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Zoom Workshops – Metals

METALS & JEWELRY ZOOM WORKSHOPS
Anthropomorphic Raising

Logan Woodle

June 11 & 18 & 25, 2021
4:00pm-6:30pm ET

Tuition: $235

Registration Closed

Metal doesn’t have to be cold and lifeless. In this 3-week course students will investigate how to bring life, emotion, and movement to hollow formed metal. Using pewter’s unique working properties, this course will cover a wide range of raising and forming techniques with an eye towards applying them to anthropomorphic forms. This workshop will focus on raising and hammer forming processes, but will also cover chasing, pattern making, casting, and forging. 

* Techniques covered in this workshop may be adapted to any nonferrous metal.

Details:

Logan Woodle is a metalsmith, educator, and the 7th generation to live on his family farm in Conway, SC. He earned an MFA from Edinboro University of Pennsylvania in 2012 and a BFA from Winthrop University in 2009. Currently, Logan is an Associate Professor of Art at Coastal Carolina University where he also serves as Coordinator of Studio Art.  His work has been exhibited across the country, and he was chosen to participate in the Metal Museum’s exhibition, 40 Under 40: The Next Generation of American Metal Artists in 2019.

LoganWoodle.com

@loganwoodlemetalsmith

Tool making made simple for chasing and texturing

Nancy Mēgan Corwin

June 11 & 18  2021
1:00 -3:00pm ET

Tuition: $125

Registration Closed

Students will learn simple methods for making steel tools for chasing and texturing metal. Liners, running punches, undercutters, and a variety of texturing tools will be demonstrated with a combination of in-person instruction and PowerPoint presentations. Various types of high carbon tool steel will be discussed. Students will learn about adapting found steel tools (such as hardware store center punches and nail sets). The instructor will demonstrate her approach to the processes of hardening and tempering steel tools (necessary for maintaining durable, sharp textures and edges on chasing tools).

Details:

Nancy Mēgan Corwin is a jeweler/metalsmith, teacher, curator and writer in the field of art metals specializing in the ancient techniques of chasing and repoussé. Feature articles on her work have appeared in numerous books and magazines including Metalsmith Magazine, Ornament, and “Art Jewelry Today” by Dona Z. Meilach. Mēgan has artwork in a number of private collections as well as The Victoria and Albert Museum, London, the permanent collection of The State University of New Mexico-Las Cruces, and at the Tacoma Art Museum, Washington.

www.nancymegancorwin.com

Fred Ball Experimental Techniques Part 1: Liquid Enamels

Judy Stone

June 16 & 23
4:00 – 6:00pm ET

Tuition: $125

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.

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.

Cold Connections: Beyond the Bezel

Jan Harrell

June 17 & 24, 2021
1:00pm-3:00pm ET

Tuition: $125

SOLD OUT!

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

Learn imaginative ways to incorporate enamels and fragile found objects into your jewelry and small fabrications.

Instead of being limited to the traditional bezel, this fast-paced workshop will introduce you to the use of alternative cold connections – using taps and dies to create threaded connections, rivets, tubing and trap settings, micro screws – to name but a few.

These exercises will be especially appropriate for adding enamels to metal components but can also be used for any hard to set or fragile material. The many tips and tricks should make the fabricating process more pleasant or, at least, less painful. There will be a demo of each technique and then the student will be encouraged to practice that technique.

Some metals experience is helpful. The student needs basic metal fabricating hand tools. A supply list with additional tools will be provided.

Details:

Jan Harrell is a metalsmith, enamellist, 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.

janharrell.com

@jan.harrell.33

Rings: Forged, Wrapped and Set!

Tim Lazure

June 19 & 26, 2021
4:00pm-6:00pm ET

Tuition: $125

In this workshop, you will learn a few techniques that will add elegance and depth to your ring bands.  We will first look at forged rings, in which we manipulate the profile of silver wire to give a ring band a unique contour. We will next explore layered bands that consist of a ring band wrapped with a second layer to emphasize textural contrast. I will also cover tube setting a faceted stone – to add some bling to your ring!

Details:

Timothy Lazure is a Professor and Area Coordinator for the Metals Design program at East Carolina University in Greenville, NC. He received his BFA at Rochester Institute of Technology and his MFA at the University of Massachusetts at Dartmouth. Tim shows his jewelry, silversmithing and furniture in both national and international exhibits.  He has pieces in the permanent collections of the Mint Museum of Craft and Design in Charlotte, NC, Gallery of Art and Design in Raleigh, NC, and the Racine Art Museum, Racine WI.  Images of his work has been published in 1000 Rings, 500 Brooches, The Art of Enameling, and The Craft of Silversmithing (Lark Books).

www.timlazure.com

#tim_lazure

Brandy Godsil Pocosin Arts
SAORI Woven Jewelry

Brandy Godsil

June 26, 2021
4:00-6:30p.m. ET 

Tuition: $90 

The workshop will demonstrate how to make small looms using accessible materials, such as cardboard or paper plates and how to dress the loom by creating a warp. Then participants will
be shown how to weave on their new looms using a variety of materials, such as yarn, ribbons, embroidery threads, fabric scraps, or string. The weavers will be encouraged to be experimental in their weaving process and embrace the SAORI philosophy of free-style weaving.
Intuition and creativity are embraced in the SAORI method. Weavers will then learn how to cast off their weavings and to attach them onto jewelry findings, which can include earring hooks, blank rings, bracelet cuffs, and strings/ribbons for necklaces.

  • Participants must have the ZOOM video platform downloaded on a computer or phone. It’s easy! Download here.
  • Participants must have reliable internet access and a computer or phone with sound recording and web-cam capabilities to participate.
  • Check out the list of additional supplies you will need for this workshop here.
  • Once registered, students will receive a video meeting code along with simple ZOOM instructions.
  • Workshop fees are non-refundable but are transferable with a $25 fee.
  • Features live demonstration and the ability to ask  questions. Participants will also receive a recording of the demonstration to use for up to 30 days.

Brandy Godsil is a North Carolina based textile artist, fashion designer, and co-founder and teaching artist at weaving nonprofit organization SAORI Arts NYC. Since SAORI Arts NYC’s founding in 2015, she has been teaching weaving to people with disabilities in person and in virtual workshops. Brandy has taught weaving and sewing workshops at Craft Habit in Raleigh, North Carolina, Garment and Pattern-making classes at The Sewing Room of Garner in Garner, North Carolina, taught a virtual SAORI woven jewelry workshop at FABSCRAP NY, Art Camps and ArtSpace NC and hosts virtual private group and individual lessons in fabric dyeing, weaving, sewing, garment alterations, and drawing. She is passionate about teaching fiber arts and sustainability. 

Brandy graduated from the Maryland Institute College of Art in 2009 with a BFA in Fiber and Experimental Fashion. She studied Painting at Parsons School of Design Summer program in NYC and Experimental Fashion Design Online Course at Central Saint Martins. 

Brandy lived in NYC for 11 + years and has worked in the textile and fashion industry since 2010. She moved to Raleigh, North Carolina in 2020 where she continues her multi-media artistic practice and teaching workshops. Her couture work has been featured in magazines Cosmopolitan, Vogue, GQ, Ink, and NYFW.

www.brandygodsil.com

www.saoriartsnyc.org

@Brandy_Godsil
@Saoriarts.nyc

Lorena Lazard - En la Ciudad de Mexico - Pocosin Arts
IMAGE TRANSFER IN POLYMER CLAY

Lorena Lazard

July 2 & 9, 2021
4:00-6:00 p.m. ET 

Tuition: $125

In this workshop you will learn how to transfer images in polymer clay, using both solid and liquid clay.

I will demonstrate several examples with different types of images that can be transferred. In this process we will use a toaster oven and an iron. You will also learn how to incorporate various materials to your images such as wire, textiles, sand, etc.

Following the creative process, once the images have been transferred, you will learn how to intervene with markers, colors, acrylic paints, etc.

Details:

Lorena Lazard is a Mexican artist and educator.

She is the Coordinator of the Contemporary Jewelry Program at the University Centro in Mexico City. Since 1995, she created and is the director for the school “Atelier Lazard” of contemporary jewelry and has taught various workshops online to Spanish speaking students.

She was granted Second place in the Latin American Biennale of Contemporary Jewelry in Argentina. Her work has been shown in various Museums worldwide and at art fairs such as Schmuck, SOFA and Sieerad. She has curated various exhibitions, including “La Frontera” at the MAD. Her pieces have been published in Metalsmith and Ornament Magazine, and in the 500 Lark books series. 

https://klimt02.net/jewellers/lorena-lazard

@lorenalazard

Enamel Inlay: Fire and Grind to Reveal the Beauty

Barbara Minor

July 3, 10 & 17, 2021
1:00-3:00p.m. ET 

Tuition: $190

Reveal wonderful and sometimes surprising vs. sometimes predictable results that are hidden just below the surface of what might seem like a very “problematic” looking enameled piece. Consider this scenario….   Maybe you’ve built up one too many layers of enamel – or – the enamel is too thick – or – you overfired your piece – or – the colors just aren’t right.  

You think you’ve ruined the piece.  But, before starting over, you try one more thing. You decide to grind the surface not knowing towards what end,  thinking “what have I got to lose”.

As you grind, the beauty of the enameled surface you created has gradually been revealing itself and you discover that you have actually produced something wonderful.  The result is that you now have an enameled surface that you might not be able to achieve any other way. 

Working on very slightly formed copper, in combination with opaque enamels**, we will explore and learn different ways to build up enamel and grind back through the overly thick layers to reveal wonderful and exciting enameled surfaces.  Surfaces that are virtually impossible to achieve as easily any other way.  You will be able to create detail, texture and “loose” patterns by building up a variety of enamel layers and then grinding back through the layers to reveal your results.  

**Those interested in using transparent enamel colors should already have experience preparing and using them.

Methods that I’ve explored, will share and that may not be explained in very many traditional enameling books are “grind to reveal” techniques using…. 

– enamel shards

– copper tubing

– silver foil spit balls

– excessively thick sgrafitto layers

– enamel frit

– scrap from firing racks or old enameled pieces

In preparation for enameling this way, you will learn to

– give the metal a very slight dome

– develop a plan for building up the enamel and placing the inlay

– understand your grinding options

– grinding to reveal – by hand and by machine

– flash fire for a glossy finish

– etch for a matt finish

This workshop will include, as necessary and appropriate, essential and fundamental technical information and skills for successful enameling.

– metals and enamel types suitable for this technique

– metal preparation

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

– enamel application methods for base coat, counter enamel and inlay

– edge finishing

The objectives for participants are

– to understand enameling basics relative to the “grind to reveal” processes

– to gain confidence while exploring and experimenting with this enameling/grinding method

  – to achieve exciting surfaces that exceed expected results.  

– to continue using the processes learned on their own.

 *  This is a “demonstration workshop”.  Students will work on techniques taught in-between classes.  In order to do so, 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.  

* 2-3 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.

The structure and components of this class are intended to allow and encourage participants…

–  to share their individual results, ask questions and receive answers or feedback from each other and from Barbara in-between classes on a private FaceBook page.

–  to work in their personal studios in-between the three sessions on techniques demonstrated 

–  to view the class recording for one month after the class ends.

–  to have fun while learning.

* Beginning experience with enameling recommended.

** A general list of tools/supplies needed for this class can be found here. Barbara will send a detailed and comprehensive supply and tool list to registrants at 2-3 weeks prior to the beginning of this class.

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

Digital Craft: Sketchbook to Digital File to Vinyl Cutter to Aluminum Etch

Utilizing a vinyl cutter to create vinyl resists for aluminum etching. 

Frankie Flood

July 3 & 10, 2021
4:00-6:00p.m. ET 

Tuition: $135

Students will learn how to utilize the basic functions of vinyl cutting software to translate hand drawn designs from their sketchbook into digital files that can be cut on a vinyl cutter and then used for a vinyl resist for etching aluminum. The workshop will focus on basic methods for making the jump from the hand drawn to digital file, the use of a vinyl cutter, and how to transfer vinyl to aluminum for aluminum etching.  I will share a non-toxic etching solution for etching aluminum that is readily available using hardware store materials. The instructor will provide pre cut vinyl stencils for use during the workshop class times. The instructor will provide vinyl cut stencils from student designs (created during the first workshop session) for workshop participants to use for etching aluminum after the workshop has concluded (these will be sent to workshop participants at a later date). Participants will create lightweight surface embellished aluminum etchings that can be incorporated into jewelry designs.

Details:

Frankie Flood is Professor and area head of the Metalsmithing and Jewelry Design area at Appalachian State University in Boone, North Carolina. Flood previously served as Director of the Digital Craft Research Lab at the University of Wisconsin-Milwaukee, and for eleven years served various roles in the Department of Art such as Director of Foundations, area head of the Jewelry and Metalsmithing program, and Coordinator for the BA in Digital Fabrication and Design. Flood is a graduate of the University of Illinois, Urbana-Champaign, where he received his Master of Fine Art degree in Metalsmithing.

www.frankieflood.com

Instagram: @fflood

Whimsical Wooden Brooches

Valerie Berlage

July 3 & 10, 2021
4:00-6:00p.m. ET 

Tuition: $125

Optional Kit: $35

In this workshop we will explore using wood to create a whimsical brooch from start to finish! Beginning with: some of the elements and principles of design, and what makes a compelling composition. Students will also learn about sanding and shaping the wood, painting techniques, preparing it for paint, and finishing the wood. Finally, students will learn how to make cold connections to complete the brooch and create a pin fastener with wire, although a traditional pin back will also be provided. There will be time in class to explore ideas and work alongside one another.

Details:

  • Participants must have the ZOOM video platform downloaded on a computer or phone. It’s easy! Download here.
  • Participants must have reliable internet access and a computer or phone with sound recording and web-cam capabilities to participate.
  • Check out the list of additional supplies you will need for this workshop here.
  • Once registered, students will receive a video meeting code along with simple ZOOM instructions.
  • Workshop fees are non-refundable but are transferable with a $25 fee.
  • Features live demonstration and the ability to ask  questions. Participants will also receive a recording of the demonstration to use for up to 30 days.

As a child I helped my grandfather in his woodworking shop, and learned traditional Southern handcrafts and painting from my grandmothers. Close ties to my family and a love of the mountains kept me in WNC while earning a BFA and K-12 art teaching licensure from UNCA. After working for a local craftsman for a number of years, I enrolled in the Professional Crafts Program at Haywood Community College, and began focusing solely on woodworking. While my art has gone through several transitions over the years, it has remained rooted in my relationship with my loved ones.

laurainelilliestudios.com

@laurainelilliestudios

Judy Stone image Part 2 (1)
Fred Ball Experimental Techniques Part 2: Inlays and Overlays

Judy Stone

July 7 & 14, 2021
4:00 – 6:00pm ET

Tuition: $125

 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 what he used to create startling effects and textures. 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.

daniel dicaprio_ wood ring
Wood Rings

Daniel DiCaprio

July 11 & 18, 2021

12:30-2:30 p.m. ET

Tuition: $125

This course will introduce students to the basics of wood carving and its applications for jewelry. Wood rings as the subject are an excellent small-scale object that present many variations while exploring a range of carving techniques. After carving we will experiment with different surface embellishments that can incorporate a range of alternative media. Students can expect to come away with an understanding of woodworking properties, the necessary tools for small-scale carving, and additional ways to combine wood and jewelry techniques.

Details:

  • Participants must have the ZOOM video platform downloaded on a computer or phone. It’s easy! Download here.
  • Participants must have reliable internet access and a computer or phone with sound recording and web-cam capabilities to participate.
  • Check out the list of additional supplies you will need for this workshop here.
  • Once registered, students will receive a video meeting code along with simple ZOOM instructions.
  • Workshop fees are non-refundable but are transferable with a $25 fee.
  • Features live demonstration and the ability to ask  questions. Participants will also receive a recording of the demonstration to use for up to 30 days.

Daniel DiCaprio is the Associate Professor of Metalwork and Jewelry at the University of Louisiana at Lafayette. Daniel received his MFA in Metal Design from East Carolina University and was trained as a goldsmith at Hoover and Strong in Richmond Virginia. He has taught workshops on wood carved jewellery throughout the United States. Daniel is represented by Charon Kransen Arts in New York City and Bilk Gallery in Australia. He has exhibited work at Sculptural Objects Functional Art (SOFA) in Chicago annually since 2008. His work has also been exhibited internationally in the United States, Australia, Italy, Spain, France, Germany, Portugal, Turkey, Japan, Korea, and China.

dandicaprio.com

@dandicaprio

Frenemies: Joining Pewter, Silver, and Other Metals

Logan Woodle

July 11 & 18, 2021
4:00-6:30 p.m. ET 

Tuition: $155

Not everything you’ve heard about pewter was wrong, but a lot might be. This workshop will teach students to weld and solder pewter to itself and other metals. Special emphasis will be placed on the dramatic range of effects that can be created when pewter and sterling silver are fused and soldered. Along the way, we will also investigate how pewter’s low melting point can be used to capture alternative materials. 

This workshop may be taken in conjunction with Like Magic, but Real or as a standalone course.

Details:

Logan Woodle is a metalsmith, educator, and the 7th generation to live on his family farm in Conway, SC. He earned an MFA from Edinboro University of Pennsylvania in 2012 and a BFA from Winthrop University in 2009. Currently, Logan is an Associate Professor of Art at Coastal Carolina University where he also serves as Coordinator of Studio Art.  His work has been exhibited across the country, and he was chosen to participate in the Metal Museum’s exhibition, 40 Under 40: The Next Generation of American Metal Artists in 2019.

LoganWoodle.com

@loganwoodlemetalsmith

Virtual Passports Workshop: Making Gold Wires

Giovanni Corvaja

July 18, 2021
10:00am-12:30pm ET

SNAG Members: $145

Non-Members: $190

Students: $115

*This workshop is purely demonstration-based*

For me, transforming gold into an invisible fibre is an addictive process. It has started very simply with the curiosity of seeing how it is drawing down a piece of wire to the smallest hole of the draw plate and then, over the years finding a way to make thinner and thinner wires. I studied how it is done industrially, how those processes can be adapted to alloyed gold, platinum or silver, how, on a low budget, we can attain fibre in a small scale workshop. My research was driven both by the curiosity of making a new material and by the necessity, to attain that material to give shape to the objects that I had in mind.

During the 2 and a half hour workshop I will explain, and show how to handle a long thin wire, I will tell about the main issues that one can find. I will explain how I overcame those problems and, out of the many solution which I found most suitable

We will also talk about the advantages of making our own wire,  the differences between various materials (gold, silver, platinum and their alloys) we will talk about the tools, I will give some information on who can supply small draw-dies and think about the most cost effective equipment.

Given the time and distance, I will mix live demonstrations with some pre-recorded short videos and slides. It will be an interactive workshop, questions are welcome.

Details:

Born in Padua , Italy in 1971, he commenced in 1985 his studies in Metalwork and Jewellery at the “Pietro Selvatico” School of Art in Padua, under the teaching of the master goldsmith Francesco Pavan and Diego Piazza. During his years of study in Padova he worked privately in the workshop of both Francesco Pavan and Paolo Maurizio. It is during this period that his first works in titanium and gold emerged (1988-’89) followed by the first pieces he made in gold wire, using a  technique of three-dimensional knitting of his own creation (1989-’90). At the “Pietro Selvatico” School of Art that he obtained first his “Diploma di Maestro d’Arte” in 1988 and then in 1990, his “Maturità d’Arte Applicata”. In 1990 he went to the Royal College of Art in  London. After obtaining a Master of Arts Degree in 1992, he returned to Padua  where he decided to pursue the career as jewelry artist on a full-time basis. In 2001 he transferred to Todi in central Italy. He works as a freelance goldsmith artist in Todi and runs his private workshops/masterclasses. Giovanni’s jewelry are all one-of-a-kind pieces entirely made by himself. He works alone and carries out every process of the making, often using innovative techniques developed by himself.  His work is in the permanent collections of  several museums such as The Metropolitan Museum of New York, The Victoria and Albert Museum, The National Museum of Scotland , the Museè des Art Decoratifs in Paris and many others.

www.giovannicorvaja.com
@giovannicorvaja

All About Flush Setting

Katie Poterala

July 15 & 22, 2021
4:00-6:00p.m. ET 

Tuition: $125

In this workshop, the instructor will outline the process of Flush Setting, including covering multiple approaches, discussing the pros and cons of each.  The instructor will also cover personal modifications within these two approaches and outline specific circumstances where one technique may prevail over another.  Students will learn multiple ways to approach this technique, including lots of tips and tricks from years of experience.  Students will also learn how to properly size stones for setting as well as how to select the correct bur size(s) and other tools for the task. 

Details:

Studio artist, Educator and Entrepreneur

Katie  is a Greenville, SC native with a streak for adventure  and love for the natural world,  both things that influence her designs.   Jewelry was an object of fascination, even at a young age, although it took over twenty years for Katie to realize an intent to create something wearable.  She found this point  during her graduate studies  at Arizona State University, where she completed a Masters in Metalsmithing in 2012.  Since then, Katie has maintained a  busy studio practice alongside teaching roles and time spent as a bench jeweler. She recently opened a storefront gallery and studio in Greenville with fellow jewelry artist Danielle Miller Gilliam, MAKE MADE Jewelry, in late 2019.  Katie’s signature designs combine the opulence of faceted stones and precious metals with provocative surfaces and textures that mimic the spontaneity found in natural growth and oxidation processes.   Her  pieces reinterpret those objects that are observed but are not lasting, often reminding the wearer of places and times in  their own personal experience and travels.  
 

Teaching experience: Arizona State University, Winthrop University, Tryon Arts & Crafts, MAKE MADE Jewelry, private studio lessons, various visiting artist workshops

www.katiepoterala.com, www.makemadejewelry.com

@fortheloveofbling @makemadejewelry

Steel Fabrication for Jewelry

Sharon Massey

July 16 & 23, 2021
4:00-6:00 p.m. ET 

Tuition: $125

This workshop will cover the basics of fabrication for jewelry using a nontraditional material, mild steel, including reasons why you might choose steel (hint: it’s not just inexpensive). We will begin with demonstrations of soldering steel wire in a variety of gauges, then we will learn to form and solder steel sheet. We will also cover a variety of finishing processes.

Details:

Sharon Massey is a Pittsburgh-based artist and an associate professor of jewelry and metals at Indiana University of Pennsylvania. Her work has been included in exhibitions all over the world, and is featured in 11 books, including The Art of Enameling, New Brooches and New Bracelets. Her work is also included in several public collections, including the Museum of Fine Arts, Boston and the Renwick Gallery of the Smithsonian Art Museum.

www.sharon-massey.com

@sharon___massey

Polymer Clay & Surface Play

Jane Pellicciotto

July 21 & 28, 2021
1:00-3:00 p.m. ET 

Tuition: $125

Polymer clay is the perfect canvas on which to experiment with a variety of surface treatments. It’s a forgiving, affordable and satisfying material to work with.

In this workshop, we’ll explore black and white image transfers, texturing and mark making in both uncured and cured clay, simple pattern slabs, adding pigments and more. (Cane making and faux surfaces won’t be covered.)

Throughout, I’ll cover tools, conditioning clay, curing basics, mixing colors, adding findings and more. There will also be a focus on design decisions that turn your idea into reality.

No polymer clay experience necessary.

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

Brooch Settings

Nikki Couppee

July 22 & 29, 2021
1:00-3:00 p.m. ET 

Tuition: $125

This workshop will focus on brooch techniques commonly used for setting various shaped found objects.  Students will learn how to make prong and turtle settings and brooch mechanisms, pin back, double pin back and a fabricated hinge on top of the piece.

Students need to have basic hand tools, soldering set up and flex shaft

Details:

Nikki Couppee is originally from Pensacola Beach, Florida and is currently residing in the San Francisco Bay Area.  She received an M.F.A. from Kent State University, Jewelry/Metals, Kent, Ohio, 2011 and a B.F.A. from the University of Georgia, Athens Georgia, Jewelry/Metals, 2007.  Her work has been featured in publications including American Craft, Allure Australia, Marie Claire Australia, Metalsmith Magazine, Modern Magazine, Vogue Brazil, Dailycandy and Lark Book’s 500 Enameled Objects. She shows her work nationally and internationally through exhibitions, gallery representation, and fairs and collaborations with Australian designers Romance was Born for Paris Fashion Week. She has taught enameling and jewelry/metals techniques at Kent State University, The Cleveland Institute of Art, The Crucible, Mendocino Art Center, and Arrowmont School of Craft.

www.nikkicouppee.com

@nikkicouuppeejewelry

Graphic Graphite—It’s not just Black & White

Anne Havel

July 23 & 30, 2021
12:30-3:00 p.m. ET 

Tuition: $155

Using a torch, line creation and imagery using graphite within your enamel piece will be demonstrated. We will start by sifting an opaque base and from there, material to be covered includes:  graphite drawings on several different surfaces—matte (acid-etched, stoned, sandblasted, etc), painted, and sugar-fired, and how to fire the piece to maintain the full integrity of the drawings. Metal prep, forming, counter enameling for strength, torch safety and options, tip sizes, multiple firing station set-up options, and heat containment will all be covered.

Details:

Anne has been an independent studio artist for 19 years, teaching 10-20 workshops a year and exhibiting in juried fine craft shows. Work is included in the permanent collection of the Enamel Arts Foundation as well as numerous private collections. Service is a critical part of my journey. I am a reformed CPA and now use my powers for good, as I like to say, explaining why the service on numerous boards of directors.

Recent accomplishments:
Contemporary Jewelry Design, by Loretta Lam, April 2020, Schiffer publication
The Art of Fine Enameling, Revisited, by Karen Cohen, November 2019, Globe Pequot Press publication
Presenter, ECU Symposium, January 2020
Juror, “Surface Matters: Grit or Gloss”, The Enamelist Society traveling exhibition, June 2020
Juror, Educational Endowment Scholarship, Society of North American Goldsmiths, May 2020
Permanent collection of Enamel Arts Foundation, Snail Mail Project, Jan 2019

Recent exhibitions:
Small Wonders, Maryland Federation of Art, Annapolis, MD
The Art of Enamelling/The Enamelling Technique, The Technical Museum in Brno, Brno, Czech Republic
Contemporary Enamel, traveled to Turkey, Italy, and North Carolina

crafthaus.ning.com/profile/annehavel

Scratching the Surface—Torch-fired Sgraffito

Anne Havel

Session 1 –

July 24 & 31, 2021
10:00-12:00 p.m. ET 

Session 2 –

July 24 & 31, 2021
3:30-5:30 p.m. ET 

Tuition: $125

Ever wanted to try enameling without a kiln? Turn off that electricity and join us (although all of this CAN be done in a kiln)!  You will learn how to use liquid enamel for sgraffito techniques, wet-packing transparent enamels, firescale, under and over-firing for particular desired affects in the final piece.  Metal prep, forming, counter enameling for strength, torch safety and options, tip sizes, multiple firing station set-up options, and heat containment will all be covered.

Details:

Anne has been an independent studio artist for 19 years, teaching 10-20 workshops a year and exhibiting in juried fine craft shows. Work is included in the permanent collection of the Enamel Arts Foundation as well as numerous private collections. Service is a critical part of my journey. I am a reformed CPA and now use my powers for good, as I like to say, explaining why the service on numerous boards of directors.

Recent accomplishments:
Contemporary Jewelry Design, by Loretta Lam, April 2020, Schiffer publication
The Art of Fine Enameling, Revisited, by Karen Cohen, November 2019, Globe Pequot Press publication
Presenter, ECU Symposium, January 2020
Juror, “Surface Matters: Grit or Gloss”, The Enamelist Society traveling exhibition, June 2020
Juror, Educational Endowment Scholarship, Society of North American Goldsmiths, May 2020
Permanent collection of Enamel Arts Foundation, Snail Mail Project, Jan 2019

Recent exhibitions:
Small Wonders, Maryland Federation of Art, Annapolis, MD
The Art of Enamelling/The Enamelling Technique, The Technical Museum in Brno, Brno, Czech Republic
Contemporary Enamel, traveled to Turkey, Italy, and North Carolina

crafthaus.ning.com/profile/annehavel

Jewelry without a torch! Rivets and Cold Connections

Jim Bove

August 4 & 11, 2021
1:00-3:00 p.m. ET 

Tuition: $125

Jewelry without a torch! In this workshop you will learn how to join metal and create complex forms using rivets. Cold connection techniques are great for alternative materials and when studio space or health concerns do not allow for a torch. We will also explore how to capture found objects and stones using cold connections.

The essential techniques we will learn are regular, flush, tube, and split rivets, along with staples and tabs, as well as how to create pin backings, and captures for stones.

Details:

Jim Bové is a practicing artist and educator living just outside of Pittsburgh, Pennsylvania. He was a board member of the Society of North American Goldsmiths (SNAG) and currently serves on the board of Arrowmont School of Arts and Crafts. His artwork has been featured in several books and magazines and resides in the National Ornamental Metal Museum and in private collections throughout the US and abroad. His artwork has been in the Cheongju Craft Biennale, South Korea, the Taiwan International Metal Crafts Competition and was selected for Schmuck in Munich, Germany.

www. jimbove.com

@jimbo_ve

Drawing With Depth

Jessica Calderwood

August 4 & 11, 2021
4:00-6:00 p.m. ET 

Tuition: $125

Working from personal sketches and reference images, learn how to incorporate chiaroscuro drawing  techniques into vitreous enamel. This class will allow you to use metal as a dimensional canvas, while  pushing what transparent and opaque enamels can do to create depth and luscious surfaces. Starting  with copper sheet, demonstrations will be given on metal preparation, enamel sifting, stencils, use of  painting oils, underglazes, overglazes, and seed beads. Students should plan to come away with a  handful of working samples that can be informative for future works or used for small wearables. Basic  enameling skills are preferred. 

Details:

Associate Professor of Art at Ball State University; other teaching: Arrowmont School of  Craft (TN), , The Carpenter Enamel Foundation (KY), Cleveland Institute of Art (OH),  Penland School of Craft (NC), The Enamelist Society, The University of Wisconsin Oshkosh (WI); public collections: Ceramic Research Center, Arizona State University  (AZ), Central Arizona College (AZ), Central College (IA), Enamel Arts Foundation (CA),  Ferro Corporation (OH), John Michael Kohler Art Center (WI), Kohler Company (WI),  Kamm Foundation (NC), Mesa Contemporary Art (AZ), National Ornamental Metal  Museum (TN), Racine Art Museum (WI)

www.jessicacalderwood.com 

@calderwoodjessica

Foldforming Core Skills

Charles Lewton-Brain

August 5, 12 & 19, 2021
12:00-3:00 p.m. ET 

Tuition: $285

This is an introduction to foldforming, dealing with line folds, scored and bent folds and some T-folds. This is a chance to learn the tricks and techniques at the core of foldforming from the inventor, explore exactly how to hold and prepare the special forging hammer shape for successful foldforming,  learn hammering technique, holding tricks, hand manipulation of foldforms and much more. We will cover over 15 folds, including basic line, tight line, pinched line, centered line, forged line folds, forged line fold bracelet, forged open side leaf with ruffle, Rueger folds and basic star folds. We will address techniques for scoring and bending, and do a touch of T-folds. This is a chance to get all your questions answered. See foldforming.org for links to the Lewton-Brain Foldforming competition to see how it has been applied.

Details:

Charles Lewton-Brain learned and worked in Germany, Canada and the United States.  His work is concerned with nature and structure. His jewelry and research into compositional systems for metal working has been published internationally. He invented and disseminated foldforming, a system of working sheet metal new to the field. He received Canada’s highest honor for Craft, The Saidye Bronfman Governor Generals Award. Charles co-founded the Ganoksin.com Project with Dr. Hanuman Aspler in 1996, now the worlds largest educational website for jewelers. He has over 1000 pages of his writing there.

www.brainpress.com

Working with Polymer Clays

Steven Ford & David Forlano

August 5 & 12, 2021
4:00-6:30 p.m. ET 

Tuition: $310

Based on student feedback from our first class, students will learn the many qualities that make polymer clays an ideal material for jewelry, and personal expression. Students will learn the basics about different brands of polymer, how they are different and when to use each. 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.  Both Steven and David will be teaching from their respective studios in Philadelphia and Santa Fe.  David will be demonstrating his approach to building organic pattern canes for use in “transparent layering”.  He will show some ways to explore the use of these canes as surface treatments.  David will also be demonstrating working with polymer dust as a surface treatment.  Steve will teach the techniques of vertical cutting and reduction with a roller-hand process that minimizes waste, as well as a different kind of “transparency”; that is, a caned illusion with high-key and low-key color palettes.  In between demos, there will be power point presentations about Ford/Forlano’s jewelry and how it’s evolved over the last 32 years. Each day will conclude with a question-and-answer period.

Details:

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) 

www.fordforlano.com 

@fordforlano

Introduction to opaque cloisonné  

Aurélie Guillaume

August  6 & 13, 2021
1:00-3:00p.m. ET 

Tuition: $125

During this workshop you will learn step-by-step how to create a colorful piece of opaque cloisonné enamel that will look like a delicious piece of candy. Participants will learn how to form cloisonné wires to fit their designs as well as wet packing, sanding and polishing.

 Aurélie will demonstrate various techniques to enhance the surface and add details with the use black underglaze and metallic lusters. Additionally she will take you on a journey through her process and share her best tips and tricks about cloisonné.

  • This workshop is not appropriate for beginners. Students should have basic enamelling skills such as sifting, know about the different tools, how to properly fire a piece etc. They should also have a basic to intermediate knowledge of metal working ( sawing, filing, polishing etc.). We will be using pliers and tweezers to bend wire so dexterity and attention to details are important.

Details:

Aurélie Guillaume is a French Canadian studio jeweller and enamelist currently living and working in Montreal. Her work celebrates the history of enamelling and its longstanding tradition of storytelling. She seeks to revive cloisonné enamelling through a contemporary context fuelled by street art, comics, pop art and counterculture. Over the years Aurélie has participated to numerous exhibitions throughout north America, Europe and Asia. Her pieces have been acquired for the permanent collections of the Enamel Arts Foundation (CA) , the Museum of Art and Design (NY), and the Pureun Culture Foundation in Seoul, Korea, as well as many major private collections.

www.aurelieguillaume.com

@mlleguillaume

Introduction to Grasshopper3D for Jewelry Design

Richard Elaver

August  6, 13, 20  & 27, 2021
4:00-6:00p.m. ET 

Tuition: $250

This course will introduce the fundamentals of the Grasshopper plugin for Rhino3D software, developing a clear understanding of the software so that participants can continue to build their skills beyond this workshop.  

We will focus on jewelry applications of the software, using ring forms as the primary subject matter. Once we establish an understanding of the interface and workflow, we will go beyond basics and investigate complex pattern development, variable forms, and exporting for 3D printing. Individuals who complete this workshop should be capable of creating their own jewelry designs using Rhino and Grasshopper.

Details:

Richard Elaver is a designer and metalsmith working in the overlapping spheres of art, design, and craft.  In his work, Elaver integrates the tools of industrial design with the craft of metalsmithing.  He develops computer simulations of biological phenomena, and uses them to create design objects.  Elaver received his Bachelor’s degree from the University of Wisconsin at Madison, and his MFA from the Cranbrook Academy of Art.  In 2006, he completed a Fulbright Fellowship in the Netherlands where he worked with Droog Design.  Following several years of professional experience both as a jeweler and industrial designer, he is now an Assistant Professor of Industrial Design at Appalachian State University in Boone, North Carolina.

www.richardelaver.com

@richard.elaver

BRB: Band Ring and Bezel setting

Jennifer Wells

New Dates:

August  7 & 14, 2021
9:30-12:00p.m. ET 

Tuition: $155

In this course we will create a textured band ring and incorporate a bezel setting. Starting with our object that we will be bezel setting, I will share a basic design, which allows for alterations and personalizing.  We will discuss textures, the order of operations and options on how to incorporate the bezel setting into the ring design. Working simultaneously on the band and bezel setting we will create our own rings that speak to our individual personalities. For the bezel setting, consider what you wish to have this ring hold and display, what will you carry with you? A coin from a memorable vacation, a lock of hair under a piece of watch glass, a small cloisonné enamel ? 

Please consider the size of the object you will be setting. The materials list allows for a 1”x 1” base for your bezel setting, this will require the object you choose to set to have a base smaller than 1” in every direction.

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

Forming and Enameling Bronze and Copper Screening

Barbara Minor

August  7, 14 & 21, 2021
1:00-3:00p.m. ET 

Tuition: $190

In this three part class, you will learn how to create and enamel three dimensional forms made from bronze window screen and various sizes of copper wire mesh using liquid and powdered enamels.    

We’ll be creating volume and three dimensional forms – using bronze window screen and various sizes of copper wire mesh – working with methods such as gathering, pleating, folding, creasing, forming, stretching, stitching and “freehand” manipulation to achieve lightweight, volumetric forms suitable for enameling jewelry or objects.  

Once the forms have been created we will enamel them using dipped, brushed or sprayed applications of liquid enamel in combination with and separate from sifted applications of powdered enamel.  

Additional information on decorative techniques – such as the application of gold or silver foil, gold leaf and glass seed beads and information on setting up an inexpensive spray booth – will be included.  

Class information includes…

– bronze and copper screen types, sizes, preparation, forming methods

– tools for manipulation of the screen 

– enameling work area set-up – choices of tools and safe procedures 

– liquid and powdered enamel types, preparation, application and firing methods

The structure and components of this class are intended to allow and encourage participants…

– to gain confidence with processes presented while exploring and experimenting

– to achieve exciting forms and surfaces that exceed expected results  

– to continue using the learned processes on their own

– to have fun while learning.

 *  This is a “demonstration workshop”.  Students can plan to work in their own studios between classes on techniques taught. 

 * 2-3 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 a PDF with process order outline and examples – and – access to a private/hidden Face Book Group for asking questions, receiving answers or feedback, sharing your progress or results and discussing ideas or examples.  

*Participants will be able to view the class recording for one month after the class ends.

** Beginning experience with enameling recommended.

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

Working with PMC3

Lorena Angulo

August  7, 14 & 21, 2021
4:00-6:00p.m. ET 

Tuition: $190

During this class the students will explore the basics of sculpting, stamping and carving PMC3 metal clay to be able to create a unique piece of jewelry. 

The students will learn how to roll the clay, texture it, carve it, etc. 

Nowadays there are a lot of new tools and equipment to work with metal clay, but I want you to know that you do not necessarily need all this to be able to make a wonderful piece of jewelry that will represent your own creative voice.

Details:

Lorena grew up in Mexico and the time she spent there amongst the beautiful and traditional Mexican Folk Art shows in her amazing body of work that she loves to create. Each of Lorena’s intriguing creations seems to hold an untold secret that keeps you guessing its true meaning with each glance.

Lorena started taking metalsmithing classes at Southwest School of Art in San Antonio; it was there were she was introduced to metal clay by the hand of Claire Holliday. Since that day she felt in love with this new wonderful medium and has been creating most of her work with it. Nowadays Lorena is an adjunct faculty member at Southwest School of Art in the Metals department.

She has become a very active artist in wearable art. Her work has been featured in several books, magazines, and publications and countless on line articles and industry websites. Her work has also been part of gallery exhibitions in the USA and Europe.

Lorena is the author of a book called Behind the Brooch published in May 2014 by Schiffer Publishing.

A pin she made for Bob Ebendorf is in the permanent collection of the Racine Art Museum.

Lorena was part of an exhibition at the Racine Art Museum in 2016/2017; Made in México: Contemporary Art Jewelers with Mexican Heritage.

www.lorenaangulo.com

@lorenaangulo

Fred Ball Experimental Techniques Part 3: Foil and Mesh Structures

Judy Stone

August 19 & 26
4:00 – 6:00pm ET

Tuition: $125

  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 recent developments that Ball would have loved with Judy Stone, whose own work was greatly influenced by Fred Ball’s book. Stone has created 3 separate online workshops based on Ball’s book. Although these workshops are stand alone, students registered for Part 3 will want to have some enameling experience and some knowledge of the use of liquid enamels. As a whole the workshops represent the gift of Ball’s legacy to the world of enameling.


Part 3: Foil and Mesh Structures builds on Ball’s experiments with copper foil and copper mesh. 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 way Ball used these materials to created 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
  • 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.

Intuitive Small Scale Kinetic Construction

Alexis Spina

August  20 & 27, 2021
1:00-3:00p.m. ET 

Tuition: $125

Planning and metalsmithing are often taught hand in hand. However, allowing space for intuition in the making process can produce magical results. In this workshop, we will cultivate room for chance by allowing planning to take a back seat. Along the way we will learn how to problem-solve throughout the construction process, different ways of implementing movement into sculptures and jewelry, when to utilize spot soldering, and how to connect complex small sections to larger areas of metal. If you have a knack for going ‘off course’ while making, this workshop is for you.

Details:

Alexis Spina is an artist working primarily in small-scale metal sculpture and installation. Her work is constructed through an extensive body of research rooted in architecture, governmental injustices, global politics, and the exploration of truth in the age of disinformation.  Alexis was raised in Pittsburgh, Pennsylvania and obtained her BFA in metalsmithing from Edinboro University in 2015, and her MFA from the University of Georgia in 2018. She is currently the metals artist in residence at Pocosin School of Fine Craft.

www.alexismspina.com

@spinalexis

Enameling Plique-à-Jour – A pierced approach

Cheryl Eve Acosta

August  22 & 29, 2021
1:00-3:00p.m. ET 

Tuition: $125

Plique-à-jour means applied daylight. It’s the only enameling technique that uses transparent glass without a backing creating a stain glass window effect! In this workshop, you will learn how to create your first plique-à-jour piece using the pierced approach in sterling silver, fine silver, or copper. We will explore how to design a pierced metal pattern and discuss the importance of designing a framework that will hold kiln enamel glass in place using temporary backings over a flat surface. We will cover options for three-dimensional objects using surface tension from this wet packing technique.  Students will learn about building color layers to create a watercolor effect, mixing colors and achieving clear enamel surface.  We will discuss finishes between firings, surface finishes on flat, three-dimensional, textured surfaces and common enameling failures. Torch firing techniques will be discussed as an alternative option.

This course is designed to introduce students with different methods of creating pierced plique-à-jour, with a modern approach. Through a demonstration workshop, students will have the opportunity to experiment with a process of their liking. Basic metalsmithing background is encouraged with a prior understanding of soldering, sawing, filing and metal finishes. Students are encouraged to have had prior enameling experience and firing but it’s not mandatory. Once registered, a resource list of materials, tools and suppliers will be emailed to registrants before the workshop.  If not already owned, students are welcome to purchase the tools and materials for this workshop, but it’s not required. Feel free to contact me if there are questions.

Details:

Cheryl Eve Acosta’s art lives between the realm of sculptural décor, jewelry, and fashion. Her abstract designs are inspired by marine ecology and the Cycle of Life. She is known for her unique copper fused glass collection and textured edge jewelry.  Cheryl Eve is a full time metalsmith based in the Kansas City Arts District in Kansas City, Missouri. She holds a master’s in fine art in Jewelry & Metals from the Rhode Island School of Design, a bachelor’s degree from the New Mexico State University in metalsmithing and CAD/CAM design certificate from the Gemology Institute of America (GIA). Cheryl’s fine art has been featured in international, national, and regional exhibitions including Heavy Metal / Women to Watch exhibit at the National Museum of Women in the Art’s in D.C., Kemper Museum of Contemporary Art, Georgia Museum, SOFA Chicago, Wayne Art Center, Sarasota Art Center, Cheongju International Craft Biennale, Le Arti Orafe, among others. Her work has been featured in numerous publications including SNAG Magazine, 500 Earrings, Dreaming Jewelry and Art Jewelry Today 3, and published her book Hidden in NatureCheryl Eve has taught private jewelry and metalsmithing workshops to every age group including her studio, at summer camps, universities, and cruise ships.

www.cheryleve.com

@cheryleveacosta

Exotic Plating Techniques

Dennis Nahabetian

New Dates:

August 22 & 29, 2021
4:00pm-6:30pm ET

Tuition: $155

Learn how make highly detailed, contrasting metal surfaces with ease. If you have a DC Rectifier and a Copper plating bath, you are “good to go”. Dennis Nahabetian will also demonstrate Precious Metal Plating by hand using the Brush and Pen method. Less costly than immersion plating and more direct, you will see results in minutes.If you have experienced the amazing possibilities of Plating with Copper, this class will help propel you to the next level and beyond.
A Facebook Group will be made specifically for this class to help answer questions and provide addition information not covered during the Zoom instruction.

It is recommended that you have had at least an Introductory Electroforming Class with Dennis Nahabetian prior to taking this 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

Cuttlefish Casting

Barbara Mann

September 2 & 9, 2021 
4:00-6:00 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

Juicy! Clear Resin Surface Techniques for Jewelry and Small Sculpture

Jillian Moore

September 3 & 10, 2021 
1:00-3:00 p.m. ET 

Tuition: $125

Coming Soon! Registration will open July 2nd at 6:00 pm ET

In this workshop we will be using a basic, slow-cure polyurethane resin (Envirotex-Lite) to  create new and dynamic surfaces for jewelry as well as small sculptures by applying multiple  successive layers, trapping materials in between. This process results in the creation of a thick,  juicy shell that allows for vibrant colors and distinct patterns. Students will learn how to  troubleshoot applications for individual forms and materials with the goal of applying this  process to their own unique studio practice. This material is designed and marketed for home  hobbyist use. It is very approachable for the home studio. We will discuss how to handle it  safely and responsibly!

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

Watercolor and mixed media experimental techniques on textile and metal

Raquel Besudo

September 3  & 10, 2021 
4:00 – 6:00 p.m. ET 

Tuition: $125

Coming Soon! Registration will open July 2nd at 6:00 pm ET

This workshop will be a space for exploring various pictorial techniques applied to textiles. You will work with watercolors, acrylics, gesso, charcoal, pastel, and metal leaf application, studying and registering how they apply to the different kinds of fabric. We will explore how to add sewing and embroidery techniques as well as integrating metals into your work.

This workshop will be a space for experimentation, allowing you to be open for unexpected come-outs and encouraging you to develop concepts as a guide to your work and how it will reflect on what kind of media works better for it.

Materials:

  • The range in brands for art materials is substantial, feel free to work with your preferred one.
  • When buying fabric, I prefer to go to the shop and feel each fabric I choose. If you can,  I suggest you do as well.

             Things I look for: variety in density, translucency and the tone, for example        

Details:

Raquel Bessudo is a  Contemporary Jewelry artist based in Mexico City; she was part of the selection for Shmuck 2020, participated in a group exhibition on the occasion of Paris Prcours Bijux 2020 and by Association Alliages as part of  Painful Hope exhibition. 

Her work has been exhibited in Mexico, Argentina, the USA, Australia, and Europe.  Some of which include   II Contemporary Jewelry Latin-American Biennale 2018, “Neighbours,” where she received a special mention from the jury.  “Huellas” Museum Juan del Carral Colombia  “La Frontera” Encounters along the border MAD, NY, USA, and Museum Franz Mayer Mexico. “The US-Mexico border” Place Imagination and Possibility” CAFAM September 2017 L.A., USA. VEOVEO promise objects for everyday use, Radiant Pavilion, Melbourne city library, Australia August 2017.  Contemporary Jewelry  Latin-American Biennale 2016, “Bridges”  “Lo Inesperado de lo Cotidiano” Collective exhibition, Symposium “En Constuccion”, Valparaíso Chile Sept 2015. Publications of her work include: Metalsmith Magazine, Vol 40 No.3, Artist in flux by Rachel Reichert, JAMS, publish by SNAG, The jewel Book, Stichting Kunstboek, Belgium, Joya magazine, Mexico City.

This year, she joined the Garland Magazine as a Member of the editorial board and will be part of Cluster Contemporary Jewellery, 2021.

[email protected]

@raquelbessudojoyeria

INTERCONNECTED

Tanya Crane & Elliot Keeley

September 4  & 11, 2021 
4:00 – 7:00 p.m. ET 

Tuition: $380

An optional kit is being offered for this class

This team-taught workshop will cover construction methods and techniques for copper and steel in preparation for enamel.  Slotted construction, mortise and tenon, and scoring and bending are a perfectly set-up for enamel. This dynamic workshop will cover all aforementioned techniques as well as liquid enamel preparation and application, enameling on mild steel, hot sifting, and dry sifting. Class one will cover construction methods with Elliot, and in the second class, students will learn to enamel on their constructed forms with Tanya. Students will receive pre-cut steel blanks to work from and will purchase the rest of the materials from the material list as needed.

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.

Elliot Keeley is an artist and metalsmith from Raleigh, North Carolina. He holds a BFA with a concentration in metalsmithing and jewelry design from Appalachian State University. In 2016, he was selected to participate in the two year Core Fellowship at Penland School of Craft. While at Penland, he was able to broaden his skills, participating in workshops ranging from ceramics to drawing and painting, while maintaining and discovering a broader practice in metal. He is currently based in Baltimore, Maryland where he is a Studio Manager with the Baltimore Jewelry Center.

Intermediate and Advanced Enamel Painting

Mi-Sook Hur

September 4, 5 & 11, 12, 2021 
12:30-3:00 p.m. ET 

Tuition: $315

Coming Soon! Registration will open July 2nd at 6:00 pm ET

This 4 session Intermediate/ Advanced Enamel Painting workshop is for those seeking to explore and  develop their enamel painting skills using overglaze paints. Students should have prior experience with  enamel painting processes, as the workshop intends to give as many hands-on learning experiences as  possible. Ideally, the students may work along with the instructor, but are not required to. The class will  work on four projects – Two-Toned Flowers, Patterns in Nature, Insect with Transparent Wings, and Leaves –  within and between class sessions. Through these projects, students will learn about blending colors,  achieving layers, creating see-though effects, defining shapes, and adding details.

  • Students should have prior  experience with enamel painting processes. Not a beginners class

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/ 

Set your work apart:  Elevate your enamels

Anne Havel

September 15, 18, 22 & 25, 2021 
1:00-4:00 p.m. ET 

Tuition: $375

Coming Soon! Registration will open July 2nd at 6:00 pm ET

Anne will build the setting pictured, start to finish.  She will discuss thought process/troubleshooting and then demonstrate each step, technique, and process until the piece is complete.  Multiple connections for the frame will be covered.  Only the setting will be covered and you must be able to solder, use a flex shaft, and pierce independently, although how choices are made will be discussed.  A facebook group will be created for questions between sessions.

Details:

Anne has been an independent studio artist for 19 years, teaching 10-20 workshops a year and exhibiting in juried fine craft shows.  Work is included in the permanent collection of the Enamel Arts Foundation as well as numerous private collections.  Service is a critical part of my journey.  I am a reformed CPA and now use my powers for good, serving as treasurer on several boards of directors.  Anne is the creator of the Project Mesh Residency.

www. annehavel.com

Setting Irregular Gemstones

Carin Jones

September 17  & 24, 2021 
1:00 – 3:00 p.m. ET 

Tuition: $125

Coming Soon! Registration will open July 2nd at 6:00 pm ET

Stepping outside setting regular smooth or faceted gemstones can open up a much wider world of creativity in your studio. Setting minerals, crystals and fossils can make for such unique pieces. In this class we will discuss many types of setting options including but not limited to bezel, tab, & prong settings. We will go over choosing the best design and how prep your mineral to ensure it’s protected. We will focus on completing a thick walled prong setting as your first piece! 

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.

www.jonesingforjewelry.com 

@Jonesingforjewelry / @j4jcastings

Material Mimicry

Märta Mattsson

September 19 & 26, 2021 
1:00-3:00 p.m. ET 

Tuition: $125

Coming Soon! Registration will open July 2nd at 6:00 pm ET

Material Mimicry – Creating illusions and making faux materials 

Do you want to make a piece of jewellery that visually looks heavy like a rock but feels light as a feather? Or make a fake pearl shaped like a doughnut? How can we deceive the eye and make one material look like something it is not? In this course I will show you examples of how to manipulate alternative materials into imitations of other materials. I will be showing demos of how I use things like crushed stone, clay, pigments, wood, glue, paint and sand to create faux materials in my own jewellery practice. I will share some of my material secrets and we will be focusing on manipulation of materials with an emphasis on surfaces and finishes, encrusting, textures and small castings with materials like epoxy glue and plaster in silicone putty. 

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, Sweden and Latvia and she is currently employed as a lecturer at HDK – Academy of Design and Crafts 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.

www.martamattsson.com

martamattsson_jewellery

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Add A Pocosin Arts Apron to Your Purchase!

Gear Up! Get a gorgeous new kelly green Pocosin Arts Apron with an adjustable strap and a large front pocket. Purchase includes shipping!


Cost: $12