HELP! I'm Being Robbed!

Okay, so maybe my post title is a bit over dramatic, but when it comes to the price of silver and gold these days, I do feel like I'm in the midst of a personal heist.

Gold and silver are at unprecedented prices right now, and that really affects what I do in my studio.  My goal has always been to create original, affordable jewelry.  With the cost of metals so unbelievably high, I have pretty much given up on designing with sterling, which is (as of this writing) almost $20.00 an ounce.  To put it in perspective, one square inch of sterling silver 24 gauge sheet is over $10.00!  So, no sterling in my studio right now except for wire, which is also priced through the roof.

For now, I am working with nickel silver which is much, much less expensive and looks and behaves a lot like sterling.  The downside is that many folks are allergic to nickel.  I'm trying to come up with all sorts of creative ways to get around this, like backing pendants and rings with resin-set images, transparencies, and even textiles so the nickel never touches skin.  The results are pretty cool, and this "dilemma" has given way to some new design ideas.  The photo below is of a new pendant made from Imperial jasper, amazonite and shell on nickel silver backed with a resin-set text transparency.  I  think it's lovely, and the cost is so much more reasonable!

For those of you that will settle for nothing other than sterling silver, I'm happy to oblige, but be prepared for some heart-stopping sticker shock.  The days of inexpensive metals are over...at least for now!

Sunday--It was a Good Day!

Yesterday (Sunday) was a nicely productive day for me in the studio. My head was chock-full of inspiration from visiting my favorite artist's websites and blogs, and I was ready to try some new techniques and designs. I created four rings, each very different in style and appearance. One incorporates a vintage photograph and loose gemstones under a clear mineral crystal dome, one features a super-cool antique signet stone I found at a funky antique fair, the third features a hand-carved 800 year old bead from Africa, and the last is a huge stack of mixed metals hammered and heat treated with oil pastels. WHEW! Three of the rings are cold-connected, no soldering involved, and use my favorite copper and brass tube bezels in one way or another. I connected the elements using rivets and brass screws. How cool is that???

I'm most excited about working with oil pastels on metal (thank you again, Susan Lenart Kazmer). I had no idea you could work the colors into the metals (with or without patina), heat it with a torch or heat gun, then seal. The possibilities are endless, and I plan to do much, much more with this. I'll keep you posted...

In the meantime, here are a couple photos of the results. What do you think?????

All of these designs are available in my Etsy shop...

October WebFind - Shiana Hilltribe Silver

My webfind for October is really fantastic--you must visit Shiana Thai Hill Tribe Silver. Shiana is a fair trade site and promotes continuing education programs, arts programs, and sustainable conservation. Your purchases ensure that the next generation of artisans will survive to preserve the works of their forefathers. Making silver has become a profitable advantage for the Hill Tribe families and an invaluable alternative to growing illicit crops or slash-and-burn farming.

The selection of silver and gold here is simply stunning. Unusual designs, great inspiration and tons of bargains to be had. If you are looking for that perfect focal bead, that fantastic finding you have been dreaming of--this is the site for you. They offer gorgeous black sterling silver--really amazing. The selection is simply endless, you need to take some time browsing this site. A great find--ENJOY!

Aging Metals - The Beauty of Patina

Recently, I've come across a lot of posts, blogs and convos about coloring metals with patina. Everyone is searching for the perfect way to change shiny new copper, brass, and silver to appear like ancient relics, colored by time. Who new that there would be such a demand to look old? It is true, aged metals are gorgeous. Brass and copper turn shades of intense blue and green, silver can change to a virtual rainbow of colors, to deepest black. In this post, I will be sharing with you my experiences coloring copper, brass, and sterling silver. I also invite you to comment here, and share your tips and tricks. I'd also love to share photos of works in progress and finished designs using patina colored metals. Contact me with your photos and ideas!!

First, what is "patina"? According to Wikipedia, "Patina is a coating of various chemical compounds such as oxides or carbonates formed on the surface of metal during exposure to weathering. The green patina that forms naturally on copper and bronze is known as verdigris and consists of copper carbonate. Patina also refers to accumulated changes in surface texture and colour that result from normal use of an object such as a coin or a piece of furniture." Well, if you don't have the patience to wait months or years to let a piece of metal patina naturally, there are many chemical patinas commercially available that will do virtually the same thing in hours. My favorite sources for copper and brass patinas are Modern Masters and Michael's Crafts. Both offer a line of metal infused paints and chemical patinas that will change copper and brass to green, blue, brown and black. Simply spritz or brush on the patina of your choice and you can virtually watch the colors begin to change! The photo here is of a pendant I made using a solid copper bead I sprayed with green patina then sealed with automotive clear coat. I also always have brass ager on hand from Kennedy Hardware. This turns brass and copper deep brown to black depending on how long you leave it in the solution. All patinas must be sealed with a top coat or the colors may fade or flake off. Modern Masters sells a gloss and flat UV stable topcoat specifically designed for metals treated with patina. Otherwise you can try light coats of acrylic sprays. Use caution here, products not specifically designed for metals treated with patina can actually make your colors disappear (I speak from experience here...ugh!). A trick I use quite frequently for copper and brass is to spray on layers of automotive clear coat from my local Discount Auto Parts store. Acrylic spray for cars is specially formulated for metals and works quite well--giving a strong, durable finish without changing the color of the patina.

There are also some great books out on coloring metal--I just got "The Jeweler's Directory of Decorative Finishes" by Jinks McGrath. A great source for patina ideas (and much more) with formulations you can make at home. Last night I tried the formula recommended for turning copper and brass indigo blue--something I have wanted to do forever. Simply take a medium sized plastic container with an air tight lid and place a smaller ( I used a baby food jar), open container of common household ammonia inside to one end ( I got the ammonia at my local grocery store in the cleaning products aisle). Prep your copper/brass by sanding, and wiping down with warm saltwater. Place the metal next to the open ammonia container. From here you can do a couple things to add texture to your patina. I sprinkled salt and vinegar on one piece of copper, left another bare, and left the brass bare. Cover the container with the airtight lid and leave for at least three hours up to overnight. You will be amazed at the color you get!!! The copper treated with salt and vinegar got a mottled, spotted coloration of deep blue and black. The untreated metals turned lovely indigo blue. When the colors reach your desired intensity, simply take the metals out, rinse thoroughly, pat dry and seal. Kind of magical actually....The book also describes a similar process to get that rich, blue color by burying the metal in an airtight container of sawdust, garden soil, and tobacco soaked with ammonia and vinegar! That appeals to my inner mad scientist/archaeologist. I like the idea of digging up the metal later, even if it is from a Tupperware container. I'm trying that one next... The photo below shows my ammonia experiment with (from left to right) a solid copper bead, a dome of brass, a fragment of copper sheet and a larger fragment of copper sheet. The large piece of copper had the salt/vinegar splashed on top. Don't you LOVE that blue? All were finished with Modern Masters UV flat topcoat.

Of course, you must be sure to do all of this in a well ventilated area--ammonia fumes are overwhelming if you are not careful. The commercially available patinas that I mentioned earlier are odorless and easier to use, but don't give the intensity of color that you get with the ammonia treatment.

AND, let's not forget the beauty of RUST. Rust is the poor step-child of patina. You don't often think of it as a desirable patina for jewelry, right? Well I disagree! Sophisticated Finishes (from Michael's) has a rust paint and patina set. The paint contains suspended iron particles that react with the chemical patina, turning the iron a lovely orange. I have used this with brass and copper, and love the result. I layer this with blue and green patinas, sand some off, add more--it's a process. To quote Forrest Gump, "You never know what you're going to get!"

I haven't even touched on coloring sterling silver yet...I could go on forever! The most common chemical to color silver is liver of sulphur. Smells horrible, like rotten eggs, but is easy to use and you can get it at Cool Tools. It comes in chunk form--simply place a small chunk in a plastic or glass container of HOT water, and drop in your silver. Have another container of warm water mixed with baking soda on hand to immerse your silver in when you reach the desired color. The color change is immediate and will go from a lovely rainbow effect to deep, dark black in moments--so be ready to remove your silver right away. You can also brush on the liver of sulphur/water mix to better control your patina. Drop in the water/baking soda to stop the reaction and then rinse in cool water. Pat dry and seal.

Well, that's a start...I will be adding to this post as I get your responses--I hope you will join me in sharing your patina questions, secrets, ideas, and finished designs. Let's grow beautifully old together!!!

October Artist Interview -- Tessa Rickard

When I first came across Tessa Rickard's shop on Etsy, I nearly squeeled with delight. Doll Disaster Designs is a shop filled with curiosities, originality, and raw TALENT! Tessa's work is the sort of jewelry design I aspire to--she uses found objects, lots of casting both in sterling silver and resin, gemstones, natural elements such as bone, fur, and wood, plus a heaping scoop of doll imagery. Her custom lockets are beyond amazing, and her resin doll pendants, gemstone rings, and brooches simply fly out of her shop. Some may consider her work strange or even creepy, but you cannot deny her work is compelling, fascinating, and uncoventionally beautiful. I couldn't wait to interview her!

KM: Tell us a little bit about you.

TR: My name is Tessa Rickard-Carpenter. I use Tessa Rickard for my art, no need dragging my husband into my crazy world. I will be 35 on Sept. 20 (KM: Happy belated birthday, Tessa!). I am married with two daughters. I went to Ball State University and received two degrees--a BFA in Drawing and a BFA in Metals. I then moved to Michigan to get my Masters in Metalsmithing at Cranbrook Academy of Art. I teach jewelry classes part time at a community college. I sell my work online through my Etsy shop.

KM: Okay, what's up with the name "Doll Disaster Design"?

TR: My master's degree thesis was titled "From The Mind of a Doll Disaster". I used a lot of doll imagery in my work. I still do now also.

KM: When did you know you wanted to be an "artist"?

TR: My mother says she couldn't keep enough paper in the house for me as a child. I remember being happy when I would draw or make something, and that is still how I feel today. I guess it would be high school that I decided to be a "real" artist. In college I figured out how hard it was going to be to make a living being just an artist, so I decided to also teach art.

KM: What inspires you?

TR: Old, forgotten, broken objects. Bones, teeth, natural oddities. Folklore, Mythology, Alchemy, Symbolism, Spells/Charms, and the Grotestuque. I especially like old, creepy, dolls.

KM: What is your favorite medium and why?

TR: I love working with metal. When I was little I would go with my dad when he would use the metal detector and to dig in old dump sites. After he would dig up an old coin or piece of jewelry, I would remember thinking how interesting it was that it was still there after being buried for so long. We would find old, broken bisque dolls and other metal objects too. Working in metal to me means a more permanent or indestructible piece of art. I love the thought of someone someday digging up one of my pieces!

KM: Who are your favorite artists and how do they inspire you?

TR: In the jewelry world: Keith Lewis, Todd Reed, Yeonmi Kang, Kiff Slemmons, Felieke Van Der Leest, Min-Jung Cho, William Harper, John Paul Miller, and Richard Mawdsle. Other Artists: Hye Won Kim, Joel-Pete Witkin, Otto Dix, Karl Blossfeldt, Nick Bantock, Kiki Smith, Bosch, Kvium, Egon Schiele, Joseph Cornell, and Van Gogh. This just names a few! They are my favorites for many reasons. The subject matter, images, objects used, and the way their work makes me feel are the main reasons.

KM: What does the term ART mean to you? Expression? Interpretation? Therapy?

TR: Art means a lot of expression and a little therapy to me. There are lots of thoughts and feeling in side me that are hard for me to communicate. My art is a visual way for me to express my inner self.

KM: What are you working on right now?

TR: I am working on a series of pieces combining teeth (human real, false, partials, and animal) with faceted gem stones. Combining the not so pleasent maybe gross (not to me) teeth with gems excites me! I want people to take a second look at the pieces!

KM: What is your studio/workspace like? Neat or controlled chaos?

TR: My studio is a mess! I love it that way! If I could I would have everything out so I can see it all. My husband can't even look at my desks because It makes him crazy. Most of the time I get so many ideas I start laying everything out and end up working on my lap.

KM: What is your favorite studio tool/gadget/gizmo?

TR: I love my forming pliers. Sounds pretty boring, but I use them all the time. I also use a wooden chop stick to set most of my bezels.

KM: Tell us a little bit about your perspective on the link between art and nature.

TR: How can you not be inspired by nature?!? The world around us is in everything we do and make. Mother Nature is one of the best artists. I love the natural order in nature and the circle of life. I use objects that have been left behind. Bones, teeth, insects, and so on. But, I don't believe in harming animals for my work--I use only found objects.

KM: Finally, what advice/encouragement can you give to struggling artists in the world?

TR: Don't give up! Believe it or not, there is a market and place for your art out there somewhere! It may take time to find it. I struggled for years with galleries, and shows trying to sell my work. I always stayed true to myself and what I wanted to make. I found Etsy and I now know there are people out there to appreciate me and my pieces.