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Zoom Workshops – Metals

METALS & JEWELRY ZOOM WORKSHOPS
Introductory / Intermediate CAD

Michael Nashef

Feb 2,9,16,23 & March 2, 9, 2021
5:00-7:30p.m. ET 

Tuition $305

Participants should have basic computer skills

Introductory and some Intermediate commands will be covered in this workshop, techniques and applications for the use of Rhino as a creative studio for jewelry design and product design. Participants will be introduced to the basics of Rhino software and how to articulate their designs in 3D.

Instructor will give several demonstrations – based on reinforcing basic CAD concepts, introducing techniques, and demos on demand. The pace of this class will be dependent on students understanding and command of the material covered.

Workshop Outcomes:

  • The participants will be able to: Understand and differentiate between fundamental CAD/CAM concepts and processes.
  • Participants will be able to learn, understand, and differentiate between nerbs, curves, surfaces, and solids which are the building blocks of CAD design.
  • Participants would be able to operate basic Rhino program and produce basic designs from sketches.
  • Generate basic and intermediate CAD models using Rhino.
  • Converse in the vocabulary of CAD/CAM.

Details:

Michael Nashef earned a B.F.A. in Metals/Jewelry Design from Kendall College of Art and Design and M.F.A. in 3D studies from Bowling Green State University. Throughout his career, Michael Nashef has managed a jewelry store, worked as a CAD designer, and launched his fine jewelry company Intersecting Hearts. Michael had taught at Kendall College of Art and Design.

www.nashefdesigns.com      

@nashefm     

Introduction to jewelry repair

Michael Nashef

Feb 4,11,18,25 & March 4, 11, 2021
5:00 – 7:30 p.m. ET 

Tuition $350

Intermediate metalsmithing skills and tools needed

Add the basics of jewelry repair to your metalsmithing toolkit in this workshop. Explore the first level of this skillset as you learn about common jewelry repairs and basic bench jewelry work.  tools and how to use them, styles of repair, soldering, different metals, and more.

Alternating between demonstrations and guided exercises, Michael emphasizes hands-on working time throughout the class. Practice sizing a ring up and down, soldering and repairing a chain, cleaning, polishing, and achieving a mirror finish on the surfaces of your pieces. Please have broken jewelry of your own. Some previous jewelry making experience is preferred. 

Details:

Michael Nashef earned a B.F.A. in Metals/Jewelry Design from Kendall College of Art and Design and M.F.A. in 3D studies from Bowling Green State University. Throughout his career, Michael Nashef has managed a jewelry store, worked as a CAD designer, and launched his fine jewelry company Intersecting Hearts. Michael had taught at Kendall College of Art and Design.

www.nashefdesigns.com      

@nashefm     

Captures & connections

Jesse Bert

Feb. 28 & March 7, 2021 
1:00 – 3:00 p.m. ET  

Tuition $125 

SOLD OUT!

All levels welcome

Please email [email protected] to be added to the waitlist.

This class will focus on techniques for perforating, connecting, and mounting fragile materials including glass enamel, and Mother of Pearl. In addition we will talk about incorporating versatile organic materials such as coconut shell. Familiar tools will be used to cut, carve, and shape, then we’ll jump ahead into the use of diamond burrs, discs, and files for extra precision. The instructor will share insight and consideration for unique, functional mounting captures, and connections between different materials. You’ll learn the instructor’s personal techniques for creating solid, and lasting connections with wire and tube rivets to attach dissimilar materials without risk of fracture or breakage. Come to understand the benefits and drawbacks of working with both organic and rigid materials. The instructor will encourage participants to ask questions about use of captures and cold connections, with the hopes that it might benefit their own work in futures pieces, experimentation, or projects.

Details:

Studio Artist; Adjunct professor Technological Institute of Monterrey, Guadalajara, Mexico; Other teaching: workshops and courses taught in jewelry schools around the globe in places such as: New Orleans, NYC, Miami, Bogota, Holland, Portugal, Barcelona, Madrid, Collections: Racine Art Museum (WI)

www.jessebert.com

@jessedanielbert

enameling on formed metal: preformed beads to bowls

Barbara Minor

March 3, 10 & 17, 2021 
12:30 – 3:00 p.m. ET 

Tuition $185 

SOLD OUT!

Beginning experience with enameling recommended

Please email [email protected] to be added to the waitlist.

 

Dramatically curved, steep vertical and spherical forms present unique challenges for successful completion of a variety of enameling techniques. 

We’ll use opaque and transparent enamel colors to create vibrant and colorful surfaces as we work with sifted and wet application methods –  along with other decorative enameling techniques – on a variety of formed metal surfaces that range in size and function from beads to bowls and beyond.  

You can begin with pre-formed beads, small spun bowls or other pre-formed copper pieces.  The importance of working with pre-formed copper pieces is that one can learn to successfully enamel on those complex curved, vertical and completely rounded 3D forms without having to “make” the form first.

Participants can also utilize other copper forms that they have made via methods of their choosing such as – raising, dapping, fold forming, die forming, repousse, etc.  Barbara’s demonstrations will address specific considerations for enamel application and the incorporation of decorative techniques on pieces that exemplify these metal forming techniques as well as those that participants may have made.

We’ll delve into the adaptation of a variety of other enameling techniques that add interesting details and individualized designs to colorful enameled surfaces.  Barbara’s demonstrations and examples will illustrate possibilities for many decorative techniques that can be added to formed pieces – some of which are sgrafitto, stencils, decal application, use of silver or gold foil, drawing media and seed bead application – to formed surfaces.

In addition to principles, practices and decorative techniques for successful enameling in the round this workshop will include fundamental information such as….

  • work area, tools, materials – choices, set-up and safe procedures
  • metals and enamel types suitable for this technique
  • fast and effective methods of cleaning metal prior enameling
  • enamel preparation – transparent vs. opaque – washing vs. grade sifting
  • particle size choice for sifted applications on curved forms
  • purposes and guidelines for counter enameling – or – inside/outside balance
  • color choices – which TR do/don’t work well directly on copper or fine silver
  • reasons for using graded individual sifters
  • sifted and wet enamel application methods for three dimensional forms
  • set-up and considerations for firing formed and completely round forms
  • decorative techniques adapted– such as decals, foils, seed beads, stencils, sgrafitto, drawing media
  • simple altering of spun bowls
  • edge finishing

*Students will receive the following from Barbara 2-4 weeks prior to the start of class…

  •  a detailed and annotated list of tools, materials and suppliers
  • process order outline with images of examples
  • access to a Private/Hidden FaceBook Group for questions, discussion, examples and exchange between    classes

Details:

Barbara Minor works from her studio in Louisiana where she utilizes the ancient technique of vitreous enameling to create her innovative enameled beads, distinctive enameled jewelry and unique enameled vessels.

         She began enameling during graduate school and continued developing her knowledge by exploring enamel processes while teaching a SUNY Geneseo.  

Barbara concentrates on researching, perfecting and documenting experimental or innovative enamel processes utilized in her skillfully crafted jewelry and objects.

Barbara exhibits widely and teaches frequently across the U.S. and abroad.  Her work has been pictured in 500 Enameled Objects, The Art of Enameling, and Art Jewelry Today.

www.barbaraminorenamels.com

Embellishments- Enhancing the Enamel Surface

Jan Harrell

March 5 & 12, 2021 
1:00 – 3:00 p.m. ET

Tuition $125

SOLD OUT!

All levels welcome

Please email [email protected] to be added to the waitlist.

Now that the enamel basics are mastered, explore many techniques that will add garnishes and enhancements to enamel creations- large or small.

With a few selected wet mediums and a handful of marking tools, use the enamel colors that work with your palette to add finishing touches to flat and formed shapes. Simple purchased screens and stencils are an easy way to create more layers and visual interest. Get some ideas for finally making that piece come to life!

This is appropriate for kiln and torch firing.

Along with the demos, Jan will show many samples and finished pieces that showcase the techniques in this fast-paced workshop.

Details:

Jan Harrell is a metalsmith, enamelist, and educator with over 25 years of energetic teaching at the Glassell School of Art. Her love for the glass / metal medium was fueled by her early childhood years in Japan and then grew into her college and grad school vocation and passion.
Jan teaches workshops across the country and participates in invitational and juried exhibitions. Her work is in the IAH permanent collection, the Kamm Teapot Collection, The Enamel Arts Foundation and several private collections. Her work is in over 15 books and publications.
Jan received her BFA from Texas Tech University and her MFA in Sculpture from the University of Houston.

www.janharrell.com

Getting started Part 3


Jennifer Wells

March 6 & 13, 2021 
9:30 – 12:00 p.m. ET

Tuition $145

All levels welcome

In this section, we will be looking at how chains are made and will try at least three styles before selecting one to create a full-length chain from. A chain of course needs a clasp so we will cover multiple clasps that are appropriate for necklaces and bracelets. In addition to chains and clasps we will also cover making your own ear wires, posts and dangles with closures, soldered and not.  Participants can expect a collection of handouts to accompany each class.

Details:

Jennifer Wells, MFA, has completed artist-in- residencies at: Arrowmont School of Arts and Crafts in Gatlinburg, TN, Pocosin Arts in Columbia, NC and the Jentel Foundation near Banner, WY and has worked for several U.S based Craft Schools, in a variety of roles.

As an educator, Jennifer has taught for and been a visiting Artist at Universities throughout the U.S and for study abroad programs based in Italy. Currently she serves on the Board of Vita Institute and teaches short workshops on various enameling and metalsmithing techniques throughout Europe and the U.S.

Her work is in the collections of the Enamel Arts Foundation, the Racine Museum and Private Collections.

 

www.jennwells.com

@jennwellsstudio

Etruscan chain fabrication: perfected

Chris Hentz

March 6, 13 & 20, 2021
12:30 – 3:00 p.m. ET 

Tuition $185

SOLD OUT!

Some soldering experience necessary

Please email [email protected] to be added to the waitlist.

Learn to easily and perfectly fabricate an Etruscan Chain that is supple, of museum quality and has consistently  precise proportions regardless of wire diameter.  

Chris has perfected his research on how to make an Etruscan Chain that is as close as possible to the proportions  seen in Etruscan and Etruscan Revival examples found in museums. Instructions in other available publications do  not come close yielding the precise results that Chris’s methods and variations will allow you to achieve. 

Instruction and demonstrations will include Chris’s highly researched and innovative methods for accurate and  repeatable measuring, cutting, forming, soldering and assembling the wire loops used for making Etruscan  Chains. He will also share methods and measurements for varying the proportions that can be easily understood  and utilized. 

Included within the principles, practices and techniques for successful Etruscan Chain Fabrication this workshop  will cover the following and more…. 

  • work area, tools, materials – choices, set-up and safe procedures 
  • metals types suitable for this technique – and why 
  • metal types that are “possible” but make the work difficult  
  • fast and effective methods for preparing metal to make jump rings 
  • wrapping, cutting, shaping and placing jump rings for efficient soldering 
  • methods and principles for soldering silver wire jump rings reliably and successfully – without  melting. 
  • how to get rid of excess “solder globs” on jump rings – without filing 
  • shaping and preparing jump rings for assembling an Etruscan Chain 
  • introduction of the brand NEW – Chris’s Etruscan Chain Tool Set – and how to use each  component 
  • detailed information about the wire diameter size in relation to the loop inside diameter size  necessary to achieve the highest quality results. 
  • how to understand what happens when you change the proportions of wire size to loop size. The  goal being for you to be able to make consistent and informed choices in the future. 
  • what happens if/when you increase and/or decrease the wire diameter size and/or loop size without intention 

Participants will have the opportunity to work with following Etruscan Chain Link Combinations. Chris recommends  using fine silver wire to make samples, bracelets and/or a necklaces. * 

– single link/single axis – thin and simpler linking 

– double link/single axis – a thinner “rope like” chain 

– single link/double axis – larger simpler linking 

– double link/double axis – a thicker “rope like” chain 

* If you want to economize, you will be able to begin with copper wire to make samples before deciding if there is a “version” you prefer to make in fine silver.

Details:

Christopher A. Hentz is the Emeritus Professor of Jewelry and Metalsmithing at Louisiana State University where he taught for 39 years.  He received his MFA from Cranbrook Academy of Art. 

As a college professor, researcher and self-employed artist Chris’ career has been focused on perfecting a variety of basic and advanced processes, techniques, methods and concepts that have earned him the title of “Jedi Metal Master” – a title given to him by his advanced jewelry and metalsmithing students. 

His abilities and expertise combined with an endless curiosity, vast knowledge and analytical thinking about process has provided Chris with the ability to develop new information and tools in order to make “work” easier and more efficient with better results.

Chris has shown his work and taught workshops across the U.S. and abroad.  He currently lives, conducts his research and creates new work in Louisiana.

 

www.christopherhentz.com

www.chrisscables.com

www.chrishentz.com

https://www.facebook.com/christopher.hentz.9

 

Matthieu Cheminee Filigree
Filigree, West African Way

Matthieu Cheminee

March 6 & 13,  2021
4:00 – 6:00 p.m. ET 

Tuition $125

Some soldering experience necessary

Filigree is a common technique in West African countries and is a specialty of senegalese jewellers. 

The focus of this class is to make a traditional filigree ring. 

Attendees will learn how to make a frame, how to prepare the wire into small units that will be used to fill the frame, how to install them, to prepare the solder, to solder everything together, to form and finish the ring. All of this using very little tools.

Details:

Studio artist, teacher and writer.

Teacher at the École de joaillerie de Montreal and at the École des Métiers du Sud Ouest in Montréal, Québec, Canada. Other teaching: Haystack (ME).

Zoom workshops: Pocosin Arts (NC), Metalwrex (MA), Mendocino school of Art (CA), Creative Metal Art Guild (OR), Metal Art Guild of Georgia (GA).

Saul Bell award winner (2nd place Silver in 2017, 1st place Silver in 2018)

Collections: Musée des Maitres et Artisans du Québec, Montréal, Canada, Musée des Civilizations de Québec, Québec, Canada.

Author of: “Legacy, jewelry techniques of West Africa“ 2014, Brynmorgen press

 “ The Art of Stamping” 2020,  Brynmorgen press

Co- founder of the Toolbox Initiative, along with Tim McCreight of a non-profit organization that helps jewellers in West Africa through the gifts of donated tools.

@matthieu cheminee

 

INTRO TO POWDER COATING

Brie Flora

March 7 & 14, 2021 
4:00-6:00p.m. ET 

Tuition: $125

Are you looking for ways to add pops of color to your work besides enameling? Do you love enameling and are interested in learning another technique that produces pops of color while also offering more durability and flex?

In this class you will get to experiment with color and surface designs you can get from powder coat. Powder coating is a type of coating that is typically applied as a free-flowing, dry powder. The main difference between a conventional liquid paint and powder coating is that the powder coating does not require a solvent to keep the binder and filler parts in a liquid suspension form. The coating is typically applied electro statically and is then cured under heat to allow it to flow and form a “skin” around the piece/part being coated. In this class we will learn both how to spray the powder on our work and we will also go over sifting on powder, dipping into powder, and drawing on the powdered surfaces.

Brie will go over safety and various tips/tricks for working with these tools/materials. Using some pre-recorded videos and in person demos, Brie will go over how to set up, break down, and store powder coating at home. Students will work on creating samples squares by spraying, sifting, and dipping. Students will work on this in-between the two classes and will be encouraged to also design & create a finished powder coated pair of earrings, pin, or pendant.

Details:

Brie Flora creates work that has whimsical moments and excessive repetition. She pulls inspiration from nature & fantasy to fabricate unique sculptural objects and wearable art. Flora uses traditional metalsmith techniques including piercing & soldering and applies the industrial finish of powder coating to add pops color. Adorn your body and/or space with handcrafted one of a kind and limited-edition work that will bring a little bit of magic into your everyday.

Brie Flora has been featured in over 10 group exhibitions, recently including “Bling: Jewelry Invitational” in the main gallery at Blue Spiral 1 – Asheville, NC. She also created and curated the first vol. of “Guidelines – A contemporary jewelry project” that featured works by 15 jewelers and makers including herself. “Guidelines” was on view during Adorned Spaces at the 2019 SNAG Conference in Chicago, and up for a month-long exhibition at the Appalachian Center for Craft in Smithville, TN. For more information and updates on future Guidelines projects, follow @guidelines_jewelry on Instagram.

Jeweler, Artist, Educator currently living in east Tennessee and graduated from Massachusetts College of Art and Design 2015; Other Teaching: MassArt (MA), Metalwerx (MA), Cambridge Center for Adult Education (MA), Lexington Arts + Crafts (MA), Appalachian Center for Craft TTU (TN); Residencies + Leadership positions: President of the TN Craft Plateau Chapter (TN), Emerging Artist at Salem Art Works (NY), American Craft Council Emerging Artist program (MD, GA, MN), Studio Tech at Haystack (ME),

Stockists: Monique Rancourt Artisan Gallery (MA), Moraine Shop & Studio (MI), Fuller Craft Museum Gallery (MA)

brieflora.com

@brie_flora

BOTANICAL PAINTING ON ENAMEL

Mi-Sook Hur

March 12 & 19, 2021 
4:00-6:00 p.m. ET 

SOLD OUT!

April 25 & May 02, 2021 
1:00-3:00p.m. ET 

Tuition: $125

SOLD OUT!

Please email [email protected] to be added to the waitlist.

This workshop focuses on observing and painting floral objects with a modern approach. Students will learn drawing and painting skills with step-by-step instructions. Demonstrations will include how to create illusions of three-dimensional quality using lines, volumes, colors, and other details of plant species from photographic references. Various styles and techniques for drawing and painting flowers and leaves with overglaze paints on enamels will be presented. These techniques include mixing colors, making marks, building up layers, and adding fine details on enameled copper.

Details:

Mi-Sook Hur is an award-winning enamelist and metalsmith who is a professor at East Carolina University (NC). Her work focuses on the realistic images inspired by nature and she explores the modern studies of Limoges enamels. Most recently, she wrote a chapter about her painterly techniques in The Art of Fine Enameling by Karen Cohen.

She has taught workshops at the Penland School of Crafts, Haystack Mountain School of Crafts, the Newark Museum, Pocosin Arts School of Fine Craft, EGNE (The Enamel Guild North East),
and Arrowmont School of Arts and Crafts.
Her work is included in the collections of the Enamel Arts Foundation, Racine Art Museum, John Michael Kohler Arts Center, Sunny & Gloria Kamm, and Arkansas Arts Center.

https://www.misookhur.com/

INTRODUCTION TO ELECTROFORMING COPPER ON WAX

Dennis Nahabetian

March 18 & 25, 2021 
12:30 – 3:00 p.m. ET 


Tuition $145

It’s a transformative, almost magical process that allows you to grow a copper skin, atom by atom, over practically any object. In a simple easy to follow tutorial, Dennis Nahabetian will demonstrate the steps in making copper beads, baubles and more.

This class will show you what you will need, and how to set up an Electroforming bath to grow copper over small wax forms. We will also cover basic wax working techniques and making small plaster molds for replicating forms. Incorporating and experimenting with other materials will be discussed and encouraged.

Details:

Dennis Nahabetian is a Studio Artist who has primarily worked with wire mesh for more than 30 years. He has taught at The University of Toledo, and given Lectures and Workshops on his innovative techniques at Colleges and Arts Organizations throughout the United States. Dennis has been featured in books, magazines and received recognition for his work through Artist Fellowship Grants from the New York Foundation of the Arts and the Ohio Arts Council. He has exhibited internationally and has been honored for his skill and artistry from prestigious shows including 4 Awards from Smithsonian Craft Show. His work is in many private and public collections including Racine Art Museum and The Honolulu Museum of Art (formally The Contemporary Museum).

@dennisnahabetian

Aqua-resin: not what you think/more than you know

Jillian Moore

March 18 & 25, 2021 
4:00 – 6:00 p.m. ET 


Tuition $125

In this workshop we will learn about a variety of uses for Aqua-Resin, a non-toxic composite (opaque/structural) resin that is safe to use in your home studio. Imagine a safer cousin to fiberglass for building forms merged with a stronger cousin to plaster for making durable objects. We will learn how to use AR to generate shapes, build dynamic surfaces, incorporate color, and create complex finishes. AR can be used in both wearable and sculptural applications. At a time when many of us are limited to our home studios, it is helpful to have a dynamic new material in your arsenal to experiment with that does not require ventilation, volatile solvents, or complex safety equipment. Bonus: you can incorporate/upcycle a lot of things you already have lying around!

Details:

Jillian Moore is a full-time studio artist and some-time writer living in Iowa City, IA. Working predominantly in the field of contemporary jewelry and small sculpture, Moore is known for her biological forms using a variety of “new materials”. She is also a regular workshop instructor on her use of various resin surface applications (Seattle Metal Arts Guild, Touchstone Center for Crafts, Galerie Beyond in Antwerp, Belgium.) Her work is in the permanent collection of the Racine Art Museum (WI).

www.jillianmoore.net

@phlaznatch

Intermediate chasing and Repousśe/die forming for repetitive repousśe and unique chased textures

Nancy Mēgan Corwin

March 21 & 28, 2021 
4:00 – 6:00 p.m. ET 

Tuition $125

SOLD OUT!

Please email [email protected] to be added to the waitlist.

This class is appropriate for beginners who have had some experience with pitch and chasing tools and intermediate students.

Die forming for chasing and repoussé is the process of pressing or hammering metal into a cut-out design in a hard, resistant material. The result is a puffed-out shape that can be repeated many times. The die is then flipped over, filled with pitch, and chased from the other side for making uniquely textured and designed hollow forms, multiples and mirror image designs. The main die material we will be using is a non-toxic PVC that is easy to cut and can be hammered without cracking. Using a hydraulic press and acrylic dies will also be covered. There will be a lot of instruction in chasing the resulting die-hammered forms, including making finished pieces.

Details:

Nancy Mēgan Corwin received her MFA in Art Metals at the University of Wisconsin-Madison in 1983.  Since leaving her position as Head of Jewelry and Metals at the University of Oregon-Eugene in 1994 to focus full time on her studio work, Mēgan has been teaching workshops and credit classes in metals around the United States and overseas. Her area of expertise is chasing and repoussé, and she has written a technical and gallery book on the subject, “Chasing and Repousse: Methods Ancient and Modern published by Brynmorgen Press, Portland, ME in 2009.

 

Mēgan has one-of-a-kind jewelry and metalwork in many private collections around the United States and in the following: The Victoria and Albert Museum in London, England, Washington State’s Tacoma Art Museum’s permanent collection and in the State University of New Mexico Art Gallery at Las Cruces Gallery’s permanent collection. She is represented by Facèré Jewelry Art Gallery, https://facerejewelryart.com (now part of Green Lake Jewelry Works). View her work at www.nancymegancorwin.com.

 The Experimental Techniques in Enameling of Fred Ball Part 1: Liquid Enamel

Judy Stone

March 24 & 31, 2021
4:00-6:00p.m. ET 

Tuition: $125 

SOLD OUT!


Please email [email protected] to be added to the waitlist.

    Fred Uhl Ball (1945-1985) was an enamelist who lived and taught in Sacramento, CA. Once viewed as highly unorthodox, Ball’s techniques and approach to enameling nonetheless created a firm basis for current contemporary enameling. The techniques he wrote about in his out-of-print Experimental Techniques in Enameling (1972) included working with fire scale, creating collages, using liquid enamel and other materials associated with the porcelain enamel industry and much more. His techniques encouraged enamelists to leave the tight restrictions of classical enameling to embrace looseness and self-expression 

Explore a wide range of Ball’s techniques and recent developments that Ball would have loved with Judy Stone, whose own work was greatly influenced by Fred Ball’s book. Stone will be teaching 3 separate online workshops based on Ball’s book. The workshops are stand alone. As a whole they represent the gift of Ball’s legacy to the world of enameling.

The Experimental Techniques of Fred Ball: Part 1 liquid enamels

The Experimental Techniques of Fred Ball: Part 2 inlays and overlays, April 7 & 14, 4-6 PM ET

The Experimental Techniques of Fred Ball: Part 3 foil and mesh structures., May 5  & 12, 4-6PM ET

Part 1: Liquid Enamel pays homage to the materials which Ball had to work with, which in his day were called “crackle” enamels. In this workshop we will explore liquid enamels as Ball used them and how their use has been expanded today. All enameling will be done on copper.  

  • We will test and experiment with the properties of various liquid enamels that are currently available and explore all the possibilities of their use. 
  • We will learn the various ways to apply, manipulate and layer over liquid enamel bases including the use of sprayers, resists, and sgraffito
  • We will explore the use of Thompson’s current crackle enamels and the use of soft fusing white opaques
  •  We will look at each others’ experiments and marvel at how we can get so many different results with so few variables.

Experimentation includes problem solving and what is sometimes called science.

In addition to the materials list which is part of this workshop description a PDF file with additional  suggested tools and supplies will be sent to registrants 2-3 weeks before the workshop. Ball’s book, although out of print and quite expensive if purchased through Amazon, can be borrowed to read online at https://archive.org/details/experimentaltech00ball.  To learn more about Ball and Judy Stone’s relationship to his book please go to https://enamelcenter.org/how-now-fred-ball/. The Enamel Arts Foundation also has a large collection of Ball’s work which can be viewed at https://www.enamelarts.org/fred-uhl-ball/.

Details:

Judy Stone has been a professional enamelist since 1972. She has served on the board of the Northern California Enamel Guild and The Enamelist Society. She is the founder of the Center for Enamel Art and enamel dept. head. at The Crucible, (Oakland, CA). She has taught workshops all over the US and abroad. She lives in El Cerrito, CA.

 RUBBER MOLDS 3 WAYS: BLOCK, BRUSH AND BLANKET MOLDS

Lauren Kalman

March 26 & April 2, 9, 2021
1:00-3:00p.m. ET 

Tuition: $165

This workshop explores 3 methods for creating rubber molds: block molds, brushed molds, and blanket molds. Rubber molds are an exciting way to replicate forms making it possible to produce multiples or transform an original object into a new material like resin, plaster, or wax for casting and electroforming. The three techniques covered will provide students with options for a variety of shapes and sizes of objects to mold. We will be using a silicone rubber for this workshop, but we will also discuss other molding material options.

Workshop Outcomes:

  • Preparing objects for molding

  • Choosing an appropriate molding methods

  • Mixing material

  • Pouring or paint rubber

  • Building mother molds

  • Safe material handling

Details:

Lauren Kalman is a visual artist based in Detroit and an associate professor at Wayne State University. She has taught at a range of institutions including Penland, Rhode Island School of Design, and Brown University. Her works are in the permanent collection of the Korean Ceramic Foundation, Museum of Fine Arts Boston, Smithsonian Museum of American Art, Detroit Institute of Art, and Museum of Arts and Design. 

www.laurenkalman.com      

@laurenkalman

GLUETASTIC! COLD CONNECTION FOR MIXED MATERIALS

Märta Mattsson

March 27, 2021 
1:00 – 3:30 p.m. ET 2021

Workshop in collaboration with the Society of North American Goldsmiths

To become a SNAG Member CLICK HERE

I use different kinds of epoxy glue in every single piece that I create and it is my one favorite material. I started out as a traditional silversmith but over my twenty year long practice of making jewelry I have always had a massive interest in working with mixed materials. Since I create wearable pieces made from materials like insects, resin, stone, metals, fabric, seashells and silicone I have figured out many ways of connecting materials through chemically bonding them without the need of adding any heat. In this workshop I will show you how to use epoxy glue in unexpected ways. It is a perfect material for creating cold connections for mixed media but also for casting, encrusting, coloring and repairs. I will share all the little tricks that I know and show demos on the different ways I use glue in my work. I will also demonstrate how to attach metal brooch backs, chain and earring posts to alternative materials.

Details:

Märta Mattsson was born in Stockholm, Sweden in 1982. She received a Master degree from the Royal College of Art in London in 2010. She also received a Bachelor degree in jewellery art from HDK – Acadamy of Design and Crafts in Gothenburg and has been an exchange student at Hiko Mizuno College of Jewelry in Tokyo, Rhode Island School of Design in Providence and at Hawaii Pacific University. She has exhibited her work both nationally and internationally since 2006 in over 20 solo exhibitions and in many group exhibitions. Märta has given workshops and lectures around the theme of her work in countries like China, Belgium, Mexico, Thailand, USA, Sweden and Latvia and she is currently employed as a lecturer at HDK-Valand -academy of art and design in the department for jewellery art. In 2016 Märta was awarded the prize Young Applied Artists 2016 in Sweden and her pieces can be found in prestigious Museum collections like MAD – Museum of Art and Design in New York and National museum in Stockholm.

‘My jewellery deals with the tension that lies between attraction and repulsion. I take seemingly inappropriate materials, making ordinary and familiar objects seem extraordinary and unfamiliar.’ – Märta

View her work at www.martamattsson.com.

MEMORIAL URN PENDANT

Carin Jones

April 1 & 8, 2021 
4:00 – 6:00 p.m. ET 

Tuition $125

Basic sawing, filing, and soldering skills are necessary 

Hollow forms are a great way to create large, dimensional pieces that are lighter weight and more wearable.  Artists often, leave them empty, but this class will explore hollow form work in regards to making sealable vessels. Specifically, students will work on creating a hollow form memorial urn pendant out of sterling silver.  We will discuss sequential options to produce a successful pieces, techniques to form and solder the silver to ensure a seal, and finishing options.  The techniques learned in this class will open up options for students to create a wide variety of hollow work. 

Details:

Carin Jones (Kuh-rin) is a Seattle area based artist that derives her inspiration from a zoological background, particularly years of collecting and cataloging specimens. As an architect’s daughter, she obsessively studies shapes and their interactions, notably those of elements not paired in nature.

In her Mineral & Marrow Series, Carin concentrates on an unexpected coupling of discarded bones and high end gemstones. While, at first glance this may seem contradictory, the partnership challenges the audience’s inclination to undervalue one material and overvalue the other. It clarifies the equality of elements – born of stardust and returning to stardust –  and emphasizes the true value of the natural world.  

Crafting materials commonly regarded as disposable into treasured pieces of wearable art challenges society’s perspective and, moreover, assists in realigning the audience’s standpoint. 

Liquid Possibilities!

Tanya Crane

Apr. 3 & 10, 2021 
1:00-3:00 p.m. ET

Tuition: $125

Liquid enamel is a versatile medium which can be used in a myriad of applications. In this workshop, we will explore the qualities of liquid form enamels as a base, as an adhesive and as texture. I will cover prepping and applying liquid form enamels as well as embedding material, the sgraffito method, color gradation, spray application and dipping. We will also examine and compare W.G. Ball liquid form enamels against Thompson’s liquid enamels in an effort to extract the most potential for your projects.

Details:

Tanya Crane is a Southern California native living and working in Boston, Massachusetts. She is a Professor of the Practice in Metals at the School Museum of Fine Arts at Tufts. Crane received her MFA in Metalsmithing + Jewelry from the University of Wisconsin-Madison in 2015, and her BFA in Metal from the State University of New York at New Paltz.

Crane’s work is framed within a dual existence of prejudice and privilege having adapted to life amongst family in both the white suburbs and the urban center of South Central, Los Angeles. Crane is a recipient of the Society of Arts and Crafts Artist Award (2017), and was the Society of North American Goldsmith’s Emerging Artist presenter at SOFA in 2018. She is on the Haystack Board of Trustees and on the Collections Committee for the Fuller Craft Museum. Her work was featured in a solo exhibition at the National Ornamental Metal Museum.

 

MASTERCLASS

Making Enameled Beads – Part 1 – Dome Beads

Barbara Minor

Session 1 –

Saturday, April 3 & 10 & 17, 2021 
4:00 – 6:30 p.m. ET 

Session 2-

Wednesday,April 7 & 14 & 21, 2021 
12:30 – 3:00 p.m. ET  

Tuition $225

* This course is not intended for beginners and will not provide a beginning introduction to basic metalworking and/or enameling processes.   

* Participants should have an intermediate level of experience with basic metal working and forming processes, basic enameling techniques and kiln firing methods

Since the early 1990’s Barbara Minor has been making and selling her individually designed enameled beads.  Barbara Minor’s Enameled Beads are unique because….

– of her singularly individualistic application of enameling techniques to her variety of hand-made, enameled bead forms  

all of the parts for Barbara Minor’s Enamel Beads were made in her studio by cutting and forming flat copper 

and silver sheet metal into the bead parts that she enameled prior to assembly.  

– no pre-formed purchased beads were ever used.

This Making Enameled Beads Master Class is being offered exclusively at Pocosin Arts for the VERY FIRST time and is intended for those who have at least intermediate experience with tools and processes for both metalworking and enameling.

In the first of Barbara’s Master Classes on Making Enameled Beads, participants will learn to cut, form, enamel and assemble her earliest and most versatile bead shape – the “Dome Bead”. 

Participants will make their own enameled beads starting with flat sheet copper, enameling the bead parts and finishing the assembled beads. 

Barbara will take you through the many essential steps for making her enameled beads using copper and silver sheet metal including…

– choosing metal gauge

– precise measuring, cutting and forming the metal parts

– creating the dome for the bead form  and center hole from a shallow to a high dome

– specific considerations for enamel application on domed vs. flat bead parts 

– edge finishing on enamel parts

– making and finishing assembly elements

– assembling the bead parts

We will begin with using opaque enamels to achieve vibrant and colorful surfaces.  Use of transparent enamels is possible.  Students wishing to use transparent enamels should be familiar with transparent enamel preparation (grade sifting and washing).

Barbara’s demonstrations and examples will illustrate and delve into how to adapt and utilize decorative enameling techniques that add interesting details and individualized designs to the bead form such as graded color change, brush and dump, sgraffitto and stencils.  Other decorative techniques that can be included – based on time and interest – are use of silver or gold foil with transparent enamels, seed bead application and decal application 

In addition to principles, practices and decorative techniques for successfully completing making enameled beads this workshop will include, within the technical demonstrations, discussion on other essential topics…. 

– work area, tools, materials – choices, set-up and safe procedures

– metals and enamel types and techniques suitable for this technique

– fast and effective methods for cleaning metal prior enameling

– particle size choices and sifted application methods for three dimensional forms 

– purposes and guidelines for counter enameling 

– reasons for using graded individual sifters

– set-up and considerations for firing formed and high domed forms 

* By enrolling in this class, participants must acknowledge and understand that to get the best results they will need to have easy access to – or the ability to purchase – the specific tools suggested for making bead forms.

*  This is a “demonstration workshop”.  Students will work on making enameled beads in-between classes.  In order to work in-between class sessions on the techniques taught, participants will need to have access to a basic metalworking and enameling studio workshop equipped with relevant hand tools and materials. Completing the processes taught is not mandatory, but recommended in order to get the most from the class.  

* 2-4 weeks prior to the start of class, participants will receive a detailed and annotated list of tools, materials and suppliers directly from Barbara 

* During the week before class begins, participants will receive…

– process order outline with images of examples when relevant or possible

– access to a Private/Hidden FaceBook Group for asking questions, sharing your progress, discussion with the group and examples.

Details:

Barbara Minor works from her studio in Louisiana where she utilizes the ancient technique of vitreous enameling to create her innovative enameled beads, distinctive enameled jewelry and unique enameled vessels.

         She began enameling during graduate school and continued developing her knowledge by exploring enamel processes while teaching a SUNY Geneseo.  

Barbara concentrates on researching, perfecting and documenting experimental or innovative enamel processes utilized in her skillfully crafted jewelry and objects.

Barbara exhibits widely and teaches frequently across the U.S. and abroad.  Her work has been pictured in 500 Enameled Objects, The Art of Enameling, and Art Jewelry Today.

www.barbaraminorenamels.com

The Experimental Techniques of Fred Ball: Part 2 Inlays and Overlays

Judy Stone

April 7 & 14, 2021 
4:00 – 6:00 p.m. ET 

Tuition $125

SOLD OUT!

Please email [email protected] to be added to the waitlist.

Fred Uhl Ball (1945-1985) was an enamelist who lived and taught in Sacramento, CA. Once viewed as highly unorthodox, Ball’s techniques and approach to enameling nonetheless created a firm basis for current contemporary enameling. The techniques he wrote about in his out-of-print Experimental Techniques in Enameling (1972) included working with fire scale, creating collages, using liquid enamel and other materials associated with the porcelain enamel industry. Because he also experimented with materials used in ceramics and glass art, it seemed natural for him to broaden the experimental scope of his enameling to the use of all kinds of materials not previously used with the medium.  His techniques encouraged enamelists to leave the tight restrictions of classical enameling to embrace looseness and self-expression 

Explore a wide range of Ball’s techniques and more recent developments that Ball would have loved with Judy Stone, whose own work was greatly influenced by Fred Ball’s book. Stone will be teaching 3 separate online workshops based on Ball’s book. The workshops are stand alone. As a whole they represent the gift of Ball’s legacy to the world of enameling.

Part 2: Inlays and Overlays builds on Ball’s experiments with liquid enamels and pays homage to the materials which Ball fused into his surfaces in order to create startling effects. In this workshop we will explore the fusion of all kinds of materials onto an enameled surface. All enameling will be done on a copper base.  Some of the things we will experiment with besides the basics of using liquid enamel:

  • Using liquid enamel as “glue.” 
  • Mixing ceramic pigments and various other materials into a liquid enamel base coat.
  • Firing various glasses, metals, inorganic compounds and chemicals to an enameled surface to create textures and unusual effects.

In addition to the materials list which is part of this workshop description a PDF file with additional suggested tools and supplies will be sent to registrants 2-3 weeks before the workshop. Ball’s book, although out of print and quite expensive if purchased through Amazon, can be borrowed to read online at https://archive.org/details/experimentaltech00ball   To learn more about Ball and Judy Stone’s relationship to his book please go to https://enamelcenter.org/how-now-fred-ball/  The Enamel Arts Foundation also has a large collection of Ball’s work which can be viewed at https://www.enamelarts.org/fred-uhl-ball/ 

Details:

Judy Stone has been a professional enamelist since 1972. She has served on the board of the Northern California Enamel Guild and The Enamelist Society. She is the founder of the Center for Enamel Art and enamel dept. head. at The Crucible, (Oakland, CA). She has taught workshops all over the US and abroad. She lives in El Cerrito, CA.

WORKING WITH POLYMER CLAYS

Steve Ford

April 8 & 15, 2021 
12:30 – 3:00 p.m. ET 

Tuition $145

SOLD OUT!

Please email [email protected] to be added to the waitlist.

In this class, students will learn the many qualities that make polymer clays an ideal material for jewelry, and personal expression.  We’ll learn about the different brands of polymer and how they are different and useful. Techniques about mixing colors by hand and machine, building canes, reducing complex cane shapes, curing, and finishing treatments will be covered, with an emphasis on adapting techniques from other media.  In particular, the techniques of vertical cutting and reduction with a roller-hand process that minimizes waste.

Details:

Steve Ford is aFull time studio jeweler since 1988. Partner in Ford/Forlano art jewelry; co-author of Creating with Polymer Clay, Lark Books.

Public Collections: Albuquerque Museum (NM), Arkansas Art Center (AR), Ballinglen Museum of Art, Ireland, Cleveland Museum of Art (OH), Detroit Institute of Arts (MI), Fidelity Investments (MA), Pennsylvania Convention Center (PA), Fuller Craft Museum (MA), DesignMUSEO, Helsinki, Finland, LA County Museum of Art (CA), Microsoft, (WA), Mingei International Museum (CA), Museum of Art & Design (NY), Museum of Fine Arts (MA), Newark Art Museum (NJ), Philadelphia Museum of Art (PA), Racine Art Museum (WI), Tacoma Art Museum (WA), Target Corporation (MN), US State Department (DC), Wharton School of Business (PA), Woodmere Art Museum (PA) 

fordforlano.com

@fordforlano

CASTING METAL IN SAND ON A SMALL SCALE

Jesse Bert

April 11 & 18, 2021 
1:00 – 3:00 p.m. ET 

Tuition $125

This class is appropriate for beginners as long as they are comfortable using a torch. It doesn’t require a lot of physical strength, only a comfort level to hold the torch and crucible while casting.

Start to finish, this class will offer a detailed approach with step-by-step information for learning the basics to Sand-casting small objects in metal. Understand how to best select master objects, and which tools to use. See how to prepare gates and vents, with special consideration for building a cleaner, crisper, more effective mold so that the metal flows best during the pour. The instructor will share a special formula to learn the casting weight of selected materials, and how much metal to use for each mold. After the pour, but before the class is over a basic demonstration will be provided about cleaning up and finishing options. Come to understand what an extremely useful, rapid, and versatile studio practice this technique can be, especially since master objects are never lost or damaged. 

Details:

Studio Artist; Adjunct professor Technological Institute of Monterrey, Guadalajara, Mexico; Other teaching: workshops and courses taught in jewelry schools around the globe in places such as: New Orleans, NYC, Miami, Bogota, Holland, Portugal, Barcelona, Madrid, Collections: Racine Art Museum (WI)

www.jessebert.com

@jessedanielbert

Tutti Frutti: Color and Metal

Alison Pack

April 11 & 18,  2021 
4:00 – 6:00 p.m. ET 

Tuition $125

Fun whimsical and immediate coloring techniques will be introduced using a variety  of acrylic paints, nail enamel, rub-n-buff, and a playful assortment of additional  atypical media. We will explore mimicking an assortment of surface treatments such  as anodization, wood grain, enamel, gold plating and an array of faux color patinas.  Students will gain skill in applying color to develop a personal, unique aesthetic  sensibility and color palette. The objective is to bring life, energy and luminosity into  the metal to suite your own individual needs.

Details:

Alison Pack is professor of Art at Radford University where she has been Head of  Jewelry and Metalsmithing since 2005. Alison Pack is a Niche award winner in  holloware whose work has been widely exhibited nationally. Her semi autobiographical narrative work, using traditional processes including forming,  fabrication, casting, and enameling, has been published in a variety of catalogs and  books. These include Humor in Craft, Cast, Art Jewelry Today 3, Art Jewelry Today 2  and most recently The Art of Fine Enameling. She has presented lectures at East  Carolina Material Topics Symposium, Yuma Arts Symposium, and The Texas Metals  Symposium. 

@alipackmetals

CATCH OF THE DAY

Tom Muir

April 15 & 22 & 29 2021 
4:00 – 6:00 p.m. ET 

Tuition $185

Class kit included with registration.

Tension pin catch with stainless steel pinstem and hinged joint. Create a unique and visually appealing pin catch that is easy to operate and functions exceptionally well. Engineering principles of pinstems, catches and joints will be discussed, along with useful fabrication strategies, which can be applied to numerous procedures in the jeweler’s and metalsmith’s studios. Through technical demonstrations, discussions, visual images and an examination of samples, special emphasis will be placed on creative applications useful to a variety of formats and approaches to pins, brooches and earrings.

Details:

Tom Muir is Distinguished Research Professor at Bowling Green State University, where he is head of the Jewelry and Metalsmithing area in the School of Art. Mr. Muir has lectured and taught widely, holding positions at universities and craft schools around the country. Collections include the Art Institute of Chicago, Renwick Gallery of the National Museum of American Art, Smithsonian Institution and The White House Collection of American Crafts, National Museum of American Art, Smithsonian Institution. In 2009, Tom received the Outstanding Achievement Award from the Ohio Designer Craftsmen for having made a major contribution to craft in Ohio.

ADVANCE COPPER ELECTROFORMING AND PLATING

Dennis Nahabetian

April 16 & 23, 2021 
12:30 – 3:00 p.m. ET 

Tuition $145

Recommended Introduction to Electroforming Class.

In a simple, easy to follow tutorial, Dennis Nahabetian will demonstate Electroforming Copper onto a variety of materials including metal, plastic, glass, wax and silicone. Students will be shown how to make their own 5 gallon Copper bath for making larger work on a budget.

This class will also cover the process of creating an Electrotype, an advanced technique using a silicon mold to make an exact replica of an object in metal. Students will be encouraged to experiment and develop upon the techniques demonstrated in the Introduction to Electroform- ing Class.

Details:

Dennis Nahabetian is a Studio Artist who has primarily worked with wire mesh for more than 30 years. He has taught at The University of Toledo, and given Lectures and Workshops on his innovative techniques at Colleges and Arts Organizations throughout the United States. Dennis has been featured in books, magazines and received recognition for his work through Artist Fellowship Grants from the New York Foundation of the Arts and the Ohio Arts Council. He has exhibited internationally and has been honored for his skill and artistry from prestigious shows including 4 Awards from Smithsonian Craft Show. His work is in many private and public collections including Racine Art Museum and The Honolulu Museum of Art (formally The Contemporary Museum).

@dennisnahabetian

FLOURISHING FILIGREE

Lynette Andreasen

April 16 & 23, 2021 
4:00 – 6:00 p.m. ET 

Tuition $165.50

Class kit included with registration.

 

This course is designed for beginners.  Former jewelry making experience is a benefit, but not necessary.  In the course we will cover techniques used in fabrication and construction of filigree in the Middle Eastern tradition with fine silver, sterling silver, and paste solder.  Learn how to create the framework for filigree designs, make your own filigree wire, and fill the framework with filigree for pendants, rings, earrings, chains, etc.  Students can expect to complete a minimum of 2-3 projects in the duration of this class.

Details:

Lynette Andreasen is a metalsmith currently living in Rio Rancho, New Mexico. She has earned both a Bachelors of Fine Art and masters of Fine Arts, specializing in Metals and Jewelry. Lynette has exhibited her work at locations such as the John Michael Kohler Arts Center in Sheboygan, Wisconsin, The society for Contemporary Craft in Pittsburgh, Pennsylvania, and the Metals Museum in Memphis, Tennessee. Her work has also appeared in publications such as American Craft Magazine, Art Jewelry Magazine, and in the books “500 Silver Jewelry Designs”, and “500 Necklaces”. Aside from maintaining her own studio practice, Andreasen also works as an educator and currently teaches jewelry making at a community college. She has also formerly taught at institutions such as Arizona State University, Virginia Commonwealth University in Qatar, Baltimore Jewelry Center, Peters Valley Craft Center, and others. 

www.lynetteandreasen.com

@lynetteandreasen

Basics of 3-D printing: What do you need to know before you buy a 3-D printer 

Michael Nashef

April 20 & 27, 2021 
4:00-6:00p.m. ET 

Tuition $125

 

There’s never been a better time to try 3D printing. This workshop aims to familiarize you with 3D printing (aka additive manufacturing), and to go over the basics of 3D Printing, from choosing a 3D printer, to setting up, and troubleshooting. After surveying a variety of commercial 3D printing technologies (filament-based, laser sintering, and more), Michael Nashef will help you find answers such as, what printer do I need? Can I afford one? Should I use FDM or SLA (Stereolithography) printers? He will go over the most common mistakes/issues and troubleshooting problems that new users face.  This is a great workshop for both 3D printing novices as well as designers with existing modeling skills that want to enter the 3D printing marketplace.

Workshop Outcomes:

  • The participants will be able to: Understand what type of technology suits their studio, whether it’s a FDM (Fused Deposition Modeling) or SLA (stereolithography)
  • Participants will be able to learn, understand, what budget needs to be set aside for such process.
  • Participants would be able to learn how to troubleshoot, what software could be used, materials and post processes.

Details:

  • participants must have the ZOOM video platform downloaded on a computer or phone to participate
  • this is an informational workshop
  • students will receive access to the recorded demonstrations for up to 30 days.

Michael Nashef earned a B.F.A. in Metals/Jewelry Design from Kendall College of Art and Design and M.F.A. in 3D studies from Bowling Green State University. Throughout his career, Michael Nashef has managed a jewelry store, worked as a CAD designer, and launched his fine jewelry company Intersecting Hearts. Michael had taught at Kendall College of Art and Design.

www.nashefdesigns.com      

@nashefm     

It’s All Gone Pear-Shaped

Alex Boyd

April 21 & 28, 2021 
4:00 – 6:00 p.m. ET 

Tuition $160

Class kit included with registration.

In this class students will learn techniques for building bezel mountings for pear and trillion faceted stones and setting those stones in a pendant with file-worked accents. The techniques covered will enable the student to make settings for any angular faceted stone.

Details:

When Alex Boyd was a young boy he stole an enchanted ring from a powerful bruja.  That night his slumber was disturbed by a tapping at his window. When he slid the window open a huge raven rushed in, flew around the room and perched on his bookshelf. “I know what you have taken from me,”  the raven cawed.  “I don’t know what you’re talking about,” Alex lied, hiding his bejeweled finger behind his back.  “No matter.  It is your problem now.  The wearer of that ring is indentured to create more talismans of power, either for 1000 years or until he makes something so sublime, so perfect and so beautiful that the spell is broken and he is freed.” “1000 years it is,” Alex said as he thrust the raven out the window and slammed it shut behind her.  He has been making jewelry ever since. 

Alex teaches monthly at the Boulder Metalsmithing Association, several times a year at the Colorado Center for Metal Arts and private lessons out of his own studio.  He used to teach around the country before the plague hit and will again someday when people learn to pull their masks over their noses.  

Alex’s work is available at Balefire Goods in Arvada, CO, at Karats in Vail, CO,. www.alexboydstudio.com 

@alexboydstudio

Born with a Silver Spoon

Sue Amendolara

May 2 & 8, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125
Through the process of sweat soldering and other traditional silversmithing techniques, participants will learn how to create a baby spoon.  We will explore various ways to create definition, form and detail.  Forming and planishing the bowl of the spoon will also be covered.  Sterling silver is necessary for a functional spoon but participants can use copper to learn the process for a non-functional piece.
 
Details:

Sue Amendolara was born in Youngstown, Ohio, USA.  She received a Master of Fine Arts degree in Jewelry Design/Metalsmithing from Indiana University, Bloomington, Indiana and a Bachelor of Fine Arts degree from Miami University, Oxford, Ohio.  She teaches Jewelry Design/Metalsmithing at Edinboro University of Pennsylvania and served as President of the Society of North American Goldsmiths.  Her metalwork has been exhibited regionally, nationally and internationally in galleries and museums and is part of the permanent collections of The Renwick Gallery of the Smithsonian American Art Museum, Washington D.C. and the White House Collection of American Crafts, Washington D.C.

http://sueamendolara.com

@sueamendolara

 

Fred Ball Experimental Techniques Part 3: Foil and Mesh Structures

Judy Stone

May 5 & 12, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

SOLD OUT!

Please email [email protected] to be added to the waitlist.

All students must have some knowledge of liquid enamels

Part 3: Foil and Mesh Structures builds on Ball’s experiments with liquid enamels. It is important that all students have some knowledge of liquid enamels and have done some enameling before registering for this workshop.

Because he wasn’t a metalworker per se , Ball tended to work with light weight metals such as copper foil, mesh, and wire which he could easily form to make dimensional objects. The book also delves into non-precious uses of precious materials such as gold foil and gold leaf. This workshop will explore the various ways Ball used these materials to create beautiful collaged wall pieces as well as 3-dimensional sculptural objects. All enameling will be done on a copper base.  Some of the things we will experiment with besides the basics of using liquid enamel:

  • Using enamels as “glue.”
  • Creating dimensional structures and collaged wall pieces using copper foil, mesh and wire
  • Embedding this copper sheet, mesh and wire into enameled surfaces
  • Using precious metal leaf and foils in final firings

Ball’s book introduced an exciting way to introduce dimensionality into enameling without the enamelist needing to be a metal worker.

In addition to the materials list which is part of this workshop description a PDF file with additional suggested tools and supplies will be sent to registrants 2-3 weeks before the workshop. Ball’s book, although out of print and quite expensive if purchased through Amazon, can be borrowed to read online at https://archive.org/details/experimentaltech00ball   To learn more about Ball and Judy Stone’s relationship to his book please go to https://enamelcenter.org/how-now-fred-ball/  The Enamel Arts Foundation also has a large collection of Ball’s work which can be viewed at https://www.enamelarts.org/fred-uhl-ball/ 

Details:

Judy Stone has been a professional enamelist since 1972. She has served on the board of the Northern California Enamel Guild and The Enamelist Society. She is the founder of the Center for Enamel Art and enamel dept. head. at The Crucible, (Oakland, CA). She has taught workshops all over the US and abroad. She lives in El Cerrito, CA.

 Powder Coat Champlevé

Amanda Bergman

May 6 & 13, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

 
Want to take your powder coating skills to the next level? Students will learn how to inlay multiple colors into their metal designs. In this workshop, we will adapt the traditional champlevé enamel technique to the industrial powder coat system (ESD). Students will create soldered brass forms and learn how to use powder coat in multiple firings. We will also cover how to combine these forms with handmade sterling silver elements, such as posts, chains, and ring bands. Time will be allotted for questions and problem solving for personal projects at the end of the workshop. An earring/necklace template will be provided before class for students to complete with the workshop demos.

Details:

Amanda Bergman earned her BFA in Jewelry and Metals from Ball State University in 2014 and an MFA in 3D Design from Bowling Green State University in 2017. Her work has been published internationally in Autor Magazine and exhibited in Emerging Artists 2018 at the Ohio Museum of Craft. Bergman served as an assistant curator for the GLOSSY exhibition featuring 25 international contemporary jewelry artists for JCK Las Vegas and NYCJW in 2019, and she continues to exhibit her work while working as a studio jeweler, educator, and gallery manager for Ombré Contemporary Jewelry Gallery in Cincinnati, Ohio. 

amandabergmanjewelry.com

@amandabergmanjewelry

Enamel Painting

Gillie Hoyte Byrom

May 7 & 14, 2021 
9:30 – 12:00 p.m. ET 

Tuition: $176

Part 1: Beginner-Intermediate 

You will learn to use onglaze pigments with water-based medium to suit your own artistic style and how to fire enamels successfully in the kiln. Colour washes will be combined with pen line to produce blocked colour. 

All students will receive a copy of Gillie Byrom e-Pub version: “The Practice of Painting in Enamel”

Details:

  • participants must have the ZOOM video platform downloaded on a computer or phone to participate
  • You will receive an email with an updated material list in the next couple of weeks.
  • please see the suggested materials list here
  • students will receive access to the recorded demonstrations for up to 30 days.

Gillie Hoyte Byrom studied enamel painting in miniature at the Llotja School in Barcelona, Spain in 1990 and has played a major role in reviving this rare medium.  She has written the first book to detail traditional methods together with her own innovative techniques.  Gillie is renowned for her enamel portrait miniatures, commissioned by private clients and most of London’s top jewelers and has won many national and international prizes for her work.  She is a qualified and enthusiastic teacher with experience of workshops in enamel painting in the U.K. and abroad. 

www.enamelpainting.co.uk

#gilliehb

Paper weaving exploration: From memories of childhood techniques to 3D objects.

Francesca Vitali

May 07, 2021 
4:00 – 6:30 p.m. ET 

Tuition: $90

This course is designed for beginners. Former jewelry making experience is not required. During  the workshop we will explore a braiding technique based on lanyard making (who hasn’t done a  keychain with plastic strings back in camp?). We’ll start by diving into the material. Students will  learn the ideal weight of paper for folding and how to choose the right kind of paper depending  on the project (recycling vs new paper vs handmade paper). We will then talk about different cutting techniques. And we’ll conclude by braiding the paper, paying particular attention on to  those details (how to start a project and weaving tension) that will transform each piece into a  wonderful object. Students may or may not have a finished piece at the end of the workshop, but  they will definitely have all the tools to embark in the world of 3D woven paper.

Details:

Francesca earned her Ph.D. in organic chemistry at the University of Zurich, Switzerland. Besides  her passion for science, she worked with paper since she was a child in Italy, but it was only  when she moved to the US and took a class at Penland School of Craft that she decided to take a  leap of faith and left her science career to begin making paper jewelry full time. She is now a  studio jeweler since 2010 and has been showing her work in the most prestigious shows all over  the country.  

In her work Francesca strives to transform paper, a humble and ordinary material, into precious  objects of unique and modern design. “Paper affects everyday life continuously and in multiple  forms: magazines, maps, shopping bags, etc. therefore I love the idea that fragments of our  lives will remain trapped in my paper jewelry”. 

francescavitalipaperjewelry.com

@francescavitalipaperjewelry

Complex Fabrication for Sculptural Jewelry

Lauren Markley

May 15 & 22, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

Taking an architectural approach to jewelry, we will work through several fabrication techniques, including spliced construction, pin construction, and scoring and folding, improving soldering skills along the way. We will explore three-dimensional forms to create wearable sculpture while honing order-of-operations and problem-solving skills. Students will come away with the skills and knowledge to create samples and finished pieces in their own time. Open to all levels, but basic metalsmithing skills (piercing/sawing, basic soldering, etc.) will be helpful.

Details:

Lauren Markley was born and raised in Kansas. She earned degrees in anthropology before going on to study metalsmithing in 2007. She currently resides in Raleigh, NC, where she is a studio jeweler and educator. Sha had taught at the Arrowmont School of Arts and Crafts in Gatlinburg, TN, the Boulder Metalsmiths Association in Boulder, CO, and the Pullen Arts Center in Raleigh, NC. She exhibits in numerous craft shows and exhibitions throughout the year, and her jewelry can be found in galleries and boutiques around the United States.

laurenmarkleyjewelry.com

@laurenmarkley

Introductory and Intermediate hand-fabrication techniques for adornment and small sculpture

Holland Houdek

May 16 & 23, 2021 
1:00-3:00 p.m. ET 

Tuition: $125

Requirements:

  • Basic soldering and annealing skills 
  • Basic metalsmithing skills/fabrication would be helpful
  • This class welcomes beginners to intermediate students.
  • While the course does not require a lot of physical strength, students will be working with hammers throughout the workshop. This could involve some of the following: forming, sinking, raising, forging, planishing, etc.

In this workshop, participants will learn fabrication skills to achieve a greater three-dimensional form in adornment or small sculpture. The workshop will cover spiculums, synclastic, and anticlastic raising techniques. Participants will leave the workshop with several self-made samples and inspiration for using these techniques in their own studio practices. The instructor will give several demonstrations and will emphasize hands-on learning throughout the course. 

Participants can expect a collection of handouts to guide future practice and in-depth visual presentations on contemporary artists who use these techniques in their own work. Holland facilitates an open learning environment and encourages questions about process and technique so all can feel welcome and inspired to incorporate their new skills into future projects and experimentation.

Workshop Outcomes:

  • Learn and/or enhance fabrication skills and techniques
  • Learn and/or enhance forming/forging and potentially raising skills and techniques
  • Learn and/or enhance soldering skills and techniques
  • Develop awareness of other contemporary metalsmithing artists and related trends in the field
  • Generate a set of samples that can be used for inspiration and guidance for future projects
  • Learn the necessary vocabulary, safety protocols, and other helpful tips for continuing to build on and communicate about these newly acquired skills after the workshop’s culmination
  • Make connections with other artists with similar interests during a time of social distancing

Details:

Holland’s work focuses on medical implants, the body, and embodied experience.  Her work has been exhibited at the Museum of Modern Arts and Design (MAD) in New York, the Fuller Craft Museum, and many other museums and galleries throughout the world. Her work has been published in Metalsmith MagazineAmerican Craft, two Lark Books’ 500 SeriesOn Body and Soul: Contemporary Armor to Amulets, SNAG’s A Body AdornedContemporary Jewelry in ChinaCAST, and elsewhere. Holland is the recipient of numerous best in show and other competitive awards, and she was a finalist for the inaugural Burke Prize at MAD. She is a former John Michael Kohler Arts/Industry resident, was the 2014-2015 Visiting Artist-in-Residence at the University of Iowa, and has also participated in artist residencies in Morocco and Berlin. Working closely with the medical industry, Holland has formed professional partnerships with the American Academy of Orthopedic Surgeons, MedWish International, Cleveland Clinic, and others. She holds an MFA from Syracuse University, BFA from University of Wisconsin-Stout, and is currently an assistant professor and art gallery director at Nazareth College in Rochester, New York.

Holland has exhibited throughout the United States and internationally in Austria, Canada, China, France, Germany, Italy, Lithuania, Mexico, Morocco, Poland, Russia, Spain, Switzerland, and Taiwan.

hollandhoudek.com

@HollandHoudek

Make a Silver and Prong-set Riveted Enamel Ring or Pendant.

Jane Pellicciotto

May 19 & 26, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

Who says the focal point of a ring or pendant needs to be a gem stone? In this workshop, we’ll  design and fabricate a piece of jewelry that uses an enamel piece—either prong-set or riveted— as a focus or accent. Blending enamel with sterling silver or other metals opens up all sorts of  design possibilities. Sketching and design will be emphasized in creating a piece that reflects  your vision and aesthetic.  

Basic metalsmithing skills are required, including sawing and soldering. No enameling  experience is necessary. We’ll be doing torch-fired enamel. No kiln required.

Details:

Jane Pellicciotto creates playful sophisticated jewelry with an industrial elegance. Her work is a  culmination of a lifetime of looking and seeing and playing with different mediums in her spare  time while running a graphic design studio. Liberated and motivated to put a personal body of  work into the world, she took up metalsmithing in 2015 and hasn’t looked back.  Jane works in a variety of materials, including sterling silver, enamel, wood, polymer clay and  found materials, and enjoys the creative challenge of combining disparate parts. She sells her  work in galleries, and participates in regional and national juried craft shows and exhibitions.  She also delights in helping fellow makers and artists tackle their branding and marketing  efforts.

https://janepellicciotto.com/

@jane_pellicciotto

Concretion

Michael Nashef

May 20 & 27, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

Explore the possibilities and processes of introducing alternative materials into jewelry and small object making. Gain skill using concrete/cement in conjunction with color dyes to create colorful pieces. Apply traditional and advanced mold making techniques with found objects/3-D printed materials and spend time exploring and creating unique designs.

Details:

Michael Nashef earned a B.F.A. in Metals/Jewelry Design from Kendall College of Art and Design and M.F.A. in 3D studies from Bowling Green State University. Throughout his career, Michael Nashef has managed a jewelry store, worked as a CAD designer, and launched his fine jewelry company Intersecting Hearts. Michael had taught at Kendall College of Art and Design.

www.nashefdesigns.com

@nashefm

Cuttlefish Casting

Barbara Mann

May 22 & 29, 2021 
1:00-3:00 p.m. ET 

Tuition: $125

This workshop will give participants the skills and inspiration to cast jewelry or a small-scale object in sterling silver. Using the ancient technique of cuttlebone casting, students will learn to make molds into which molten metal will be poured. Within minutes after casting, the molds are opened and the metal objects are ready for finishing. Students will learn how to use a jeweler’s saw, hand files, abrasive paper and how to patina metal and use a rotary tumbler for polishing. 

The cuttlefish is a squid-like creature whose skeleton can be found on the beach.  It is soft enough to carve and has a beautiful wood grain-like pattern which yields a rich texture on the surface of the cast metal. There are several ways to prepare the molds from the cuttlebone, including direct carving, making a mold cavity by pressure (pushing something hard into the soft surface of the mold) or by creating a negative space in a sheet of mat board which is placed between the two halves of the mold.  This may sound complicated, but it is not. The process is fun and students should be able to create one to two pieces during the day. 

During the workshop we will talk about other methods of casting, alloying metal, when to cast and when to fabricate a metal project.

Details:

Barbara Mann has 50 years’ experience as a metal and jewelry artist and educator.  She holds an MFA and BFA from the University of Georgia where she taught for many years in the Lamar Dodd School of Art and with the Continuing Education Program. She has taught in Italy, Costa Rica and at many schools, arts centers and museums. She has an extensive exhibition record and is in several museum collections. As a studio artist she has created artwork for a wide range of clients and organizations around the world. For details, see BarbaraMannStudio.com

BarbaraMannStudio.com

Explorations in Bi-Metal

Juan Carlos Caballero

May 23 & 30 , 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

Students will learn how to maximize the design potential of bi-metal (silver/copper or silver/gold) to create metal objects and jewelry.  We will cover processes for fusing fine and sterling silver with copper for making bi-metal sheet. We will also explore various techniques, such as photo-resist etching and photo resist plating on copper and silver bi-metal for creative and decorative design opportunities.  Utilizing the flex-shaft for carving and scoring gold/silver bi-metal sheet for pattering configurations to create patterns for design possibilities will be taught as well.

Details:

Professor in the Metals & Jewelry Design Program at Rochester Institute of Technology since 2001. He received his MFA and BFA at Rochester Institute of Technology, School for American Crafts.  Carlos is a New York State Foundation of the Arts Fellowship Recipient, Craft Alliance of New York State Career Development Grant Recipient. His work is in several publications including On Body and Soul: Contemporary Armor to Amulets Breaking Ground: A Century of Craft Art in Western NY and 500 Bracelets. Work includes the creation of one of a kind jewelry as well as sculpture, including work installed at the National Technical Institute for the Deaf, Rochester, NY, Pieters Family Life Center, Henrietta, NY, ArtWalk, Rochester Institute of Technology, both in Rochester, NY and Fairport Public Arts Committee, Fairport, NY.

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Add A Pocosin Arts Apron to Your Purchase!

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Cost: $12