of impermanence. The ideas of fragility and human/animal connectedness are central themes in my work. Recently, I have become interested in working in collaboration with non-human animals rather than referencing/representing or using their bodies. I want to illuminate the ideas of universality and equivalency of all living things. I have witnessed non-human animals performing repetitive movements/ activities and I wonder if they find the same soothing aftereffects. The series titled “Collaboration with a Bird” demonstrates my need to repair all things broken. Pieces of wood that have been repetitively chewed by a bird are assembled into a new shape and completed with fabricated metal.

Q: Q:

What advice would you give to an artist who is just starting out? Do not fear failure or success. Just make. Why are you an artist, and how did you first decide that art was your path in life? The choice to become and artist/maker was a natural one for me. My mother is one of the greatest “problem solvers” I know, and I was brought up knowing that if I wanted or needed anything, I could make it for myself. My father has a keen eye for design and detail, this taught me to be critical of what I make and surround myself with. Also, I am a “loner” and I enjoy the solitude of working in my studio.

What are the major challenges you’ve faced as an artist?

What are 3 words that best describe your work?

What is your favorite tool?

Where are you located?

I was slow to take risks (financially and otherwise) as I have never had a “safety net”, but I have come to realize that being a truly independent person is not a terrible thing.

Serious, intellectual, ever-changing

The jeweler’s saw

Madison, WI USA

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meet the artist

an interview with

els vansteelandt Els Vansteelandt (Belgium °1961) started as a gold and silversmith in 1997. During her training, studies and personal research, she developed her own, remarkable style: simple and pure. At first, Els focused on jewellery, but after a while, she found that her creativity expresses itself in objects and artifacts too. Her work is recognised by the design experts of the ‘Design Flanders’ organisation. Els is frequently invited to present her work in museums and galleries, both in Belgium and abroad. Belgian highlights are the exhibitions in the Design Museum (Gent, Belgium) and in the European Parliament (Brussels, Belgium), and the Henry Van de Velde Prize Design Flanders (Brussels, Belgium). Els’ work has received international acclaim, and galleries in Stockholm, Copenhagen, Luxembourg, Munich, Den Haag and Barcelona display her work. Design Flanders took her work to the “World Best Design Exchange”, Design Korea 2007, in Seoul. She has also been selected twice for the German Silver Triennial, a contest and travelling exhibition. After some successful projects with Modo Bruxellae and the Brussels design/boutique hotel The White Hotel, Els made the choice to open a workshop in the center of Brussels and create her own place: a meeting point and creative lab all in one, a stone’s throw from museums, galleries and other artists she’ll continue to connect with in Belgium and abroad. But the process of creation never stops: Els’ quest for new, inventive, pure, beautiful jewellery and artifacts goes on…

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In your opinion, how important is it to have formal training as an artist?

Which artists have influenced you, and how?

You canâ&#x20AC;&#x2122;t learn to be an artist but training can be useful to waken an inherent artistic talent.

When I see really good art, I immediately feel like going to my studio and making my own work of art. Anish Kapoor is one of those artists whose work has the power to evoke sublime and supernatural experiences. I never get enough of watching his work. Besides art, what are your interests and how do they influence you in the studio? What inspires you to create and how do you keep motivated when things get tough in the studio? Anything can be inspiration for me. I just have to look around, observe, let my imagination start to flow and connect shapes. The emotional impulses that inspire me to design lead me straight to the precious metal. Much happens as I work |and I let my material take the lead. Hammering along, I keep discovering more exciting forms. Unforeseen events and unexpected variations make my material an endless world to explore and discover. I just try to play and have fun even when things get though.

How have you handled the business side of being an artist?

Where do you see yourself in 10 years?

Could you talk about your latest series and what are you trying to achieve with it?

I consider the business side a necessary part of the package deal.

I will be 60, still having fun in my workshop.

My latest work is called CHIMERA Chimera is a work of fantasy, chimerical creatures with noÂ specific identity. Sketches in silver provoking your imagination. Transforming lines, moving metal, changing the essence to become a communication surface wearable on the body.

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What advice would you give to an artist who is just starting out?

Why are you an artist, and how did you first decide that art was your path in life?

Work hard and never give up.

I’m born with an artistic gift, which enables me to translate images into artistic jewellery. As a child I was always interested in creating things but only at the age of 36 I felt the need to express myself in an artistic way.

What are the major challenges you’ve faced as an artist?

What are 3 words that best describe your work?

What is your favourite tool?

Where are you located?

My most important challenge is to combine passion and professionalism.

Well thought-out, sober, organic

My collection of hammers

I work at my own studio in the green outskirts of Brussels but since 2010 I also have a workshop in the heart of Brussels, an urban window, a meeting point and a creative lab all in one. Papenvest 15 1000 Brussels Belgium Tel. 32 2 218 80 01 Open: Wed, Thu, Fri & Sat, 12:00 - 18:00

“Anything can be inspiration for me.” elsvansteelandt.be 33

meet the artist

an interview with

andrew cooperman Artist Statement Minds are like flypaper, at least mine is. All sorts of strange and unpredictable things get stuck to it; even commonplace things glimpsed in a new light. It could be a new material, a little factoid or obscure detail or maybe something so ugly and funky that it becomes beautiful. It thrashes around in the glue until it wriggles in and begins to burn and fester. Itâ&#x20AC;&#x2122;s an itch. I need to pull it off the sticky brain-paper and deal with it. Making is my way to reconcile and respond, to pry things open, peer inside and eventually share my observations. But in the end, it boils down to this: some things simply must be made. Itâ&#x20AC;&#x2122;s the only way to scratch the itch. Metalsmith, teacher and writer Andy Cooperman lives in Seattle Washington. His work can be found on the pages of publications including Art Jewelry Today (I, II &III), the Lark Books 500 series and The Penland Book of Jewelry. Public collections include the Victoria and Albert Museum in London, Central College, Pella Iowa, Goshen College and the Tacoma Art Museum. Andy teaches seminars and classes across the country and held a twoyear position as a visiting lecturer at the University of Washington. In addition to building one-of-a kind pieces, Andy also works with clients as a custom jeweler and commission metalsmith and has relationships with Patina Gallery and the Velvet daVinci Gallery in San Francisco. His work has been shown most recently in solo exhibitions at The National Ornamental Metals Museum in Memphis Tennessee and in the Hershberger gallery at Goshen College Indiana as part of the Erik Yake Kenagy Visiting Artist program.

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In your opinion, how important is it to have formal training as an artist? “Formal training” can mean many things. In jewelry and metalsmithing a formal education can follow either a more technical or more conceptual path. Each road has its advantagesand its pitfalls. Generally in Craft, I think that a strong technical base is required: a compelling sentence, whether formal or conceptual, most often begins with a solid vocabulary. But that technical understanding can come from a variety of sources, including self-education. A formal technical education such as an apprenticeship, trade school or technical program can help bring out and develop design and hand-eye skills and instill discipline. It can teach you to problem solve. It can help you to be better at the craft in your Craft. It also can leave you rigid and overly cautious when it comes to the conception and development of new work. A so-called “academic” or conceptual education can take you to places that you might never travel to on your own. It can push your ideas beyond static practicality and stretch your comfort envelope until it seems that it might tear. This is all good in that it can lead to innovation and invention. The bad is, like the technical road, it can hobble you: render you opinionated, intolerant and dismissive of other approaches or points of view. It can both open and close your mind. The problems begin when either path is considered to be the only valid one. As in most things, a combination can leave you stronger and better equipped. I think that the value of a formal education lies in structure, depth and exposure to a wider range of ideas. I might have benefitted from more Art History classes. In the end, I do believe that a formal education, whether that be university, trade school, apprenticeship, etc., can play an important role in an artist or maker’s development. But it is not crucial. What is critical is self discipline and motivation.

Which artists have influenced you, and how? Martin Puryear, Daniel DaCaprio, Richard Sera….Hard to say….. I don’t really look at other artists. But many of my fellow makers influence me in how they conduct themselves in their lives and in their studios.

Besides art, what are your interests and how do they influence you in the studio?

What inspires you to create and how do you keep motivated when things get tough in the studio?

I think of myself as a well-rounded person with many interests. So it can be tough to attribute my studio practice to any one of them. I love to collect little quirky or esoteric facts about almost anything. They swirl around in my head and sometimes one, at some point and for some reason, becomes the nucleus of a response, the nugget around which a piece begins to coalesce. Since I am not often a narrative or iconographic maker, that response tends to take the form of an intuitive or more visceral object.

The need to make—or to have made—is in my DNA. But those barren spaces between or within pieces or bodies of work can be daunting. The one lesson that I have learned is to just keep moving. Do something. Even if it’s just straightening up. Here’s a mantra that I’ve found useful to remember:

Design leads to design. Idea leads to idea. Work leads to work.

To clear my head, I sometimes get my feet moving: A walk seems to lubricate the gears.

andycooperman.com 37

How have you handled the business side of being an artist?

Where do you see yourself in 10 years?

Could you talk about your latest series and what you are trying to achieve with it?

I guess I really haven’t, not in a smart way at any rate. Paying taxes, billing, tracking inventory…. I do all these things because I have to and I’ve learned to do them well enough not to hire someone.

Taller and more handsome.

I am interested in new and fresh materials. Right now I am manipulating pingpong balls. The altered balls resonate formally, and from a material standpoint. Conceptually, they refer to an unfortunate retinal situation that I am still in the middle of (as do my lens pieces). As always, I want to make a compelling object.

What advice would you give to an artist who is just starting out?

Why are you an artist, and how did you first decide that art was your path in life?

What are the major challenges you've faced as an artist?

What are 3 words that best describe your work?

What is your favourite tool?

Where are you located?

Recognize and seize opportunities. All of them. Don’t take yourself too seriously: Have confidence but lose the attitude. Ask questions. Face your fear. Make time and take time to play: it is vital. Don’t forget to floss.

It was one of many possible paths. Communication is really important to me and communicating through an object is powerful. I can’t imagine not being a maker.

The possible loss of my eyesight. Changes in the conceptual and aesthetic demands of the marketplace.

Gestural, elegant, animate.

Maybe a hammer.

Seattle, Washington, USA, Plant Earth.

andycooperman.com 38

“I can’t imagine not being a maker.”

meet the artist

an interview with

emma fielden Emma Fielden was born in New Zealand and came to Australia with her family at the age of three. Growing up, she studied music (flute) and was a music teacher as a teenager and young adult. Emma worked in various fields before coming to jewellery in 2003. She studied jewellery & object design and hand engraving at the Sydney Institute Design Centre, where she graduated in 2006 and was awarded a residency scholarship in 2007. Since then she has worked independently from her studio in Parramatta in Sydneyâ&#x20AC;&#x2122;s West. She splits her time in the studio between making works for exhibition and freelancing as a fine jewellery hand engraver. Emma has participated regularly in exhibitions in Australia and abroad, including two solo exhibitions in Sydney. She has won awards including the 2009 Buda Australian Decorative & Fine Arts Society Award. Her work takes the form of jewellery (particularly brooches) and objects, and she currently focuses her attention upon the traditional materials of gold and silversmithing, engraving and drawing. At the moment she is working on new work for a solo exhibition that is scheduled in the next year or so at Metalab Gallery, Sydney, Australia.

emmafielden.com 40

Drawings â&#x20AC;&#x201C; brooch, 2011

In your opinion, how important is it to have formal training as an artist? Formal training is important as it provides dedicated time, space and discipline for concentrated artistic development. It should provide good mentorship, the chance to develop skills and an opportunity to build networks.

“I think that inspiration is intrinsic. I’m intrinsically drawn to create.”

Which artists have influenced you, and how? I love Wolfgang Laib and I never tire of his sublime pollen works, Giacometti, Eva Hesse, Agnes Martin, Fred Williams and others. I love the subtleties in the still life paintings of Jean Baptiste Chardin. When it comes to artists of my own medium: Margaret West, Marian Hosking, Julie Blyfield’s hollow forms, Herman Junger, the goldsmiths of the Padua School. It’s hard to say exactly how these artists influence me; it’s not conscious. I think that when you really love and come to understand an artist’s work it infuses in you. Besides art, what are your interests and how do they influence you in the studio? I’ve had a love of classical music since I was very young and was a dedicated musician from childhood into my early 20’s. I play very rarely these days, but I believe that music developed a discipline and an artistic sensibility in me. Poetry – There are many contemporary poets whose work I love; Jane Kenyon, Judith Beveridge and Aiden Coleman are some favourites. I share a studio with my partner, who is a jeweller and a poet. He spends a fair amount of his time writing and arranging publications, so poetry is a big part of my daily life both in and out of the studio. A love of poetry is something that we share. We have a pretty blessed studio life, where we both individually have successful professional jewellery businesses & growing art practices.

Untitled – ring, 2012

emmafielden.com

What inspires you to create and how do you keep motivated when things get tough in the studio? I think that inspiration is intrinsic. I’m intrinsically drawn to create. I like what the painter Agnes Martin says about inspiration – keeping a clear mind in order to allow inspiration to enter. It’s tough when things get in the way and I can’t find enough time to make my work. I think that you need to accept that life is many faceted so you’re not always going to be free to create your work all of the time. You just have to make the best of what time you do have. If I don’t have the time to be making my work, I try to stay with it in other ways, even if it’s just holding it in my mind.

How have you handled the business side of being an artist?

Where do you see yourself in 10 years?

Could you talk about your latest series and what you are trying to achieve with it?

From the outset I made a decision that I wanted to work for myself in the studio full-time so that I could be constantly practicing my craft. I have done that ever since I left college. My practice is two-fold. I have what I call ‘my own work’, which is the work I exhibit and sell through galleries – the work pictured here and on my website. I also work freelance as a hand engraver for many of the top fine jewellers here in Sydney. The two sides of my practice cross paths with the skills and tools that I use in both areas, but my working processes and the finished works are vastly different to one another. Working in this twofold way has meant that I haven’t had to make any sacrifices in ‘my own work’; I haven’t had to think about what will sell best or think in terms of production.

In ten years I see myself still making and hopefully satisfied with the works that I have made.

My most recent finished work is a series of three brooches titled ‘Drawings’. The series is a continuation of the work that I have been doing with inlay since 2006. They are made from fine silver, which I hand engrave and inlay with gold (heat treated to produce the black patina). I see these works primarily as drawings; their brooch-ness is secondary, though important. For this new work I wanted to take a fundamental approach to drawing. I wanted it to be non-representational and I had a clear sense of the feeling I wanted to evoke. The process of the works started in my sketchbook, intuitively drawing repetitive lines in various forms until I felt that I was somehow in the work and had an understanding of what to do. Working in the sketchbook in this way doesn’t give me a design for the work; it’s an entry into the process. The process of working in the metal is equally intuitive and the finished work quite different to the initial drawings in my sketchbook. Of all the work I have done so far, I feel that these works are the closest to what I am trying to express in my work.

What advice would you give to an artist who is just starting out?

Why are you an artist, and how did you first decide that art was your path in life?

What are the major challenges you've faced as an artist?

What are 3 words that best describe your work?

What is your favourite tool?

Where are you located?

Well I’m only five years past graduating from college myself, but I would say: Keep making. Say yes to as many opportunities as you can manage. Don’t worry about what others are doing. Do your best work now.

I’ve been involved in the arts in one-way or another all my life. Both my parents have a strong interest in music and literature. My Mother is a classically trained soprano and sang with groups including the Sydney Philharmonia Choir when I was growing up. I began playing music at a young age. I play the flute and worked all my youth toward being a professional musician. I found great satisfaction in music – the process of practicing and developing technique, as well as the music itself. I think that music developed a sensibility in me and set a path for me in the arts. After working in various fields, circumstance had it that I found myself with the opportunity to embark upon studies in jewellery and object design. I took it on wholeheartedly with all the discipline and conviction that I’d learned from my music. Art has always been a given for me, something that I’ve always needed in my life.

My biggest challenge is time.

Drawings. Process. Nonrepresentational.

I can’t name just one! I have a favourite pen that I use to mark out all my engraving and to draw with. I couldn’t do without my microscope as I work on such a detailed scale every day, and my gravers.

My studio is located in Parramatta – Sydney, Australia.

emmafielden.com 44

Photograph Titles Drawings â&#x20AC;&#x201C; brooch, 2011 Markings â&#x20AC;&#x201C; 5 brooches, 2008

in the classroom LESSON 1: Sterling Silver Band Ring . . . . . . 48 LESSON 2: Jewelers Handsaw . . . . . . . . . . . 62 LESSON 3: Files . . . . . . . . . . . . . . . . . . . . . . . 66 LESSON 4: Emery Tools. . . . . . . . . . . . . . . . . 72 LESSON 5: Polishing. . . . . . . . . . . . . . . . . . . 76 LESSON 6: Firescale . . . . . . . . . . . . . . . . . . . 82 LESSON 7: Hammers. . . . . . . . . . . . . . . . . . . 84 LESSON 8: Green Patina . . . . . . . . . . . . . . . . 88

“ Start with the basics and push yourself until you can not possibly do a better job.” I had a teacher fond of saying “First I’ll teach you the slow hard method, and once you’re very good at it, I’ll show you the faster method”. I thought he was just being mean. But I now see the wisdom in his approach. It is not the end result that is important but what skills are developed while getting there. The process of doing something the slow by hand way will teach you more than the fast mechanical way will. Learning what to look for and how to see it, is a huge part of mastering any craft. Using very basic tools such as hammers, emery paper, files and other hand tools allow for a more intimate connection between maker and materials giving time to understand what the materials can and can’t do and why it will or won’t do something. Machines can speed up the process but until one fully understands the process it is not a good idea to rush through it. In this month’s segment of In the Classroom, we’ll start at the beginning and learn how to make a simple band ring. There is no better way to learn the basics of solder construction than with a band ring. Every step will be done by hand with the exception of the final polish; however even the polish can be done by hand, simply by using very fine emery papers; I would recommend 3M Tri-M-Ite Imperial Polishing Papers. Achieving a polish through emery papers is an excellent self set challenge, which will teach you much. I’ve been making jewellery for 22 years. I’ve continued making jewellery for 22 years because I am never bored and always challenged by the technical and material diversity, design possibilities and never ending room for improvement. I do not know it all. Everyday there is something new to learn, certainly these new skills come to me faster than when I first picked up the torch, but that is due to having a strong foundation in the basics. Knowing how to spell a word and understand its meaning is crucial to using it effectively in a sentence; a sprinter does not begin by running the 100 metre dash in 10 seconds, but builds the body and mind until it reaches that possibility by always pushing to improve. The same is true of jewellery making. Start with the basics and push yourself until you can not possibly do a better job. Then move on to the next level by increasing the difficulty level through more complicated design and push to improve. There will come a point where your physical mastery of the technique will open the floodgates of design possibilities. I remember the moment very clearly when I realized not only can I imagine anything but I had the skill to bring it into reality. A cup of tea is a great thing, take the time to enjoy one. Breathe deeply and enjoy the process; in life and jewellery making. Nicole Baxter

in the classroom

LEVEL: BEGINNER

with Nicole Baxter

LESSON 1:

Sterling Silver Band Ring The first piece of solder constructed jewellery I made was a simple sterling silver band ring in college. It is also the first project I give to my beginner students. It touches on most of the basics of solder constructed jewellery making: shaping, filing, sawing, fitting joints, soldering and finishing. Making a band ring will also introduce beginner students to basic tools and their use. Although there are few steps, go slow and be patient with them; eventually you will get it. My advice to students is always do your best and donâ&#x20AC;&#x2122;t lower your standards, but be kind to yourself; you are learning and to expect perfection is unrealistic. If you do something enough times, with care and the intention of improving, you will eventually get very good at it; finish one piece then move on to the next that is how you get better.

1. Picking the Stock A band ring can be made with sheet or wire. The benefit of using wire is it gives instant shape, for example: half round wire or square wire. The benefit of using sheet is it is much easier to work with than wire. If this is your first band ring, I would recommend using 18 gauge (1 mm) or 16 gauge (1.3 mm) sheet. I have noticed over the years that anything over 10 mm wide, will frustrate most beginners. For the purpose of this Tutorial, I am using 18 gauge sterling silver sheet which is 7 mm wide. 2. Cutting the Ring Blank Using a slide gauge or dividers score a cut line (image 1). A Guillotine or Long arm metal shear, can speed up the process of cutting the ring blank off of the larger sheet; however if you don’t have one, a jewellers hand saw will do the job and give you a chance to improve your sawing skills. At this point, don’t worry if the cut job is not perfectly straight or parallel, it can be easily fixed at a later point in the construction process. 1

To learn more about how to use measuring tools read Nanz Aalund’s tutorial “Measure Twice” on page 42 in the July, 2012 issue. To learn more about how to use a jewellers hand saw to read my tutorial turn to page 62 in this issue.

3. Straightening the Ring Blank The down side of using a long arm metal shear is it will always put a curve in the ring blank which will need to be straightened out (image 2). The plus side of using a jewellers hand saw, is the metal will remain flat and the next step can be skipped. Anneal the sterling silver. A steel block and a rawhide hammer (image 3) will be needed. However anytime a steel tool is used, stop and ask the question “what could I damage”. Steel is harder than sterling silver and can damage it very easily. As my teacher used to say “if you don’t want to take it out, don’t put it in”. Any dents in the steel will transfer into the sterling silver, use a piece of stiff cardboard in between the steel and sterling silver to prevent this (image 4). Straitening a piece of metal can be tricky, too much force will actually cause it to curl, so be observant; if the sterling silver does not move, then hit harder, but if it curls hit lighter. I call this the “Goldilocks Syndrome”, not too light, not too hard, just right (image 5) To learn more about how to anneal sterling silver read my tutorial on page 46 in the July, 2012 issue.

‘Sterling Silver Band Ring’ continued

4. Filing the First Side of the Joint

One of the most important tools a goldsmith has is the “V” board. The “V” board is designed to help support you while you work. Modifying the “V” board with groves can offer further support. The first thing I do with a new “V” board is put a deep grove in the left hand side “prong”; this is most helpful to hold sheet metal while filing. Since the ring blank is longer than needed, one end will be cut off and the other will become part of the joint. File one end 90 degrees to the long edge. There are many ways to hold a piece against the “V” board, my preferred method is illustrated in image 6. Using a hand file, file one of the short ends 90 degrees to one of the long ends. This will be one edge of the joint. To learn more about files and filing turn to page 66 in this issue.

5. Measuring the Ring Blank There are many ways to accurately measure a ring blank. I am using a ring blank chart found in Author Bruce G. Knuth’s book: Jeweler’s Resource: A Reference of Gems, Metals, Formulas and Terminology for Jewelers. Place the filed end at the “start” point. Notice the ring blank guide has more than one chart. When bending a flat piece of metal into a circle, the inside and outside surfaces will stretch and compact at different rates for different gauges. To make a ring the same size with 12 gauge (2 mm thick) as with 18 gauge (1 mm thick) a longer ring blank in 12 gauge is required then in 18 gauge. I am using 18 gauge Sterling Silver so I am using the 18 gauge ring guide. Mark the metal with a sharpie felt marker at the appropriate ring size (image 7).

6. Cutting and filing the second side of the Joint Use a jewellers hand saw to cut the ring blank down to the size required (image 8). Repeat step 4. Both sides of the joint should now be filed at a 90 degree angle to the long edges and the ring blank should be the correct length as indicated by the ring blank chart (image 9).

7. Bringing the Joint together Before shaping, anneal the metal. When bending and shaping metal the first tools I reach for are my hands. Hands unlike pliers will not leave dent marks. Using hands bend the ring blank into first a wide “U” (image 10) then into a wide “teardrop” shape (image 11). If your hands are not strong enough use soft tipped pliers. Using a rawhide or soft hammer and a steal block (don’t forget the cardboard) hammer straight down on the ring blank (image 12) until it resembles the shape of a Hershey’s kisses chocolate (image 13). If the joints pull apart, tilt the ring blank slightly forward and using the edge of the rawhide hammer bring the two joints back together (image 14 - work one side then the other ). Continue hitting straight down on the joint (image 15) until both ends of the joint are laying flat with little or no gap between (image 16 is not quite flat enough, image 17 is what you are looking for). During this process the metal might “behave” or not. If the metal behaves, it will do everything as described. Most likely the metal will shift and twist and not do as it’s told. When learning something new, one starts to build a “library” of information. Hit the metal and see what it does, hit it again and continue to observe, this is how you will learn. There is very little you can do at this point that is not fixable, so don’t be afraid to try things. The best way to advance quickly is to do something and see what happens. At the very least you will learn what does not work, which is just as important as learning what does. Use the hammer, your fingers and if needed soft tipped pliers to align the two joints. If the metal starts to get work hardened and you find it difficult to move it, re-anneal the metal and continue. This method of lining up a ring joint is a very good technique to learn. For thin gauged metals using pliers and simply bending the two joints until they line up will work, but with heavy gauge metal pliers will not be enough to move the metal. Once you have mastered this technique you will find it has many applications, not just rings.

‘Sterling Silver Band Ring’ continued

TIP #1 Unless you are an alien, chances are there will be a gap between the joint (image 18). There will be points where the edges touch and points where they do not. Bad practice is “filling” joints with solder. Solder when it melts liquefies, imagine trying to fill a gap with water. If you do manage to fill the gap with solder, once the ring starts to tarnish the solder seam will change a completely different colour than the rest of the ring. This is because solder is not Sterling Silver. Solder starts its life as pure silver, other metals such as: Copper, Zinc and Cadmium are added to lower the melting temperature.

There are 4 different kinds of Silver Solders: Hard, Medium, Easy and Extra Easy. The major differences between them are the melting temperatures. Hard Solder has the least of these other metals so has the highest melting temperature and the best (not perfect) colour match to Sterling Silver; where as Extra Easy Solder has the most and therefore the lowest melting temperature and the worst colour match. The purpose of the different melting temperatures is to allow for multiple joints; when soldering more than one joint there is always a risk of opening the previous joints. Some strategy is required when many solder joints are necessary; the first joint should be made with hard solder, successive joints with lower melting ones.

8. Making the Perfect Joint There are many methods to improve a joint. My preferred method is using a jewellers hand saw to cut down the middle of the joint. Placement on the “V” board is very important. Make sure the back side of the ring is past the end of the cut out on the “V” board (image 19); if not (image 20) once through the seam, the saw will hit the ring instead of the “V” board, resulting in a nick. Hold the ring firmly so as not to allow movement (if your fingers do not hurt, you are not holding hard enough). Hold the saw frame at a slight angle (not straight up and down) and cut through the seam (image 21). Do not aim for one side or the other, cut right down the middle, removing a little material from both sides. This will take practice. It may require more than one pass to remove enough material to close the gap (images 22 and 23).

As in all things, it may get worse before it gets better. If you cut on an angle a wedge will be cut out resulting in a bigger gap, if this happens the two joint edges will need to be moved back together before attempting to cut through with the saw again. It may take once or 20 times to get this right. The more times you go through the seam the smaller the ring will become; don’t worry about this, we will be hammer texturing the ring which will stretch it back up to the correct size. It is best to end up with a ring too small but with no gap. This is your first ring and it will take a few tries to perfect it. Be patient and you will succeed.

A TALK ABOUT SOLDERING I like to think of solder as a living breathing creature with things he likes and things he does not. The 3 things you need to remember about solder is: he likes it where it is clean, he’s always attracted to the hottest point and he’s kind of a lazy dumb fellow who does not follow complex directions very well. When metal is heated it oxidizes, that’s dirty, so the metal needs to be kept clean while heating it. To keep the metal clean flux is always applied to the seam. The flux will act as a temporary barrier between the metal and oxygen. My preferred flux is a brand called Handy Flux, which I am using in this tutorial. When heating metal the big mistake would be to place the heat directly on the solder seam. Metal is a good conductor of heat. While you are heating up the seam, the rest of the metal is sucking heat away from the seam creating heat fluctuations. To control where solder goes the heat must first be controlled. To begin with evenly heat the metal. Handy Flux is a good indicator of heat. First the flux will boil (flux is water based), then will turn white and finally go clear. When flux is clear it is sitting around 600 degrees celsius which is a good time to place the solder. This is where “Solder is a lazy dumb fellow who does not follow complex directions” comes into play. Always place solder at the beginning of a seam. If you place the solder in the middle of the seam, solder will have to travel in multiple directions; it won’t want to. By placing the solder at the beginning of the seam all you have to do is tell it to go in one direction through the seam; this is done by controlling the heat. Evenly heat the entire piece of metal until a good overall heat is achieved (visually a dull red). At this point move the torch flame in for the “kill” by directing the cone of the flame at the spot where you want the solder to come to, for just a second this point on the metal will be the hottest spot on the piece and the solder will be attracted to it; this is called “drawing the solder”. Allow the metal to cool so it is no longer glowing red then pickle for 8 minutes. To learn more about pickle turn to page 46 in the July, 2012 issue.

‘Sterling Silver Band Ring’ continued

9. Soldering the ring Using a paint brush apply liberal amounts of flux all round the seam (image 24). Solder comes in sheet or wire form (image 25). I prefer wire as it is easier to cut than sheet. When soldering it is best to use as little solder as possible; experience will teach you how much you need. It is easier to go back and add in solder than to try and remove solder once it has flooded into detailed areas. Because solder is not sterling silver every little bit of extra solder will need to be filed or emeried off, so don’t use too much. I always cut multiple small pieces (about 2 or 3 mm long) rather than one big one (image 26). How big of a flame will you need? Again experience will teach you. For a small piece such as the band ring a medium sized flame will do (image 27). Hold the flame above the ring and heat evenly in a circular motion (image 28). First the flux will boil (image 29), then go chalky white (image 30), then clear (image 31). At this point place the solder. Ball up the solder by placing the torch directly over the solder (image 32). Use a titanium pick to move the solder around with. Place the pick behind a ball of solder, move the flame over the solder and gently “scoop” the solder up (images 33). You will note my pick is “dirty”, a new titanium pick needs to be “treated” by dipping it in flux and heating it until the flux turns clear. Now once the flux on the pick is warmed it will become sticky like honey; this will allow you to pick up the solder and move it around (image 34). Place the solder on the top edge of the seam (image 35), then bring the heat in and gently “brush” the solder off the pick (image 36). If the solder is not in the middle of the seam give the ring a little heat while nudging the solder into place with the pick. Learning to use the pick will take some practice; the gentler you are the easier it will be to move the solder around. Heat the ring evenly until there is a slight red glow (image 37) then go in for the “kill” by moving the flame to the bottom inside seam (image 38). Pickle for 8 minutes.

TIP #2 It is important to be patient with the pickle and allow the metal to be fully cleaned. If the solder did not go all the way through the seam, simply repeat the process. But if the seam comes out of the pickle dirty the solder will not flow through it. I have actually seen solder flow down a seam, encounter dirt, come out of the seam and go back into the seam where it is clean. If after pickling the seam is not completely clean, flux the seam and heat only until the flux is clear and pickle for 8 to 10 minutes. This will help clean the seam; repeat this until the seam is completely clean.

‘Sterling Silver Band Ring’ continued

10. Cleaning the Solder Seam of Excess Solder The first thing you should do after soldering is make sure you have indeed soldered. The solder should have flowed all around and through the seam (image 39) The next big step is to shape the ring on a steel ring mandrel with a soft hammer. Steel is much harder than sterling silver so remember to stop and ask “what can I damage”. There will be extra solder on the seam. If the extra solder on the inside of the ring is not removed before shaping, the extra solder will be driven into the sterling silver by the steel ring mandrel and will be very difficult to remove later, without also removing a layer of sterling silver. Using a flat needle file remove the extra solder before shaping (image 40). Be careful not to thin the edges of the ring while removing the extra solder, go slow and check often (image 41). Image 42 illustrates the completed filing.

11. Shaping the Ring Round To begin with the ring will not fit on the ring mandrel (image 43). On a steel block give the ring a “whack” with a soft hammer (image 44); this will spread the ring enough to slide onto the ring mandrel (image 45). This will also test the solder seam. If the seam is weak it will snap open; better now then once all of the finishing is done. If the seam opens go back to step 7. If the seam starts to crack but does not open, lightly tap it down with a soft hammer until the joint is flat and re solder it. Pull or snug the ring as far down the ring mandrel as you can (image 46). While sitting, hold the ring mandrel at the top and brace the handle against your hip (image 47). Hammer hard with a soft hammer. The mandrel is tapered and it is possible to shape the ring that way, to avoid this remove the ring and flip its position on the ring mandrel every once and a while. When finished the ring should not have any “wobbles” (image 48), but should be smooth and round (image 49).

‘Sterling Silver Band Ring’ continued

12. The Clean Up: Outside Surface of Ring

The clean up is the first stage of the finish. Use emery sticks to emery the outside of the ring. Now that we are working on the clean up, careful handling of the metal is important; don’t put in more scratches and dents. If the ring is held against the “V” board, the board will scratch the ring; instead hold the ring scissored between two fingers raised off the board (image 50). While emerying don’t fixate on one spot trying to remove a dent, scratch or extra solder this will result in thinning that section of the ring. Pick a number - could be 5 or 6 and count off strokes rotating the ring and counting off again. Travel as much of the length of the ring as possible with a bending wrist (images 51 and 52); this will give you more results for your actions; compared to keeping your wrist locked which will only cover a short flat area of the ring. Go through 220 and 400 grits.

To read more about emerying turn to page 72 in this issue.

13. The Clean Up: Ring Edge Use emery sticks (220 and 400 grits) to smooth and even the edges of the ring (image 53). If one edge is higher than the other (image 54) follow these steps: Smooth the even side with emery sticks. Using a pair of dividers score a parallel line to the even side by setting the dividers to the same width as the narrowest point on the ring and running one of the divider prongs along the even edge of the ring, scoring a line on the uneven edge as you go around the ring (image 55). Don’t try to score a deep mark on the first pass of the ring; this will likely result in the dividers slipping and making big scratches. Instead go over the score mark several times to deepen it.

If you find it difficult to see the score line, use a felt marker to darken the ring surface (image 56). Then go over the score line with the dividers once more. Using a flat hand file, file the edge down to the score mark (image 57). Once the edge is filed parallel, use emery sticks to smooth it. When finished the edge should look even and smooth (image 58).

14. Polishing the Outside and Edges of the Ring A hammer texture on a ring is done with the ring on a steel mandrel; this will slightly damage the inside of the ring. There is no point in doing something twice; emerying and polishing the inside of the ring should be done only once the ring is hammer textured. Polish the outside and edges of the ring using a polishing lathe or alternative rotary tool. To learn more about polishing turn to page 76 in this issue.

Remember: scratches, dents or firescale can not be hidden with a texture and once the texture in there the only way to remove the scratches, dents or firescale, that is now under the texture, is to remove the texture and re-polishing the metal. The Polish should be bright and clear before hammer texturing the ring (image 59). To read more about firescale turn to page 82 in this issue.

15. Hammer Texturing the Ring There are many textures that can be achieved with hammers, to read more about hammer textures turn to page 84 in this issue. For this Tutorial Iâ&#x20AC;&#x2122;m using a large rounded hammer to make a â&#x20AC;&#x153;planishedâ&#x20AC;? texture. Place the ring back on the steel ring mandrel, hold the mandrel against your hip and the top of the mandrel with one hand, strike the ring with the hammer (image 60). Hammering the metal in this fashion will cause it to stretch and thin. Just how much depends on many factors: the type of hammer, how hard the blows are and how dense or sparse the hammer marks are. Experience will teach you what to expect - here is a chance to add more information to your library of knowledge; hammer away and observe the results. I like deep, dense hammer marks (image 61).

‘Sterling Silver Band Ring’ continued

16. Emerying and Polishing the Inside of the Ring. Emery the inside of the ring using 220 and 400 grits wrapped around a piece of wood doweling. Just as the outside of the ring, pick a number and count off strokes. Always emery in the longest stroke possible. For the inside of a ring this is accomplished by rotating the wrist while emerying (images 62 and 63). Be sure to remove all dents, scratches, extra solder and firescale from the inside with 220 emery before moving to 400 and on to polishing. Image 64 needs more 220 emery. Image 65 is finished with 220 emery. Image 66 is finished with 400 emery. Use a polishing lathe or alternative rotary tool to polish the inside to a bright finish. Image 67 illustrates not enough polishing whereas Image 68 is finished to a bright polish. To learn more about polishing turn to page 76 in this issue. Often I hear my students say “but it’s only the inside”. This is a bad way to think about your work. Jewellery is a three dimensional sculpture which will be felt and seen from all angles. The difference between a mass produced cheap piece of jewellery and a handcrafted piece lovingly made by a craftsperson is in the level of the finish. The inside of the ring is the most important surface to finish well, as it will be touching skin. If the inside of the ring is left with emery marks and not given a bright polish it will likely cause irritation and not be comfortable to wear. There are times when artistic vision should overrule technical concerns, but in my opinion this is not one of them.

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Jewellery

in the classroom with Nicole Baxter

LESSON 2:

Jewellers Handsaw The jewellers handsaw is one of the most important tools in the studio, mastering it is crucial if one wishes to produce quality work. Never miss an opportunity to use the handsaw, often my students try to avoid it opting instead to use shears; but you will never get good at something if you avoid doing it.

The jewellers handsaw comes in two pieces: the saw blade (image 1) and the saw frame (image 2). Saw blades come in a range of sizes; 8 being the largest and 8/o the smallest. Saw frames are available in various depths of throat from 2.25"-11". I have a number of different handsaws. Depending on what needs cutting a deeper or shallower throat is required. The deeper the throat the more flexible the frame will be, which can make it difficult to tighten the saw blade. Too shallow a throat will limit how large a piece of metal can be cut. The first frame size I recommend purchasing is a 3.5 inch; the throat is deep enough to cut most things but shallow enough to easily produce a tight blade.

Choosing a saw blade size can be a very personal thing. There are a number of "saw blade charts", which can offer some guidance but I feel the size of blade recommended for the gauge of metal is often way too big. The larger the saw blade teeth the courser the saw marks left in the metal and the "rougher" the cutting will be, causing the blade to snag on the metal. Most of the time I use a 3/o to a 6/o saw blade; the cut marks left by a 6/o saw blade are so smooth almost no emerying is needed; but the blade is fine and easy to break. I start my students with a 3/o moving down in sizes as skill level improves. Try different sizes and see what works for you.

â&#x20AC;&#x2DC;Jewellers Handsawâ&#x20AC;&#x2122; continued

1. Inserting the Saw Blade in the Saw Frame First establish the direction of the saw blade teeth. They should be pointing down (image 3) towards the handle and facing out, away from the throat. Secure the saw blade in the top nut of the saw frame by sliding the blade in until it hits the "stopper" and can go no further (image 4). The saw blade should be parallel to the saw frame (image 5); if not adjust the blade until it is. The saw frame has 3 nuts, 2 secure the blade and one allows adjustment of the frame length. Adjust the length of the frame so the saw blade just touches the top of the bottom nut (image 6). At this point the saw blade is only secured to the saw frame by the top nut.

2. Setting the Saw Blade Tension Getting the right amount of tension on the saw blade is crucial. A loose blade will result in broken blades and an inability to control the cut. However too much tension will also result in broken blades; if the blade "snaps" just as cutting begins, this is the likely problem. Brace the saw frame on the "V" board (image 7). Push the saw frame against the board, this will cause the frame to bend inward moving the bottom end of the saw blade deeper into the nut (images 8 & 9); while holding this position slide the saw blade into the nut and tighten. Test the tension before sawing by pushing against it with your finger. The blade should have very little give (image 10) and should not bow (image 11).

TIP A little beeswax or bur life on the back side of the blade with help lubricate for a smoother cut (image 12). More is not better as it can clog the teeth which will make cutting more difficult. Keep the saw in a vertical position (image 13), tilting the frame (image 14) will make controlling the cut more difficult as the blade will be cutting the top and bottom of the metal unevenly (images 15 & 16). Keep your wrist locked but hold the handle with a loose grip. Donâ&#x20AC;&#x2122;t forget to breath and relax the shoulders, the more relaxed the body the better the cut will be.

Safe Cutting Practice If the saw blade can cut metal it can cut fingers. The best way not to get cut is not to put fingers in front of the blade (image 17). Hold the metal firmly against the "V" board while straddling the saw blade with index and middle fingers (image 18). When cutting pieces that will not allow straddling, hold the metal high on the "V" board and press down firmly with thump on the long end of the metal (image 19).

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in the classroom with Nicole Baxter

LESSON 3:

Files

Files can fix anything. This is why I love them. Even the worst sawing job can be made to look nice with a little elbow grease and the right files. Over the years I have collected dozens of files both expensive and inexpensive. My first set of files cost $5 and when I got my first job in the Jewellery industry I treated myself to a set which cost $175; I still have and use both. There are 3 families of files: needle, escapement and hand. Whatâ&#x20AC;&#x2122;s important is the quality of the teeth, even an inexpensive file should have good teeth.

Files come in various shapes: three-square (triangle), square, round, slitting, knife, oval, half-round, equalling, crossing, barrette, warding and round-edge pillar. Files are graded by the "cut" of the teeth. The cut refers to how fine or course the teeth are; the system goes from 00, to 8, where 00 is the coarsest and 8 the finest. There are 2 types of cut: cross cut (image 1) and single cut (image 2).

1. Needle Files Needle files can be purchased in sets or as individual files. I recommend first purchasing an inexpensive set of 6 or 12 files. Well made files can be very expensive, $12 to $22 each. The benefit of starting with an inexpensive set of files is they will allow time to see which files are used most, so as to not waste money purchasing files that may sit unused.

â&#x20AC;&#x2DC;Filesâ&#x20AC;&#x2122; continued

Inexpensive Needle File Sets Here are two examples of inexpensive needle files both costing about $6 for a set of 12, purchased from a local Hardware Store. Image 3 has very poorly defined teeth whereas image 4 has well defined teeth. Don't spend too much on a first set of files but be sure they have well defined teeth. Inexpensive files are almost never graded by cut but often labeled: fine, coarse, medium or may have no indication of the grade of teeth at all. A set of medium files with well defined teeth is a good first set.

Expensive Needle Files (Sets and Singles). As the intricacy of designs increase a good set of needle files, purchased from a jewellery supply store, will help improve quality of work. As experience is gained there is a tendency to favour specific files. I don't buy good files in sets, but purchase individually and build my own set. A well made file will be labeled by cut. Since I mainly use: square, triangle, round, barrette and equalling I have all 5 in 3 different cuts: 0, 2 and 4. A 0 cut file is good for removing large amounts of material fast, 2 and 4 cut allow for refinement of the shape and smoothing of the edge. Needle files also come in differing lengths: from 4" (10 cm) to 7 3/4" (20 cm). I prefer 7 3/4" as it allows for a longer stroke.

3. Escapement Files Escapement Files are designed to get into very small areas that standard needles files are just to big for and are easily identified by their distinctive square handles. I would be lost without my escapement files. Again I recommend purchasing individually rather than in sets as escapement files are expensive.

4. Hand Files Hand Files are larger than needle files and are great for roughing out material (removing large amounts) establishing initial shapes which can be refined later with needle files and emeries. A #2 cross cut half round file, or a medium single cut half round file are both good choices for a first hand file. Unlike needle files hand files do not always come with a handle. Handles can be purchased separately (image 5). I prefer not to have a handle; as I find it places my hand too far from the metal, allowing for less control.

There are many ways to hold and use a file, but in the end it really doesn't matter as long as it gets the job done. Here are a few examples:

â&#x20AC;&#x2DC;Filesâ&#x20AC;&#x2122; continued

TIPS As a beginner you should be more concerned with gaining control over the file, not speed; speed will eventually come. If you take the time to learn technique you will gain both control and speed. Here are some tips that might help you: 1. You will gain control over the file by filing in one direction only. Until you gain control over the file, file only on the push stroke not back and forth. 2. Files are designed to work on the push, not the pull. You will get more results for your efforts on the push than the pull stroke. If you find it awkward to file on the push and prefer the pull "flip" the file over so the handle is facing away from you; the teeth will now cut on the pull.

4. A short stroke with a file has more control and will give better results than a long one. 5. If you are having difficulty controlling a file, or find it sticks or catches on the metal try a finer or smoother file. 6. Pushing hard on a file will remove more material and speed up the process, but without control, this will make for a bad job fast, which can be counter productive. Less pressure will give more control.

3. When filing a straight line only file in one direction. When filing back and forth, the natural motion of the body will result in a curved not a straight line.

A little advice on purchasing files: Every artists design sense is different, where I might design shapes that require square files, you might design shapes that are better suited to a round file. When purchasing expensive refined tools buy what you need as you need them. But how do you know what you need if you don't know what is available? Read order catalogs. For a time I sold jewellery supplies and tools. When I started the job I expected an easy go, since I studied jewellery and metalsmithing for 4 years, but found I was unfamiliar with most of the products. A colleague noticing my discomfort recommended I read all of our suppliers product catalogs. I still take time to look at jewellery supply catalogs and websites; they are not just a selling tool, but a wealth of free information. Typically single cut files are less expensive then cross cut files. I will not say that one cut is better than the other, but would recommend trying both. When building a tool collection there are tools that are a must and tools that are really nice to have. First purchase as many must have tools the budget will allow, then add more specialized tools. That might mean starting with a $5 single cut hand file, instead of a $30 dollar cross cut one, so there is room in the budget for a hammer and saw as well. Do you have a question or comment about this tutorial? Post it in our CLJ Members Forum

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Is there a technique you’d like to master, a project you want to try or simply a question you need answered? We want to hear from you. Our goal is to make ‘Creating Linus Jewellery’ your personal guide to perfecting your pieces and exploring the jewellery artist within. E-mail tutorials@creatinglinus.com with your questions, comments and suggestions. VIDEO TUTORIALS COMING SOON!

sawing & piercing riveting

tools

dapping

cold connections cuffs

drilling

bezels

chain pendants bangles wax carving silver

heat treatment patina copper

rings

etching polishing

stone setting

soldering

brass

texturing

in the classroom with Nicole Baxter

LESSON 4:

Emery Tools Jewellery making, most of the time is about problem solving. I had a teacher who used to tell us that tools are a starting point; alter them to suite your need and if there is no tool that can do the job, make it. After all if you can make jewellery you can make tools.

My favourite tools are for emerying. The level of finishing work on a piece of jewellery, is the difference between a good piece and a great one. I have come across many interesting designs that wowed me, but left me disappointed because the maker left the piece at a low level of finish. Emerying is the first step to a good finish; no matter what the desired final effect: textured, distressed, patinated or left as a high polish; I always start with a thorough emery. Do not believe you can hide anything with a texture. I believe every mark should be intentional. Granted when you are learning, you may not always know what to look for or you may decide during the process that you like the look of something; this is the learning process. As you begin to master the craft, you will have a “library” of information to pull from and eventually your work will be more and more intentional. Being lazy with your finish only hurts you, and in the studio you are the only judge that matters; saying to yourself that no one else will see it, is only letting yourself down; you should have high standards. Learning to make jewellery takes a life time; throughout a jewellery artist career hundreds of pieces are made. The goal should be to make the best piece you are capable of making right now and for each successive piece to improve. The right tools are a big help in improving technique; here are a few of my favourite emery tools I’ve made.

The first emery tools you should make are using paint sticks and wood doweling. I get my beginner students to make them with their first band ring. Always remember the job of an emery tool is to give you control of the emerying process; make sure the emery is wrapped tightly. Use masking tape to secure the emery and mark on the tape what grit the emery is.

Many materials can be used to make emery tools: wood, plastic, brass and tape, to name a few. Here is a starting point for emery tools using 1/8 inch MDF board and double sided tape. Using a jewellers handsaw cut a strip of MDF board the same thickness as the double sided tape you are going to use (that way you don’t have to keep trimming the tape). File the edges even and smooth. Use the Double sided tape to secure the emery paper and trim the edges of the emery paper close to the board using a knife. Depending on what you need to emery customize the board to do the job.

‘Emery Tools’ continued

For emerying flat pieces nothing works better than emery on a steel block. I get my steel blocks from metal scrap yards. The surface of the steel block should be very smooth, so look for a block that is in good shape; if necessary smooth the surface using a palm sander with emery - 220 and 400 grit should do it. On my round sanding block I like to use sandpaper - ordinarily I only use emery paper, but I can purchase 220 sandpaper with an adhesive backing. I will then lay on top of the block (no need to adhere) the other emery papers - 400, 600, 1000 etc. I also like to have a bit of anti-slip fabric underneath the block so it stays in place while I emery vigorously. Using a masking tape “loop” to help hold the metal is a great way to make emerying easier.

This is an emery tool I made for getting inside “boxed” areas. Using MDF board, wood doweling, double sided tape and quick setting glue. I further customized the tool by filing a 45 degree angled edge so I could get up close and under things. I could also adhere emery to the edge of the tool and use it to emery the inside edge of the box.

A student of mine encountered a particularly difficult spot to get at. Instead of “living” with it, we put our thinking hats on and came up with this tool. Using 20 gauge brass sheet and double sided tape. We made tools with 220, 400, 600, 1000 and 1200 grits. I really like to use brass sheet for curved and awkward areas; as it can be shaped to match. We used a bit of wood doweling to bend it over matching the curve of the outer bezel. When finishing hard to reach places, emery tools can get into areas polishing buffs can’t. In such cases emerying down to 1200 grit or finer will give the metal a good even finish that polishing buffs can’t. When ever possible keep the emery marks going in the same direction; no crosshatching. Always start with 220 grit and think of it as “the work horse” ; 220 emery is coarse so it will remove material fast. 220 girt should be used to remove all of the stuff that needs to come out of the metal: scratches, dents and firescale. 400 emery should only need to remove the marks made by the 220 grit, 600 grit to remove the marks from the 400 emery, and so on.

So the next time you are in the studio faced with a hard to get at area, don’t “live” with it make an emery tool. Do you have a clever emery tool you like to share with your fellow students? Email us at: tools@creatinglinus.com and we might just share it in the next issue.

in the classroom with Nicole Baxter

LESSON 5:

Polishing Basics The most important thing when polishing, is safety first. It only takes a second to cause an injury but you could be living with that injury for the rest of your life. Wear safety glasses, tie hair back and don't wear loose clothing that could get caught in the machine. Some people like to wear gloves while polishing as it keeps hands clean and helps to avoid touching the metal when it becomes too hot; I cannot recommend this, there is a possibility of the gloves becoming caught in the spindle and causing damage to you. Always give the act of polishing all of your attention.

The polishing machine (image 1), also called a polishing lathe is an essential piece of equipment for any jewellery studio. However there are many different kinds at various price points, ranging from $50 to $3000. For someone just starting a studio practice or on a limited budget modifying a grinding machine found at the local hardware store by adding a tapered spindle is a good option. However, polishing is dirty and dusty; investing in a good commercially made polishing machine with a dust collector, will help keep the studio and your lungs clean.

A flexible shaft (image 2), also called a hand held rotary tool is very good for getting into small hard to reach areas the polishing machine is just too big for. When I left college and was making jewellery in the kitchen of my small apartment, all of my polishing was done with just a flexible shaft. It is possible to go without a large polishing machine but a flexible shaft is a must. Although, anytime you can use a polishing machine the result will be faster and better. There are many manufactures of flexible shafts but I have found this is one tool where you really do get your moneys worth; if the budget will allow I recommend getting a Foredom brand jewellers model.

tapered spindle

A polished finished should not be confused with a shiny finish. Many finishes can be "shiny" but not necessarily polished; a polish is the complete absence of scratches. Polishing is basically rubbing a polishing compound imbedded in a fabric buff at high speeds against a piece of metal. There are many different kinds of buffs and Polishing compounds: Yellow Chemkote, Finex Muslin, orange, Berry, Dixcel Cotton Flannel Buffs; (image 3) Tripoli, Rouge, Bobbing, Crocus, Fabulustre and Zam polishing compounds are the most popular (image 4). Which to choose? Traditional Goldsmiths generally use a two step polishing process: Tripoli compound on a Yellow Chemkote buff, followed by Rouge on a Cotton buff. I've tried many things over the years, currently my favorite is a one step process with Zam polishing compound on a Soft Cotton Buff. The only way to find out what you like is to try different combinations and see. It is important that one compound be used on one buff. Using multiple compounds on one buff is never a good idea, the result is unlikely to be a good polish. When not using, keep each buff in a separate plastic bag. Anything the buff picks up (dust, bits of metal filings etc) will contaminate the buff.

â&#x20AC;&#x2DC;Polishing Basicsâ&#x20AC;&#x2122; continued

The Polishing Machine 1. Mounting the Buff A polishing machine uses a tapered spindle to hold the buff. To mount a buff on the spindle, do not screw the buff on; slide the buff onto the end of the spindle and turn the motor on. Once rotating the spindle will thread the buff on, centering and tightening it. An inside ring buff must be threaded onto the spindle by manually screwing it on. Hold the ring buff firmly in one hand while slowly turning the spindle with the other until tight. The inside ring buff must be centered on the spindle so as not to wobble while rotating. Do not attempt to use an inside ring buff if it is not centered and moving smoothly.

2. Working on the Buff Using the correct part of the wheel is very important when polishing. Hold the piece too high or too low on the buff could result in the buff "grabbing" the piece and sending it flying. Never reach under the buff (or even just to the side of the buff) to retrieve dropped or grabbed pieces without turning the motor off and allowing it to come to a complete stop. I can not stress enough the old saying "better safe than sorry". Image 5 illustrates the area on the buff that should be used; I call this the "safety area".

3. Ripping the Buff While polishing metal is being removed from the piece and embedded into the buff (image 6). If not cleaned the metal debris packed into the buff will scratch the piece resulting in a very poor polish. I like to use an old flat head screwdriver to rip the buff clean. Hold the screwdriver firmly in two hands and bring it straight into the safety area (image 7) moving it side to side; be aggressive this process is called "ripping" for a reason, there should be bits of fabric threads "ripped" off the buff. Never angle the screwdriver up (image 8), the buff could grab it and send it flying.

4. Applying Polishing Compound to the Buff When applying Polishing Compound to the Buff always tip the edge of the bar which is closest to you into the buff (image 9); not the bottom edge of the bar as it can be caught on the wheel (image 10). Always apply the compound onto the buff in the safety area, if the bar is too high (image 11) the bar will be grabbed by the buff. If the bar is "chattering" while applying it to the buff, you are too high up on the wheel or are applying the wrong edge of the bar. Move the bar side to side and do not create "ruts" in the bar, this could cause the wheel to grab it. Every once in a while apply more compound, it is the compound that does the polishing.

5. Holding the Metal Every piece is different. Before beginning ask this question "what is the safest way for me to hold it". For the most part I use my hands; I like to feel what is happening to the metal. When polishing a ring tuck the tip of your index finger through the shank, pressing against the ring firmly with the thumb of the same hand while supporting with your other hand (image 12). Bring the ring into the safety area and rotate towards you while pushing against the buff (image 13). Alternatively a inside ring buff is a good way to hold a ring (image 14). To polish the edges of a ring, hold with two hands and use the outside edge of the buff (image 15). A flat piece of metal should be held firmly with one hand while being supported by the other which is pressing the metal against the buff. When using the middle of the buff (image 16) going too far under can result in being pulled under the buff. To avoid this use the edge of the buff and rotate the position of the metal in order to reach all areas (image 17). If you ever feel the metal being pulled under, let go of it; the polishing machine is stronger than you are and you will not win. Turn the motor off before retrieving the piece.

â&#x20AC;&#x2DC;Polishing Basicsâ&#x20AC;&#x2122; continued

Polishing the inside of a ring requires an "inside ring" buff (image 18). Support the ring between both hands while holding with thumb and index fingers (image 19). Always use two hands. Push against the buff while slightly rotating back and forth. Do not ram the ring up the buff, this will cause it to become stuck; if this happens, turn the motor off before removing the ring. To clean the buff run a 220 emery stick cross the underside of the buff while the motor is running (image 20)

TIP #1 Polishing can be one of the hardest techniques to learn. It's all about the correct angles and right pressure. Also, polishing removes metal; spending too much time working on the polish will thin it out. Be observant, as the metal heats up stop to allow some cooling time and have a good look at the metal. If the polish is getting worse, first try ripping the buff and applying more compound. Or it could be that you are not pushing hard enough or maybe you are pushing too hard against the buff. Change the position on the wheel; use the edge. If what you are doing is not working, try something else. A buff is made of hundreds of layers of fabric, never use only one spot on the buff. This will result in "cut" marks, since the same section of the buff will always be hitting the same section of the metal; use various spots across the buff while always staying in the safety zone.

The Flexible Shaft The Flexible Shaft consists of: hand piece, foot petal and motor. The hand piece has a retracting collet to hold the attachments; a chuck key is used to open and close it (image 21). There are many different attachments: polishing buffs and wheels, grinding and texturing tools and bits used for stone setting. When it comes to polishing the most popular are: Felt, cloth, bristle and rubber wheels. I am using a hard packed felt cylinder buff with Zam polishing compound. To add compound, press the buff against the compound while slowly rotating (image 22). When using a new tool, it is a good idea to spend some time getting familiar with it. Play with the foot petal until you are able to start the flex shaft very slowly. Being able to control the speed is very important; using just the tip of your foot will help with this. Do not place the metal directly against the "V" board while polishing as the board will scratch it. Either tuck a finger under the metal (image 23) or use something soft underneath. Hold the ring firmly and press the buff down (use a bit of force), rotate the buff back and forth using a long stroke, not in and out. While polishing don't fixate on one spot this will result in thinning that section of the ring. Pick a number - could be 5 or 6 and count off strokes rotating the ring and counting off again.

A good polish starts with a good emery. If you are finding it impossible to get a nice shine, you may have to except that it is time to take a step back and return to emerying; not always fun to do! But if you want a good polish it might be necessary. Do you have a question or comment about this tutorial? Post it in our CLJ Members Forum.

You can access the forum by logging into our website at creatinglinus.com

in the classroom with Nicole Baxter

LESSON 6:

Firescale Basics

Firescale

No Firescale

Ask anyone who works with sterling silver what if anything they dislike about it and I guarantee the most popular answer will be firescale. Firescale, also known as firestain, is a red or purple-gray stain that appears on mixtures of silver and copper, such as sterling silver. At high temperatures, oxygen mixes with the copper to form cuprous and then cupric oxide; resulting in firescale. There are many ways to deal with firescale. Generally I do it the old fashioned way through emeries and polishing. On textured surfaces where this is not possible, I will "raise the fine silver". Sterling silver is made of 92.5% pure silver (also known as fine silver) and 7.5% copper. When heated and pickled the fine silver will "rise" to the surface. Repeating several times (until the sterling silver is as white as a sheet of paper) will result in a thick white layer of pure silver; this process is more correctly called Depletion Gilding. Some jewellery artists will leave the surface white as a design element, but using a brass brush and soapy water will shine the sterling silver back up. The best paper I've ever read on the subject is Charles Lewton-Brain's "Some Thoughts on Fire Scale", available to read on The Ganoksin Project website; I highly recommend reading it if you wish to fully understand firescale. I won't even attempt to write a better paper, since my best efforts would result in plagiarizing Charlesâ&#x20AC;&#x2122; paper. Jewellery making is a combination of design and technique. When first learning to make jewellery, technique can often seem overwhelming. The maker always has control over the design (at least on paper), even beginners, but technique takes time, patience, repetition, persistence and most importantly self-discipline. I was not always the best of students; a teacher once told me "learn all the techniques we have to teach you, then decide which ones you want to use. Not learning something limits the options your designs can have". I am very thankful of this lesson. Many jewellery artists will leave firescale, exploiting its colour or as a contrast emphasizing texture. Some remove every bit of it, preferring a clear bright finish. Regardless of your feelings towards firescale, knowing how to remove it is just one more technique to learn; one more tool in your design bag. Since firescale forms at high temperatures it should be removed after all soldering is completed. Initially firescale will cover the entire surface of the sterling silver making it very difficult to see. Start with 220 emery. As firescale is removed a contrast between where there is firescale and where there is none will begin to form. The sterling silver will appear mottled with purple-gray patches. It is easiest to see firescale when holding the sterling silver against a piece of white paper. Continue with the 220 emery until the patches disappear; the firescale is now removed. Finish with finer emeries and polishing.

To read more about emerying turn to page 72 in this issue. To read more about polishing turn to page 76, also in this issue. Do you have a question or comment about this tutorial? Post it in our CLJ Members Forum. You can access the forum by logging into our website at

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in the classroom with Nicole Baxter

LESSON 7:

Hammers

Hammers come in two family groups: hard and soft. A soft hammer would be: rawhide, wood, plastic, rubber, nylon or anything softer than the metal being hammered (image 1). A soft hammer is used when shaping or flattening metal. Hard hammers are generally made of steel or brass and are mainly for texturing or forging metal (image 2).

Steel hammers are made out of various grades of steel making the metal harder or softer. A very good hammer made out of tool steel will last forever and be very difficult to damage. Where as an inexpensive one made out of cheap or low grade steel will be very soft and easily damaged. Because low grade steel is so soft it is easy to alter. One of the things that gets under my skin is how freely people copy other jewellery artist designs. Altering hammers can give very specific textures difficult to reproduce with out that hammer. When I was in school a fellow student would buy cheap hammers from the local hardware store and customize them using: punches, acid, grinding tools, saws anything that could bite into the steel; she ended up with a fantastic collection of hammers. Garage sales are also an excellent source for unusual hammers, often no longer being made. Before hammering always inspect the hammer, anything on the hammer head will end up in the metal. If you want a bright polished texture, periodic refinishing of the hammer head will be required. Steel is polished the same way as any other metal: emery followed by polishing with Tripoli or Zam. Carelessness will damage your hammers; don't just throw them in a drawer when finished, I hang mine on peg board.

â&#x20AC;&#x2DC;Hammersâ&#x20AC;&#x2122; continued

Here are some of my favourite texturing hammers:

in the classroom with Nicole Baxter

LESSON 8:

Green Patina In the July, 2012 issue of Creating Linus Jewellery we learned that ammonia and table salt will make a vibrant blue patina. This month we continue our exploration of household patinas by making a green blue patina with white vinegar.

To read my Tutorial on how to make a Blue Patina go to page 56 in the July 2012 issue, but first here is a brief review on patinas: Copper takes a patina especially well. Every metal has its own personality; I like to think of copper as an old, smelly, dirty, drunk, homeless man; if you've worked with it, you understand why. Because copper is such a dirty metal it likes to oxidize; in simple terms: put it next to a chemical and it will react by changing colours. This process is called Patination. There are hundreds of chemical patina recipes; many requiring expensive, hard to find and potentially dangerous chemicals, all things I like to avoid whenever possible. Instead, my favorite patinas are made by more common household chemicals: ammonia, salt, vinegar, bleach, potting soil, sawdust, urine, tobacco....

1. Making a Fume Chamber First construct a fume chamber (image 1). Find a plastic container with a lid (clear if possible), large enough to hold your copper in. The copper will need to be suspended in the container; drill or poke holes in the sides of the container large enough to slide a bit of wire through (any type of wire will do). Depending on what you wish to patina, customize the hanging mechanism; I used two wires to support the sheet evenly. At the bottom of the fume chamber place paper towel soaked with vinegar. Do not use the same fume chamber for different patinas, any cross contamination will alter the patina results. The fume chamber is now ready for use.

2. Preparing the Copper It is essential the copper be free of oxides, grease and dirt; otherwise the patina will not work. There are many ways to prepare metal for patination. Emerying with 220 grit will do the trick (image 2). Other methods are: scrubbing with a paste mixture of pumice powder and water or heating and pickling followed by cleaning with soap and water. Which ever method you choose, always handle carefully during and after; hold by the edges so as not to transfer grease from your fingers.

â&#x20AC;&#x2DC;Green Patinaâ&#x20AC;&#x2122; continued

3. Going through the stages Carefully place your copper in the fume chamber and close the lid (image 3). Avoid touching the copper, hold by the edges only. Using vinegar vapors to patina copper is a slow process and may take a few days to get the results you want. The Patina is finished when you are happy with the colour. After being in the fume chamber for 90 minutes a film begins to form (image 4). At 5 hours the colour appears in patches (image 5). 16 hours and the patina has fully covered the metal with a thin layer (image 6). Finally at 30 hours a thick even layer covers the copper (image 7). 3

TIP #1 Once the lid is opened vinegar begins to become less effective. Depending on how old the vinegar is the patina will take longer or shorter to develop. Using "fresh" vinegar will yield faster better results. Since the patina will take a considerable time to form the vinegar in the paper towel may dry out; if you notice less progress in the patina change the paper towel and add more vinegar, the paper towel should be sopping wet at all times.

4. Sealing the Patina Once you are happy with the patina, remove the copper from the fume chamber. The patina will be very fragile so handle delicately. Allow to thoroughly dry. Most patinas are a surface treatment which can be rubbed off and must be sealed with a lacquer or wax of some kind. My favorite is Pro-craft Lacquer (available at most jewellery supply stores), applied in 4 or 5 thin layers. Do you have a question or comment about this tutorial? Post it in our CLJ Members Forum and weâ&#x20AC;&#x2122;ll answer it. You can access the forum by logging into our website at

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teach in our virtual

classroom There are a plethora of techniques to be taught and learned when it comes to making jewellery. Being an internationally distributed magazine, itâ&#x20AC;&#x2122;s extremely important to us to have a variety of makers contributing to our publication. Thereâ&#x20AC;&#x2122;s nothing like learning a technique from someone halfway around the world and connecting on a global level. Plus we have the added benefit of our Members Forum which allows educators and students to interact as if they were in a traditional classroom setting.

If you have a technique youâ&#x20AC;&#x2122;d like to share, submit your tutorial to tutorials@creatinglinus.com

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Call for Submissions Spectacles, Sunglasses & Prescription Glasses Ever since I was a child Iâ&#x20AC;&#x2122;ve had a fascination with spectacles. Do you share this fascination? Creating Linus Jewellery is sending out a call for submissions. We'd like to share your spectacle creations with the world. For full details visit our website at www.creatinglinus.com Nicole Baxter, Jewellery Designer & Educator

JEWELLERY

Explore the jewellery artist within.

the

wall In recent years the internet has become an important tool for artists to exhibit and sell their work. Multi-vendor websites like Etsy.com offer a collective forum where buyers can access many Artists under one website. “The Wall” represents the best of Etsy. If you see something you like, click on the image and you will be redirected to that artist’s Etsy page where you can see more of their work. Would you like to nominate an artist for The Wall? Let us know in our CLJ Members Forum. You can access the forum by logging into our website at creatinglinus.com

Deborah Brackenbury

Mark Doolittle

Alice Pasquini

ART MAGAZINE 96

Cole Thompson

Discover a world of art. creatinglinus.com