Oh the beautiful patina

The next project and demonstrations focused on techniques used to add a patina to copper. A patina is the coloration that occurs on metals, and in this case on copper, when it is exposed to various chemicals processes and oxidation.

Harlan introduced us to a number of ways to add a patina to metal.  There is even a book, Patina:300+ Coloration Effects for Jewelrs & Metalsmiths, housing a whole bunch of formulas that can be used to produce different effects.

Above are two of my patina samples.  As you can see I continued on with foldforming leaves and turned them into my samples.  The bottom sample was produced easily by applying a light layer of salt to the copper leaf and then suspending the piece in a jar in which I had placed some ammonia.  It is important that the copper piece not actually be submerged in the ammonia, but suspended above it. Then I closed the jar and left it for 24 hours.  Finally, I washed the salt off, dried the leaf and coated it with a layer of clear coat.

The top leaf was produced by a chemical formula from the above mentioned book.  I did not actually mix the chemicals and cannot remember what went into it.  However, once the chemicals were mixed, they made a thick paste which was applied to the hot copper leaf (it had been boiled in hot water) and allowed to sit for 24 hours before washing the paste off and sealing.

Another patina which turns copper truly beautiful, is a heat patina in which the copper is rubbed with peanut oil and is then heated to create varying orange hues.

Prismacolor and Paint

The next class on my list was Color and Surface taught by renown enamel artist Harlan W Butt.  If you are not familiar with his work, please take a minute to check out his website http://harlanwbutt.com/home.html and be prepared to be amazed by his breathtaking cloisonne vessels.  He is truly a master and I was thrilled at the chance to learn from him.

The Color and Surface class was focused on learning different techniques for treating metal.  The techniques covered were applying Prismacolor and Paints, Enamelling including cloisonne & champleve as well as discussion of plique a jour, Etching, Patinas, Keumbo and Reticulation.

The first project was to produce a set of 18 samples using prismacolor pencils, prismacolor crayons, and various paints including acrylics and metal paints.

I started with 18 copper squares of the same size. I thought that it might be nice if all of the samples were unique and so I played around with the squares before adding the color pigments.  I ran some through the rolling mill with pieces of twisted wire in between to create patterns.  I dapped, hammered and patterned some of the others.  I also drilled holes in some so that they might be used in jewelry pieces. Before I began applying color, I sandblasted all of the base pieces so that the colors would have a better chance of adhering.

Above you can see the various designs I came up with. I was most pleased with the look, feel and finish of the prismacolor pencil.  I especially like the center, top piece, as something about the movement throughout is pleasing to me.  I also love the way the two space vistas came out.  As could have been expected, the acrylic paint that I used, was easily peeled off of the metal. I was too impatient for the metal paints to get overly creative with them, although being specifically made for metals they adhered well.

Although they are not the best images, above you can see two necklaces created with primacolor sample components.

End of the World

As a part of the metals club I had the opportunity to share ideas with others and help to spread the talent of the metals students.  One way to do this was through club participation in special events.   The "End of the World" brooch contest was one of these.  The idea was that each member of the club create a brooch sharing their idea of the end of the world.  I decided to keep on with my exploration of folforming and enamelling.

Here you can see the front of my completed brooch.  I first foldformed the copper base and then carefully applied layers of enamel.  My idea of the End of the World is when plants grow their own barcodes, which you can see emerging from the leaf.  I also used enamel on the back to trap the copper tubing and hook that would be the pin findings and piano wire for the pin stem. 

Foldformed, enamelled leaves

During this class I began to experiment with foldforming copper after a classmate brought in the classic book by Charles Lewton-Brain.   I found that I really enjoyed the process of creating leaves with varying patterns from copper sheet.  I then spent a fair amount of time practicing my enamelling skills by applying the enamels to the foldformed leaves.

You can see the progression here from just copper to covered with enamel.  I have continued to work with these two techniques as I love the variety of textures and colors that can be achieved.

Putting it All Together

The final project for this class was to create a vessel with a glass base.   The final vessel was to highlight each of the 4 technical processes we learned in class: electroforming, powder coating, machining and spinning.

 The glass element that I chose to use was a spice jar with lid.  There was a plastic stopper on the lid.  Since I have strong opinions and beliefs surrounding the use of GMO's (genetically modified organisms) in our food supply, I decided to use this project to make a statement.  The materials I chose to use included brass, copper, sculpey clay and heirloom Cherokee Red, White and Blue corn.

The main corn center is made from pierced brass.  The corn husk is made from spun copper sheet that was then pierced, forged, shaped and patinated.  The stopper was covered with electroformed sculpey clay.  The sign is pierced, powder coated copper and mixed in with the heirloom real corn are small, machined brass corns.

 

Ponoko, Vector drawing & Natural Birth

The next project focused on learning to use Photoshop for vector drawing with the goal being to have a laser cut acrylic component produced by a company called Ponoko.  The completed project was to be a set of 5 brooches with each brooch containing one of the Ponoko components. This was a multi-step process that came, for me anyway, with a fairly steep learning curve and a series of setbacks.

The first thing I had to decide was what I actually wanted to make.  I was really working through feelings and emotions that were linked with motherhood and birth.  Not just the birth of my child, but the rebirth of myself as I moved into the next phase of my life.  Because of this, I chose for my acrylic element to be a baby.  And because I believe that we reflect ourselves onto those around us and we look for reflections of ourselves in others I chose a mirrored bronze acrylic for the material.  Once I made these design design decisions, then I began the computer part of the process.

Being a little older than most of the class, I had less previous experience with digital technology than most of the other students.  My first issue was learning how to actually use the program.  This involved many extra hours in the computer lab and and the repeated help of some of my classmates. The first completed drawing got lost somewhere in my lack-of-tech-knowledge and had to be redone.  This was actually very helpful in the learning process which led me to redo the drawing a number of times until it really was what I wanted.

Once the drawing was to my satisfaction, I used Ponoko's online uploader (which thankfully contained detailed directions) to submit my design for production.  For our class, the suggestion was to use acrylic because of cost but Ponoko offers a variety of material and color options.  The website was also very user friendly.  Once the drawing was uploaded to Ponoko and that part of the process was out of my hands, it was time to finalize the brooch design.

Earlier in the semester, as is evidenced by the last project, I had begun a study of foldforming and enamelling.  I felt a strong need to continue that thread and so brought it forward into this project.  I decided that my series of brooches would combine the foldformed and enamelled leaves with the mirrored acrylic babies.  From this point I began thinking about the best method of cold connection, how to attach the acrylic to the enamelled element, as well as how to attach the brooch backs.  I enjoyed this exploration very much and it was fun to play with ways of capturing elements within the enamel, which is ultimately how I connected the brooch backs and the partially the acrylic element.

Above you can see the finished, "It's Natural" Birth Series Brooches.  For me, there is no disconnection between us as humans and the natural world.  I wanted this series to reflect that point of view and for each brooch to be viewed in more than one way.  For me, these brooches hold the imagery for the literal birthing of a child as well as promoting the idea of a being growing directly from the plant/natural world.  The babies are attached in such a way that they are movable and can be readjusted into a different position if desired.

Machined

The next piece of equipment I was introduced to was the machining lathe.  Initially, I was a little fearful of this machine in which you use sharp tools to shave metal, is loud and requires a face shield during use to protect you from potentially hazardous flying pieces of metal and metal dust.  However, after multiple tutorials from both the professor and my fellow classmates, I relaxed into the process.

Our sample project was to turn a rod of tool steel into four different riveting tools and fabricate a holder for them. This was such a great way to get familiar with the equipment and feel as if I accomplished something.  I appreciated that professor Thurman created a sample project where the end goal was to have a wonderfully useful set of tools.

 

I chose to make my riveting tool pouch mainly out of leather with metal and bead accents.  By incorporating the metal into the pouch I created a situation where I used my new riveting tools right away.  The beaded element is covering a magnet which adheres to the steel tools creating the closure.

    Above you can see the four riveting tools, each one was cut to a different angle degree.   This set has become one of my most reached for tools any time I have a need for cold connections.

Once we completed the sample project, it was time to move on to the machining final project.  For this project we were to turn a piece of brass rod into five machined pieces.  Once the pieces were made we were to use them to create a cohesive piece.

I made many brass samples while I tried to figure out what to do with them.  Finally, I chose to use a combination of enamelled, foldformed leaves with my machined brass pieces to create the jewelry set pictured above.  While the brass pieces are not all identical, I feel that they create a sense of cohesion from their similar shapes and they way each one is used the same.  I used copper wire to create the chain and the vining tendrils.

Spun

The next piece of equipment I learned how to use was the spinning lathe. 

I had never used a lathe before and was looking forward to knowing that by the end of the class I would have learned how to use two different lathes (spinning lathe & machining lathe).  The spinning lathe allows a person to shape flat pieces of metal into a hollow vessel.  By using different wooden chucks (pieces of wood that have been spun themselves into the shape the metal will become) and pushing tools, the spinning lathes allows you to get a symmetrical, hollow vessel to then use as you please.

Here is an image of the spinning lathe I used.  You can see my aluminum disc (which I have already started to spin) and the wooden chuck.

Here are a few samples next to a flat disc like the one I started with.

Once I finished with my sample pieces I moved to spinning copper.  The class assignment was to create a votive holder with top and bottom, out of spun copper.  The first step in the process was to cut my copper disc from a sheet of copper.  I believe it was about 20 gauge.  Once the edges were filed, I annealed to copper to soften it for working, then pickled, rinsed and dried. The next step is to center the disc on the chuck and lock it into place in the lathe. I applied wax to the outside of the copper, turn the lathe on and begin pushing the metal into a new shape.  After a few passes of the pushing tool, the copper was no longer malleable and needed to be annealed again.  There was a lot of annealing during this process. 

 I continued to anneal and push until the top and bottom of the votive were shape I desired.  I then decided to have pierced leaves for my design motif.

I enjoyed the process of spinning vessels very much.   

Coated

Another technical process I learned was powder coating.  Which for this class was process of applying a colored powder onto a metal object and electrically bonding the powder to the metal.  Once the powder is applied, then you heat the object in a small oven to cure it.  Below you can see my sample.

Even though this process seems straight forward and like an easy way to add color to an object, for some reason it was difficult for me to get right. I had a hard time getting the powder to thoroughly coat my small object and cure well.  As such, since we weren't required to do a powder coat final, I chose not too and just incorporated a powder coated element into the class final project which you will see in a few weeks.

If you are interested in learning more about powder coating, check out this great video by  Michael Dale Bernard

Mirror, mirror

After finishing the electroforming sample it was time to move on to my electroforming final project.  The assignment was fairly open with the goal being to create a wearable that had been electroformed.  At this same time I was working in Dallas in homes with beautiful antique items.  I was struck by the intricacies of all of the ornate, gilded mirrors.  I decided to create my own.

For the initial trial of this process I covered a small mirror and created my design with wax.  The goal was to plate the wax with copper and then melt the wax out leaving a hollow form holding the mirror.  I followed the given procedure but once I removed the mirror from the plating bath I immediately realized two problems that I had neglected to address beforehand. The first one, which might seem obvious to some of you, is that once I melted the wax out of the form, the mirror would no longer be held in place by anything.  I would have needed a different design to make that work. And secondly, the copper just wasn't thick enough to support the delicate petals of the flowers and I was afraid of breaking. I ended up leaving the wax inside the copper plating which effectively made it unwearable in the Texas heat where it was created.

 Here is the first mirror in the series. I was unhappy with the way the copper looked on the wax and so my solution was to gild it with gold foil.  It added more texture and helped to define the floral design more.  I made the chain out of brass wire hammered into ovals.

My new plan was to cover the mirrors with sculpey clay and to adorn the mirrors with flowers and swags in the same manner as i did with the wax.  I figured that once the clay was baked on, the leaves and flower petals had a structure to keep them strong and to support the copper. I applied at least 2 coats of copper conductive paint being careful to try and cover all of the clay. This was a crucial step because any place that was not covered with the paint would not have copper adhere to it.  Once the paint was completely dry I suspended the mirror in the plating bath for many hours until the thickness of the copper was at the desired level.

 The mirror above shows what the copper plating looks like.  I can see some areas where the paint didn't cover and so there is evidence of the sculpey clay hidden beneath.

The round mirror above was my favorite of the set.  I used gun blue patina to paint the leaves and create color contrast with the copper flowers.  I made the chain from copper wire that I hammered into flat ovals.

G is for Gems!

In the fall of 2012, I took Metals II: Technology taught by James Thurman, at the University of North Texas. The next handful of posts will be about the projects that came out of that class.  The processes we used in the metals lab were: Electroforming, Metal Spinning, Machining and Powder Coating.  We were also introduced to creating and using vector drawings which were then capable of being laser cut out of a chosen material to create design components.

For each technology I was responsible for creating a sample piece and a final piece, as well as a comprehensive final piece for the class that encompassed more than one of the processes we learned.

The lovely G below, is my sample for the electroforming process. Electroforming is a process by which you coat an object with metal particles, in this case I was essentially copper plating.

 

I started with a gem studded G that I made out of wax.  I then coated the wax with a copper conductive paint, making sure to leave at least one small space for wax removal, and allowed it to dry completely.  Once the paint was completely dry, I suspended the G into the plating bath for many hours. 

When I finally removed the G from the plating bath, all of the wax was covered by a layer of bumpy copper.  I placed the G into a pan of water and brought it to a boil coaxing the wax out of the now hollow copper G, and into the water.  Using an annealing torch with with pan below, I gently heated the copper to melt off any remaining wax before putting it in the pickle.

Once the G was cleaned, I used enamels to add color to the G and to create differentiation in the gems.

First Bezel

Here is my first bezel setting.  There were many steps involved with making it.  I started with a piece of brass and two piece of copper. This particular piece is inspired by the cosmos representing the moon, stars, earth and the universe.

I dapped a copper circle into a dome. Then I used salt and ammonia to create the patina.  I cut my copper and brass shapes, sanded the edges of both and added texture to the brass. On the copper I soldered a strip of copper that would become the bezel. I created tube rivets out of copper and brass tubing that were used to connect the moon and star/sun together. Finally I placed the patinated copper dome into the setting and sanded the whole piece.

First bronze casting

 Based on the premise of childhood events and the idea of awards badges, the next project was to teach us about casting.  Our specific casting would be made out of bronze. Below you will find images of my initial sketches, my wax carvings and then one final piece. I did work on and finish two pieces during this project although upon final reflection I think trying to make two pieces worked against me.

 This ER broccoli badge is an award of bravery for my son.  When he was about 3 years old, he reached up onto a counter trying to get hold of a basket of fresh picked broccoli.  He accidentally caused a glass canning to come crashing down.  It shattered and he got a deep cut in his foot.  I washed his foot and bandaged the cut.  However, at bath time I noticed the cut was deeper than I thought and I began to worry about the possibility of glass being stuck deep in his foot.  So, worried as I was, I took him to the ER where he was patient and calm and got him all cleaned up and glued shut.  They suggested the possibility of giving him one stitch but I thought the super glue sounded like a far easier solution.

 The second piece, which was more focused on me and some unresolved issues is pictured below.  It wasn't my original idea but I ended up sort of working through this idea that many people are like alligators.  In this I mean that they seem steady and docile on the surface but they are deadly dangerous and simply lying in wait to take advantage of those not paying attention.  Of course I do nit believe all people are like this but I did have some unpleasant childhood experiences that involved some people who were like this.  Also, having grown up in Florida, I have a deep respect and love for alligators.  These two feelings about alligators came together in this project.

Here you can see the broccoli and the alligator all sprued up and ready for investing.

These enamelled copper pieces, which are on the pin plate for the alligator badge, represent the innocence of childhood.  For many young girls, dolls and teddy bears and bows are quintessential.  For me they evoke a sense of hope, happiness and joy.  You can see that the enamel is cracked on some of the pieces, this can give clues to the meaning behind this piece which deals with loss of innocence.

The final piece brings in my love of beads.  I made the netted ribbon with glass beads from Murano, Italy, that were gifted to be my Aunt.  She is someone I have always felt close to and when I am with her I feel safe, even to this day.  I am lucky that between innocence and loss of innocence I had not only her but a "net" of people around me to remind me how good life is.

Enamel love

 The enamel samples from my previous post were my initiation into the world of working with enamel and copper.  Immediately I was hooked.  There are so many interesting ways to mix colors, create texture, and showcase the metal underneath.  From those samples I chose colors to use in creating the following the dish.

For my class, I had to use the inspiration of a spice and my chosen spice was star anise.  I did a load of image gathering and a number of sketches to help bring about what I wanted the final piece to look like.  I started with a sheet of copper which I cut into a circle, and then carefully forged it by sinking and raising into a shallow dish.

Then the real fun began which for me was applying the enamels.  For anyone who doesn't know enamels in this form are generally colored, powdered glass.  Although you can also buy liquid enamels.  The enamels are applied one layer at a time and fired between each coating.  The kiln takes the enamels up to 1500 degrees at which point they fuse into a beautiful sheet of glass.

 I applied an opaque base of a red first.  Then after adding a clear coat to the back I added the white star anise images. I created these images by making a paper stencil and then very carefully applying the enamel and even more carefully removing the stencil.  I learned that it was very important to keep an even number of coating on both sides of the dish to keep the copper from being pulled in one direction.  I decided to add a deep amber color on the back of the dish because star anise makes me think of warm delicious foods.

 After sitting with the simple design for a bit, I decided to add a splash more of color. Again, I used a paper stencil to get my shapes. 

I also decided to bring more to the back of the piece so that it could be displayed either way.  I cut an aluminum shape that could be bent to fit the curve of the dish.  I then applied the enamel around it so that my anise star would retain the deep amber color and I could add hints of pink to the outside.

Finally I had to create a forged wire stand for the piece to be displayed in.  Here is my forged wire lotus and you can see it sticking out in the above images.  This stand can be hung on the wall or set on a table and either side of the dish can be displayed.

I really enjoyed this project and at the end, was so glad to have been introduced to enamelling.  I am looking forward to improving my technique and creating beautiful new pieces.

Enamel Samples

These enamelled tiles are from my first experiences working with copper and enamels.  Immediately I fell in love with the texture of the glass and the effects of seeing the copper through the transparent colors.

New Trees

Copper Hollow Form Ring

Although I have been remiss about posting for the past long while, I'm hoping to catch up and get back on track.  Here's my first post on the way.  These are images of the first project from my spring class, Metals I.  The project was a copper hollow from ring made from sheet copper.

All of my copper parts as well as my paper mock up.

The ring and side wall have been soldered to the back plate.

After sitting in the pickle.

 

 

Using a handsaw, I cut the soldered back plate into the desired outer shape of the ring and removed the copper to create the opening for my finger.

All parts are now soldered together.

After pickling.

Finally, after sawing off the thin edge, I hand polished the whole thing to a fine grit.

Etsy Fort Worth January Challenge

I've spent the past month working on this project for the Etsy Fort Worth Craft Challenge. Below is a simple how-to in picture form.

Materials list:
1 sushi tray
2 pieces of leather cut to the same size
4 lengths of 26 gauge copper wire cut to about 20"
4 lengths of 26 gauge copper wire cut to about 18"
2 lengths of 26 gauge copper wire cut to about 36"
Barge Cement




The item they chose for this challenge was a sushi container and I just happened to have some around the house. You can see in this picture how the bottom is already divided into rectangular sections.


Using a pair of sharp scissors I cut the rectangles out.


Then, using a sharp tool I punched a hole in each of the four corners. The sections are fairly delicate and so punch the holes with as little pressure as possible.


I cut a rectangular strip of leather about 6inches long by 3 wide. You can cut it to any size that you are comfortable with. I set the rectangles into a pattern that I found interesting. I also had some cut glass beads I planned to use in the necklace. I also cut 4 pieces of 26 gauge copper wire into about 20" lengths. I set the rectangles onto the leather and punched holes so that I stitch them on using the copper wire as my "thread".


I started from the backside of the leather and laced the wire through putting using the rectangles as beads.
To place the beads I brought the two wires out of the first "bead" and put both of them through the bead. Then I laced both wires through the same corner hole in the next "bead" and brought both of them out of the opposite corner hole. Place the next bead on and then split the wires back into two and lace through the next corners. I completed one whole side, top and bottom before doing the other side.



Then I continued the same way on the other side.


When I finished both sides and had ample wire remaining, I laced all the wires through to the back. Then I cut 4 more lengths of wire and punched 8 holes on each side in the approximate middle of where the first ones finished. I used 2 of the 4 additional wires on each side. I bent them into a 'u' shape and brought them from behind, to the front, and then back through so they end on the back side. Next I used one of the long pieces of copper and attached it on the back side to some of the copper loops there. To make the necklace part I used an over-under technique and wove the copper.




I braided the ends into a loop and wove the wires back through.



Here's what the back looks like with the wires pulled though and the weaving on the sides. Then I used the same technique as above to weave the other side of the neck piece.


When I wove the side as long as I needed it to be to meet up with the other side, I bent the wires over and twisted them in pairs of 2 making sure to leave a loop on top. Then I cut off the excess wire.




I continued weaving up and over the the wires that I bent. This covered the cut ends nicely.


When I reached the loops I brought the wire over and through the end loop. Then I continued by lacing the wire through all of the loops until there was no more wire strands left and they were all wrapped together.






I cut off the excess and pinched it down with pliers. Then I bent over the end to make it into a hook to go through the clasp loop.



I used barge cement to glue down the corners as well as to attach the second piece of leather, which serves to cover all of the wire lacing and protect my neck from it.