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Why Are Silver Clay Prices Going Up?
Why Are Silver Clay Prices Going Up? It’s no secret that the price of silver clay has been going through the roof in the last few years. Even jewelry artists new to metal clay have noticed the rapidly rising prices in the last several months and are asking, “What’s up with the price of silver clay?” The answer is easy. Silver clay is getting more expensive because the price of silver is going up. Since fine silver is the main ingredient in all PMC and Art Clay silver products, any fluctuation in the silver market can make a big difference in the price of silver clay. Mitsubishi Materials introduced silver clay in the United States in 1996. At that time silver was hovering around $5 an ounce. The price of silver clay was fixed in those days because silver prices were steady and had been for many years. The fixed price meant that no matter how the price of silver fluctuated in the market, silver clay prices were firm. You knew what you would pay and it didn’t change. This silver honeymoon lasted all the way through 2003 while silver floated between $4 and $5 per ounce. But then, in 2004, the price of silver started to creep up. Every month a new high in price was set and by December, 2005, silver had closed as high as $9.23 per ounce, more than double what it was just a few months earlier. The following April a new silver-backed ETF fund was introduced allowing investors to trade silver in the stock market, something that had never been done before, and rumors of the coming ETF had probably fueled the run-up in price that began the previous year. -
Setting Stones in Metal Clay Jeanette Landenwitch
Setting Stones in Metal Clay Jeanette Landenwitch Brynmorgen Press portland, maine Copyright 2008 Brynmorgen Press Drawings Tim McCreight All rights reserved. No part of this publication may be Design, edit & layout Tim McCreight reproduced or transmitted in any form or by any means, Abby Johnston electronic or mechanical, including photocopying, Michael Deles recording, or any storage and retrieval system except Index Jamie Kingman-Rice by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a Designs of all the jewelry shown in this book belong magazine, newspaper, web posting, or broadcast. to the artists. Unless otherwise noted, photos are courtesy of the artists. ISBN 978-1-929565–29–0 Preceding page: Pendant, Hiroaki Shinonome, “Kugi” Printed in Hong Kong Fine silver, diamond. 2¼” x 1¼” Second printing Front cover: Brooch, Tim McCreight Fine silver, malachite, moonstones. 2½" by 1 ¾" For ordering and permissions, visit www. brynmorgen.com CONTENTS 1 Gemstones 9 2 Tools & Materials 17 3 Choosing the Right Setting 29 4 Bezels 41 5 Prongs 67 6 Other Setting Options 79 7 The Work Behind the Work 98 Appendix 106 Acknowledgements This book is dedicated to all artists working in metal clay. It is exciting to be part of the evolution of this wonderful material, watching as the field has developed from basics to the ad- vanced work that we are seeing today. I hope this book will encourage the creation of innovative settings, and inspire su- perior work with gemstones of all kinds. I’d like to say a special thank-you to my editor, Tim Mc- Creight, whose confidence gave me the opportunity to ex- periment and describe the stonesetting ideas I was collecting. -
Metalclays.Com Instructions for Using PMC
MetalClays.com instructions for using PMC Using PMC Precious Metal Clay combines microscopic particles of silver with water and a non toxix organic binder to create a material that can be worked with as easily as modeling clay. Object can be made with simple tools, then they are dried and heated in a small kiln or with hand held torch. This drives off the water, burns away the binder and fuses the silver particles into solid metal. PMC is also made in gold, which handles like PMC3 but with slightly different firing schedule. Tools Tools for shaping PMC include rubber stamps, cookie cutters, childrens toys and many other household items like pens, playing cards, toothpicks and combs. A piece of plastic or glass makes a convenient waterproof work surface. PMC does not stain or harm these tools. Clean up with soap and water. Avoid aluminum foil and aluminum tools because they can damage PMC. Each person has their preferences, but a typical work setup includes a plastic sheet, a rolling pin, a small dish of water and assorted hand tools, Work on any stable surface with adequate lighting Creating with PMC All versions of PMC are ready to use directly from package. Keep your PMC tightly wrapped until you are ready to use it. Pull off exactly what you need to work with and wrap the rest in plastic and return to package. This is to prevent premature drying of clay. Apply a thin layer of olive oil to your hands and tools before starting. This will help prevent clay from sticking to you or your tools. -
Education Curriculum of Which This Cours&In Jewelry Design Is A
DOCUMENT R7SUME ED. 095 081 SO 007 724 AUTHOR Marinaccio, Louis M. TITLE Advanced Jewelry Design. Art Education: 6684.02. INSTITUTION. Dade County Public Schools, Miami, Fla. PUB DATE 72 NOTE 32p.; lin authorized Course of Instruction for the Quinmester Program EDRS PRICE MF-$0.75 EC-$1.85 PLUS POSTAGE DESCRIPTORS *Art Activities; *Art Education; Course Descriptions; Curriculum Guides; *Handicrai2ts; Resource Materials; Secondary Education; Teaching Techniques; *Visual Arts IDENTIFIERS Jewelry; *Quinmester Program ABSTRACT See SO 001 721 for an introduction to the Visual Arts Education Curriculum of which this cours&in jewelry design is a part. In the course students further skills in forming complex objects through experience with casting, bezeling stones, and welding. course content includes an historical perspective on jewelry production and advanced methods in forming and decorating jewelry. Sections on evaluation of students with criteria for evaluation and on resources -- texts, periodicals, and reference books; local resources in Florida; films and slides; suppliers; and professional schools, universities and workshops specializing in jewelry -- conclule the guide. (JH) U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REPRO- DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN. ATING IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY RtIPRE, SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR PZLICY. BEST COPY AVAILABLE INSTRUCTION FORTHE AUTHORIZEDCOURSE OF ART. EDUCATION Desigl Advanced Jewelry 'DIVISION OFINSTRUCTION01911 6684.02 1 BEST COPYAVAILABLE DADE COUNTY SCHOOL BOARD Mr. William Lehman, Chairman Mr. G. Holmes Braddock, Vice-Chairman Mrs. Ethel Beckham Mre. Crutcher Harrison Mrs. Anna Brenner Meyers I P Dr. -
Goldsmith-Engraving and Embossing
EYE ON IT QUALIFICATIONS PACK - OCCUPATIONAL STANDARDS Current Industry FOR GEMS & JEWELLERY INDUSTRY Trends Suscipit, vicis praesent erat Contents feugait epulae, validus indoles duis enim consequat genitus at. 1. Introduction and Contact............... P1 Sed, conventio, aliquip accumsan adipiscing augue What are 2. Qualifications Pack ……………….........P2 blandit minim abbas oppeto Occupational 3. OS Units......................................... P3 commov. Standards(OS)? 4. Glossary of Key Terms........ ………...P20 Aptent nulla aliquip camur ut Enim neo velit adsum odio, OS describe what 5. Nomenclature of QP & NOS……….. P22 consequat aptent nisl in voco multo, in commoveo quibus individuals need consequat. Adipsdiscing magna premo tamen erat huic. Occuro to do, know and jumentum velit iriure obruo. damnum uxor dolore, ut at praemitto opto understand in Introduction pneum. Aptent nulla aliquip camur ut si sudo, opes feugiat iriure order to carry out consequat lorem aptent nisl magna validus. Sino lenis vulputate, a particular job Qualifications Pack-Goldsmith: Engraving and Embossing jumentum velitan en iriure. Loquor, valetudo ille abbas cogo saluto role or function vulputate meus indoles iaceo, ne quod, esse illum, letatio lorem SECTOR:SE INFORMATIONCTOR: GEMS &TECHNOLOGY JEWELLERY- INFORMATION TECHNOLOGY ENABLED SERVICES (IT- secundum, dolus demoveo conventio. Letalis nibh iustum OS are ITES)cesSUB Helpdesk-SECTOR: Handmade Attendant gold and gems-set jewellery interddfico proprius. In consequat os transverbero bene, erat vulpu performance -
Supporting Contemporary Makers
Supporting contemporary makers Acquisitions for the Goldsmiths’ Company Collection 2019–2020 Dr Dora Thornton Supporting contemporary makers: acquisitions for the Goldsmiths’ Company Collection 2019–20 The Goldsmiths’ Company has supported excellence, craftsmanship and skills in the goldsmiths’ community ever since the Company received its first Royal charter in 1327. The Company now has one of the finest collections of British silver, including contemporary and historic plate, modern jewellery and art medals. Much of the Collection is still used for its original purpose. Jewellery is worn at occasions in the Hall. Pieces are also displayed in exhibitions and lent elsewhere, as well as being used for teaching the next generations of makers, our apprentices at the Goldsmiths’ Centre, and promoting wider knowledge and patronage of the craft. Our ambitious plans to digitise our collections will eventually make much of our material—objects and archives—freely available online through our website to show who we are and what we do. This booklet describes the Company’s acquisitions, which are overseen by the Contemporary Craft Committee, over one year, from April 2019 to April 2020. Many of the purchases—and one commission—are the work of makers who are new to the Collection. Commissions completed this year include a superb brooch; two very different portrait medals of Prime Wardens of the Company; and three Court Cups, designed to be used by individual members of the Court of Assistants in the Hall. The cups are paid for by the Company and since 2018 have formed part of the Collection; they advertise the work of particular makers and excellence in the trade while also recording much about their individual patrons. -
Copprclay™ Overview & Firing Guide
COPPRclay™ Overview & Firing Guide COPPRclay created by Metal Adventures is easily sculpted, molded, carved and formed, and becomes solid copper when fired. Your imagination and just a few simple tools will allow you to create solid copper pieces, from jewelry to sculptures! And because COPPRclay is pure copper, it’s great for those artists who enjoy applying enamels (firing requirements noted below). COPPRclay is just that: a clay. Like clay, it’s highly workable but it also dries quickly. You’ll notice the clay stiffening and cracking when it begins to dry. Some tips to keep in mind: • Keep COPPRclay refrigerated until you’re ready to use it and in between sessions. • Rub a dab of SLIK on your hands before you begin working with the clay. • While working the clay, refresh it periodically with a small amount of water using a spray bottle or brush. • Avoid using tools that absorb water. • When storing or while in use, keep clay wrapped in a piece of loosely sealed plastic wrap and store in a clay hydrator for added longevity. Refrigerate when not in use. Making Slip Slip will quickly become one of your favorite tools for working with COPPRclay, and it’s easy to make. Simply mix tiny pieces of clay (filings, small dried or wet pieces, etc.) with water (we recommend distilled water for a longer shelf-life) until you reach a paste consistency. Keep your slip stored in a sealed container. Note: Slip will last for about one week, so make only enough for your immediate need. Drying the Clay Once you’ve finished your piece, you will need to dry the clay before firing it. -
The Lost-Wax Casting Process—Down to Basics by Eddie Bell, Founder, Santa Fe Symposium
The Lost-Wax Casting Process—Down To Basics By Eddie Bell, Founder, Santa Fe Symposium. Lost-wax casting is a ancient technique that is used today in essentially the same manner as it was first used more than 5,000 years ago. As they say, there's no messing with success. Today, of course, technology has vastly expanded the technique and produced powerful equipment that makes the process faster, easier and more productive than ever, but the basic steps remain the same. The steps below represent a simple overview and are intended to provide a beginning understanding of the casting process. Concept This is obviously where the design is initally conceived, discussed,evolved, and captured on paper—or on computer; CAD (computer aided design) software is increasingly popular among designers. You create the design you envision using the computer tool and the software creates a file that can be uploaded into a CNC mill or 3D printer. Model Build a model, either by hand-carving, guided by the paper rendering, or by uploading the CAD file into a computer controlled milling machine or a 3D printing machine. Models are made using carving wax, resin or similar material. This process can also be done in metal by a goldsmith or silversmith. Note: If a 3D printer or other rapid prototyping equipment is used, it is possible to skip the molding and wax-injection steps by using one of the resins that are specially made to go directly to the treeing process. Molding Create a mold from your master model, placing it in one of a variety of rubber or silicone materials, curing the material, then removing the model from the finished mold. -
Make Jewelry with Precious Metal Clay, Art Clay and Other Metal Clays
4 Free Metal Clay Jewelry Projects: Make Jewelry with Precious Metal Clay, Art Clay and Other Metal Clays 4 FREE METAL CLAY JEWELRY PROJECTS: MAKE JEWELRY WITH PRECIOUS METAL CLAY, ART CLAY AND OTHER METAL CLAYS MIXED METAL WIRE WRAPPED METAL TEACH YOUR OLD CLAY EARRINGS CLAY BOUQUET TOOLS NEW TRICKS BY HADAR JACOBSON BY PAULA BASTIAN-DE LEON BY HADAR JACOBSON 3 9 18 6 15 SWEETHEART MARRIED METAL GEM PENDANT CLAY RING BY LIS-EL CROWLEY BY NOËL YOVOVICH NOW YOU CAN MAKE Start with simple mixed metal earrings that dramatically YOUR OWN real metal jewelry accent steel metal clay disks with bronze metal clay centers. using silver, copper, bronze, or steel Add the sparkle of a brilliantly colored, bezel-set CZ to a (even gold) without sawing metal pendant you can make with a single coil of silver clay. Create sheet or soldering pieces together. a group of silver clay fl owers using an origami-inspired tech- Making jewelry with metal clay combines nique, then wire wrap them into a charming fl oral bouquet the accessibility of clay with the look, pin. Move on to a married metals band ring project using feel, and value of precious metals and silver metal clay with contrasting bronze clay. Make these nonprecious, too. projects as shown or apply the illustrated step-by-step instructions to create stunning metal clay jewelry designs of Metal clay is the revolutionary jewelry medium introduced your own. You’ll want to riff on these ideas even more when to the jewelry making public in the mid 1990s. -
JMD How to Enamel Jewelry
PRESENTS How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques Jewelry Making Daily presents How to Enamel Jewelry: Expert Enameling Tips, Tools, and Techniques 7 3 21 ENAMELING TIPS BY HELEN I. DRIGGS 12 10 TORCH FIRED ENAMEL ENAMELING MEDALLION NECKLACE BY HELEN I. DRIGGS BY HELEN I. DRIGGS ENAMELED FILIGREE BEADS BY PAM EAST I LOVE COLOR! In jewelry making, enamel is one of the most In “Enameled Filigree Beads,” Pam East walks you through a versatile sources of pure, luscious color – powdered glass you simple technique of torch firing enamel onto a premade bead can apply with great precision onto silver, gold, copper, and using a handheld butane torch instead of an enameling kiln. other jewelry metals. With enamels, you can paint with a broad The enamel adds color to the bead, while the silver filigree brush or add minute and elaborate detail to pendants, brace- creates the look of delicate cells like those in cloisonné enamel lets, earrings, and more. You can work in rich, saturated tones work. And in “Torch Fired Enamel Medallion Necklace,” Helen or in the subtlest of pastels. You can create a world of sharp Driggs shows you how to create your own torch fired enamel contrast in black and white or one entirely of shades of gray. “cabochons,” how to tab set those cabs, and how to stamp You can even mimic the colors of the finest gemstones, but you and patinate the surrounding metalwork, which you can put can also produce hues and patterns you’d never find among the together using the chain of your choice. -
Sherri's Ultimate Guide to Bronzclay™
Sherri’s Ultimate Guide to BRONZclay™ plus Bonus Project - Sculpted Flower Charm Version 2.20.9 © 2009 All images and content are the property of Sherri Haab and may not be altered in any way or reproduced in print or any other media except for personal use. This document cannot be used for commercial purposes without the written permission of the author. 800.388.2001 • www.MetalClaySupply.com • 903.586.2531 Sherri’s Ultimate Guide to BRONZclay™ plus Bonus Project - Sculpted Flower Charm Table of Contents Introduction to Bronze Clay . 2 Tools . 2-4 Techniques . 4-15 Basics . 4-6 - How to handle the clay . 4-5 - Storing bronze clay . 5 - Making slip . 5-6 - Homemade oil paste . 6 - Keeping your clay hydrated . 6 Working Methods . 7-9 - Sculpting and texturing . 7 - Attachments . 7-8 - Filling seams and gaps . 9 Making holes . 9 Beads . 9-10 - Core beads . 9 - Tube beads . 10 Embedding Stones . 10 Embedding Wire . 11 Carved Pieces . 11 Repairs . 11-12 - Unfired clay . 11-12 - Fired clay . 12 Drying and refining the clay . 12-13 - Sanding . 12 - Refining holes . 12 - Drying . 12 Firing . 13-14 Finishing Techniques . 14-15 - Burnishing . 14 - Patinas . 15 Bonus Project Sculpted Flower Charm . 16-20 Bronze Clay Gallery . 22-23 page 1 800.388.2001 • www.MetalClaySupply.com • 903.586.2531 Sherri’s Ultimate Guide to BRONZclay™ plus Bonus Project - Sculpted Flower Charm Introduction to Bronze Clay Bronze clay consists of copper and tin particles suspended in an organic binder. It consists of 89% copper and 11% tin, which creates a solid bronze object after the binder burns away and the particles sinter during firing. -
ORAL HISTORY of MYRON GOLDSMITH Interviewed by Betty J
ORAL HISTORY OF MYRON GOLDSMITH Interviewed by Betty J. Blum Complied under the auspices of the Chicago Architects Oral History Project Ernest R. Graham Study Center for Architectural Drawings Department of Architecture The Art Institute of Chicago Copyright © 1990 Revised Edition © 2001 The Art Institute of Chicago This manuscript is hereby made available for research purposes only. All literary rights in the manuscript, including the right to publication, are reserved to the Ryerson and Burnham Libraries of The Art Institute of Chicago. No part of this manuscript may be quoted for publication without the written permission of The Art Institute of Chicago. ii TABLE OF CONTENTS Preface iv Outline of Topics vi Oral History 1 Selected References 138 Curriculum Vitae 140 Index of Names and Buildings 142 iii PREFACE Myron and I recorded his memoirs in his home in Wilmette, Illinois, on July 25, 26, September 7, and October 5, 1986. To describe his unique career, a colleague of Myron’s has coined the word “architechnologist,” while an architectural critic labeled him “Chicago’s new structural poet.” His training with world-class masters Mies van der Rohe and Pier Luigi Nervi, combined with Myron’s own poetic vision, have brought forth outstanding projects that embody pristine aesthetics and technology on the cutting edge. Now retired from Skidmore, Owings and Merrill, Myron continues to transmit his special vision of architecture to colleagues and students through his teaching at the Illinois Institute of Technology, guest lecturing, and writing. Our interview sessions were recorded on eight 90-minute cassettes, which have been transcribed and reviewed by both Myron and me.