Studio Spring 2004 · Volume 7, Number 1 Member Magazine of the PMC Guild PMC
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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. -
Building Practices and Carpenters' Tools That Created Alexandria's Kent Plantation House
Building Practices and Carpenters' Tools That Created Alexandria's Kent Plantation House By N. H. Sand and Peter Koch SouthernForest ExperimentStation Forest Service. U. S. Departmentof Agriculture I t is the year 1796or thereabouts. ily, and he succeeds so well that designed and made with good Louisiana is a Spanish colony with the dwelling still remains sound and materials. French traditions and culture. attractive after 175 years, a very Now known (from a later owner) Pierre Baillio II, of a prominent great age for a house in America. asthe Kent PlantationHouse, Bail- French family, has a sizeable grant To reach it takes good luck-escape lio's home has recently beenmade of land along the Red River near from fire, flood and the Civil War. into a museum in Alexandria, a a small town called EI Rapido. Continuous occupancy and the care short distance from where it was Baillio undertakes to have a that goes with it also helps. Most originally constructed. There it house built for himself and his fam- of all, the house must be soundly standsas testimony to the skins of early Louisiana carpenter crafts- men. In contrast to architects, who seemto leapinto print with no great difficulty, carpenters are a silent tribe. They come to the job with their tool chests, exercise many skins of construction and some of design, and then pass on. Often their works are their only record. Occasionally some tools survive and, after generationsof neglectand abuse,these may find their way int() antique shopsor museums. Thus it is difficult to speakin de- tail of the builders of any given house. -
Special Issue on Human Computer Interaction in Critical Systems II: Authorities and Industry IJISCRAM, Volume 7, Issue 3 Christian Reuter (Eds.)
International Journal of Information Systems for Crisis Response and Management (IJISCRAM) Special Issue on Human Computer Interaction in Critical Systems II: Authorities and Industry IJISCRAM, Volume 7, Issue 3 Christian Reuter (Eds.) 15 International Journal of Information Systems for Crisis Response and Management, 7(3), 2015 Christian Reuter (Eds.): Special Issue on Human Computer Interaction in Critical Systems II: Authorities and Industry i TABLE OF CONTENTS Christian Reuter EDITORIAL Henrik Berndt, Tilo Mentler and Michael Herczeg OPTICAL HEAD-MOUNTED DISPLAYS IN MASS CASUALTY INCIDENTS Johannes Sautter, Lars Böspflug, Matthias Max, Denis Havlik, Marc Erlich, Kalev Rannat and Wolf Engelbach SIMULATION AND ANALYSIS OF MASS CASUALTY MISSION TACTICS - CONTEXT OF USE, INTERACTION CONCEPT, IMPLEMENTATION AND EVALUATION Kristian Rother, Inga Karl and Simon Nestler TOWARDS VIRTUAL REALITY CRISIS SIMULATION AS A TOOL FOR USABILITY TESTING OF CRISIS RELATED INTERACTIVE SYSTEMS Thomas Ludwig, Christoph Kotthaus and Volkmar Pipek SHOULD I TRY TURNING IT OFF AND ON AGAIN? OUTLINING HCI CHALLENGES FOR CYBER-PHYSICAL PRODUCTION SYSTEMS Christian Reuter TOWARDS EFFICIENT SECURITY: BUSINESS CONTINUITY MANAGEMENT IN SMALL AND MEDIUM ENTERPRISES International Journal of Information Systems for Crisis Response and Management, 7(3), 2015 Christian Reuter (Eds.): Special Issue on Human Computer Interaction in Critical Systems II: Authorities and Industry ii GUEST EDITORIAL PREFACE Special Issue on Human Computer Interaction in Critical Systems II: Authorities and Industry Christian Reuter, University of Siegen, Germany ABSTRACT Human computer interaction in security and time-critical systems is an interdisciplinary challenge at the seams of human factors, engineering, information systems and computer science. Application fields include control systems, critical infrastructures, vehicle and traffic management, production technology, business continuity management, medical technology, crisis management and civil protection. -
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. -
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. -
Framesaw Framesaw Technology Möhringer Market Leader in Framesaw Technology
iFRAMESAW FRAMESAW TECHNOLOGY MÖHRINGER MARKET LEADER IN FRAMESAW TECHNOLOGY With a Möhringer Framesaw you benefit from more than 125 years of technological experience in Framesaw design, production, and operation. We are market leader in the field of Framesaw technology because we up-date the design of our Framesaws by teaming up with our customers and the concept matches the various applications in Germany and abroad. In order to offer you a reliable and cost effective modular system Möhringer Framesaws are designed to use those components: • Easy extending with optional equipment at any time • Fast and economical exchange of all parts on site • Fast assembly and use of standardized parts creating short delivery time All Framesaw types have the following standard equipment: • Electric frequency-controlled feed speed • Independent electronic control for feed and overhang with numerous adjustment possibilities for an optimal rate between speed and overhang • PLC control with touch screen display for individual adjustment by client i.e. lubrication times Steel construction with 20 years of warranty • User-friendly menu navigation, does not require any PLC knowledge • Integrated counter for operation and service hours • Large CPU hardware: all software options can be upgraded • Hydraulic engaging and disengaging • Automatic overhang adjustment • Central lubrication system • Framesaw hydraulic • Complete set of foundation screws and special tools • Steel shaker chute • Single pulley drive Optionally available: Steel roller inserts • Logging: -
True About Frame Saws
True about Frame Saws 1. The Crank Mechanism = heart of the Frame Saw – This system was already known in 5th century B.C. 2. First Frame Saws with water drive were already known in 4 th century. http://en.wikipedia.org/wiki/Sawmill 3. Thin Cutting Frame Saw = Frame Saw – It is the same type of machine based on same physical principles. Therefore the Thin Cutting Frame Saw can not be called an invention! 4. Saw Blade = Tooling – Any type of Saw Blade can be used (any saw kerf, etc.) If the Saw Blade design allows it then the Saw Blade can be used in any make or model of Thin Cutting Frame Saw. © NEVA – OGDEN, 30.4.2010 Article with pictures available at www.neva.cz 1/5 5. Heavy duty cast iron design and cast iron Saw Frame Carriage with forged Crank Arms = reliable and long lasting which can withstand the harsh environment of a 3 shifts. 6. Locking System – The locking system is a result of NEVA’s machine design which allows the operator to open the machine. 7. Low RPM creates high energy – The main principle is to accumulate the energy from the main drive motor directly into Fly Wheels at the slow RPM. This energy is further converted into cutting force which is placed on the wood. This is due to sturdy cast iron Frame Saw Carriage and forged Crank Arms. Our machine creates fine wood chips instead of dust. © NEVA – OGDEN, 30.4.2010 Article with pictures available at www.neva.cz 2/5 8. -
Five Star Metal Clay Instructions SHAPING Form an Object By
Five Star Metal Clay Bronze 1500 ºF / 815 ºC Instructions Light Bronze 1400 ºF / 760 ºC White Bronze 1300 ºF / 704 ºC SHAPING Hold these temperatures for 30 minutes. Quenching is recommended for this method to reduce oxidation. Form an object by molding, rolling and sculpting the clay. You can assemble several parts separately by moistening the objects or adding moist clay between them. To make flat objects, Phase 2 - Standard Firing Option place a ball of clay on a flat no -stick surface. Use a clay roller to roll the clay to a desired Place the piece in a stainless steel firing box with Chromatic Carbon or activated coconut thickness by placing guides along the side. Use a release agent such as Liberation Spray or carbon. The piece should be surrounded by at least 1" of carbon all around. Layering is olive oil on all surfaces which come in contact with the clay to prevent sticking. The clay can acceptable as long as the 1" of space between the pieces is observed. Use a lid on the box. be cut with a cookie cutter, blade or awl. If the clay sticks to your fingers it is a sign of Ramp full to the following temperatures: excessive water. Just allow to dry a bit and continue to work it. Conversely, if it cracks while Copper 1700 ºF / 926 ºC working it is too dry. Just add a drop off water and condition. While working with Five Star Red Bronze 1600 ºF / 871 ºC Metal Clay, keep excess clay wrapped tightly in plastic to avoid drying.