Daria Salus will be at the Los Altos Rotary Fine Art Fair at Lincoln Park, May 14th and 15th. It runs from 10am to 6pm both Sat. and Sunday and you can find her at booth 382. Judy Stone and Mona and Alex Szabados will be at the Contemporary Crafts Market in Santa Monica in June (www.craftsource.org). Congratulations to Maryland Edwards on her recent marriage. Judy Foreman's work over the last 30 years is being featured in the February, 2011 issue of Glass on Metal.
Welcome new Member:
Alan Felker
P. O. Box 5960
Reno. NV 89513
Sacramento Bus Tour of Fred Ball's Enamels
When:
Sunday, May 22, 2011
10:00AM - 4:00PM PDT
Where:
3rd and L City Parking Garage
Sacramento, CA
Fred Uhl Ball (1945-1985) was an enamelist who lived and taught in Sacramento, and whose work is currently undergoing a revival. 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, over- and under-firing and much more. Ball created several large enameled copper wall pieces in the 1980's for several public spaces in and around downtown Sacramento. One of his most famous pieces is The Way Home, (see image below), which decorates a side of the City Parking Garage, where the tour will begin and end.
The Northern California Enamel Guild is sponsoring a bus tour to see Ball's enamels in Sacramento, CA. The Sacramento Art in Public Places program is providing docents. Susan Willoughby, who is in charge of Ball's estate, will lead the bus tour. We will break for lunch at the new Crocker Art Museum where we will see more of Ball's work and discuss the work with Willoughby. The tour will include at least 4 stops, besides the Crocker, where Ball's work has been installed. Some of the sites are not easily accessible to the general public.
- The tour will originate at the L and 3rd St. entrance to the City Parking Garage at 10 AM and end at the garage at 4PM. Everyone will meet at the corner of L and 3rd St., near one of the entrances to the parking garage, in Sacramento at 9:45 AM to board the bus. Car pools are being arranged from the Bay Area to Sacramento. We are encouraging people to stay overnight if they have more than a 2 hour drive to get to Sacramento. We will be providing names and rates for hotels in Sacramento.
- The cost will be $20/person for this all day tour and there is limited space. The fee does not include lunch in the Crocker Museum café or the $15 parking fee at the garage. After you register we will accept cancellations with full refund up until the date of the tour. No refunds will be issued for "no shows."
- You do not have to be a member of the NCEG to take part in the tour.
Register Now!
Driving directions
Point of contact:Judy Stone
510-526-3668
Digital Antique Books - Jewelry History Brought Alive Update for May / 2011 (from the Ganoskin Project)
Over the last three decades we have acquired over 40 rare historical Metalsmithing books that we will make available to jewelers, goldsmiths and the metalsmithing community.
These books cover special techniques in depth like chasing, repousse, engraving, niello making, Japanese chiseling, soldering, construction, patination and metal coloring, silversmithing and more. There are many recipes for alloys and metal surface treatments.
The manuscripts will be gradually published in a digital format over the coming months.
For the first time in history, these ancient metal tricks and recipes will be made available to the contemporary community of curious artists and metalsmiths. This information will allow the reader to apply the simple and ingenious procedures used by the jewelers of the past, long dead masters of the art of metalsmithing. Many of the tricks and recipes described will save the maker money, as older approaches can sometimes replace modern tools.
We invite you to own the entire collection of manuscripts, and benefit from the ancient wisdom that we are presenting while supporting the Ganoksin Project.
Each pdf is a full digital book of searchable text and images, withan easy access through an interactive table of contents.
The cost is 1.35 US$ per eBook for a single user license which allows you to install, read and print the material on a single computer.
Learn More: http://www.ganoksin.com/gnkurl/db
Wolfgang and Karin Pohl Will Produce Copper Shapes and Bowls
Wolfgang and Karin are in the process of creating a website with copper shapes for purchase. They will have copper shapes in 24 gauge from about 1” to 2” in round, oval, and rectangular, slightly domed in oxygen free copper. Look for a link on Karin’s website by the end of May. www.kpenamels.com
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Classes & Workshops
The Crucible
The Crucible in Oakland, CA, offers ongoing as well as special enameling classes and workshops.
For more info: http://thecrucible.org or call 510-444-0919.
Attention! As a NCEG member, The Crucible is offering you a member discount on any class, (this equals 10% off of tuition) that you sign up for. If you are already or become a Crucible member, you receive an additional 5% off of tuition for a 15% saving. Note: cost in catalog is tuition plus materials. To take advantage of this offer, you must call 510-444-0919 to register and mention that you are a member of the Northern California Enamel Guild. |
Olga Barmina will be teaching a weekend intensive this summer at The Crucible on setting enamels. Stay tuned for more information!
Introduction to Enameling (Weeknights) [ENL11]
Instructors: Judy Stone and Katy Joksch
5 Tuesdays, 3-6 PM, May 17-June 14
Entry-Level
Cost: $275.00 (Tuition: $235.00, Studio Fee: $40.00), Members: $251.50
Introduction to Enameling (Weekend Intensive) [ENL10]
Instructors: Judy Stone and Katy Joksch
Saturday and Sunday, 10 AM to 5 PM, May 14 -15, June 4 – 5
Entry-Level
This class provides an overview of this ancient art of fusing glass to metal. You'll learn about metal preparation and fabrication for enameling, kiln properties and methods for firing, properties of enamel and dry and wet application techniques. No previous jewelry making, enameling or metalworking experience is necessary.
Sign up for this class at the same time as more advanced course in Enameling and receive a $40 discount on the more advanced class.
Cost: $275.00 (Tuition: $235.00, Studio Fee: $40.00), Members: $251.50
Introduction to Enameling II [ENL20]
Instructor: Judy Stone
5 Wednesdays, 7-10pm
, May 18-Jun 15
Prerequisite: Introduction to Enameling I or permission of instructor.
This continuing course in enameling further develops the skills you learned in Introduction to Enameling I. You will also learn more in-depth application methods and new techniques, such as torch firing, basic enamel painting, working with precious metals, exploring liquid enamels and working on 3-dimensional forms. In addition to a lot of experimentation, you'll produce at least three finished pieces. No previous metalworking experience necessary.
Cost: $265.00 (Tuition: $220.00, Studio Fee: $45.00), Members: $243.00
Mendocino Art Center
For more info: www.mendocinoartcenter.org.
Cloisonne and Beyond
Instructor: Patsy Croft
Monday – Friday, July 25 – 29, 2011, 9:30 am – 4:30 pm
See the extension to this workshop, Setting Your Cloisonne Jewel
Join me in this classical and outstanding form of enameling, Cloisonné. By shaping and applying intricate ribbons of 24 karat gold wires to a metal base of fine silver you can create designs of your choice. Only then by filling these cells with beautiful colors of fine enamels will the "jewel" come alive. Open to all students.
I start my enameling workshops with a quick trip in watercolors, to help you understand and develop color gradation; this really sets apart your work from others. I will teach you how to create a sparkling background to allow the colors to shine through. We will cover kiln fusing of the cloisonné wires to the base of fine silver allowing you to create enamel jewels in 2D. This also creates security that your wirework will never fall over no matter how complicated. You can add depth and interest with under glazes as well as over glazes, set stones in the enamel as well as carve in the enamel to add dimension and interest. When cloisonné is polished to a professional level the viewer can see right through the jewel showing off all your work.
Tuition & Fees
2011 Mendocino County MAC Members: $510
2011 MAC Members: $540
Non-members: $600 plus a $15 non-member registration fee, Materials fee: $40
Setting Your Cloisonne Jewel
Instructor: Patsy Croft
Saturday – Sunday, July 30 – 31, 2011,9:30 am – 4:30 pm
Stay the weekend and learn to set your cloisonné jewel with no risk of cracking.
See the companion workshop, Cloisonne and Beyond
Tuition & Fees
2011 Mendocino County MAC Members: $212
2011 MAC Members: $225
Non-members: $250 plus a $15 non-member registration fee
Art Clay Silver and Enameling
Instructors: Arlene Mornick and Judy Stone
Saturday – Sunday, August 20 – 21, 2011, 9:30 am – 4:30
This class combines two exciting techniques for you to design and create two or three pieces of colorful fine silver jewelry. First, you will use Art Clay Silver, which enables you to create jewelry or other decorative fine silver pieces without metalsmithing techniques. You can roll, press or mold Art Clay to create the perfect base for an enameling process. Next, you'll add beautiful color to this piece by enameling, fusing glass to metal with high heat.
Tuition & Fees
2011 Mendocino County MAC Members: $182
2011 MAC Members: $193
Non-members: $215 plus a $15 non-member registration fee
Early Bird Discount: Register by June 20 and save $10 off the above prices.
Materials fee: $110 (covers all materials)
Fred Ball's Experimental Enameling Techniques
Instructor: Judy Stone
Monday – Thursday, August 22 – 25, 2011,9:30 am – 4:30 pm
Fred Uhl Ball (1945-1985) was an enamelist who lived and taught in Sacramento and whose work is currently undergoing a revival. 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, over- and under-firing and much more. Explore a wide range of Ball's techniques with Judy Stone, whose own work was greatly influenced by Fred Ball's book.
Tuition & Fees
2011 Mendocino County MAC Members: $335
2011 MAC Members: $355
Non-members: $395 plus a $15 non-member registration fee
Early Bird Discount: Register by June 22 and save $10 off the above prices.
Materials fee: $40
For more info: www.therac.org
Cloisonné Enameling
Instructor: Harlan W. Butt
Saturday May 14 - Sunday May 15, 10am - 5pm
The SF Metal Arts Guild (MAG) is offering NCEG members a members' discount of $70 to take this workshop. For more information.
Cloisonné enameling is not hard to do and there are different techniques. Students will be using fine silver wire, working with silver foil over copper. Everyone will also be instructed on the use of a jig, of Harlan's design, for creating repetitive patterns in cloisonné on the surface of their piece. The jigs will be for sale at the end of the workshop for anyone who wants to keep one.
All levels welcome. Harlan will tailor the class to each individual's level. To provide the most dynamic class, please let us know what your skill level or experience has been in metals or other art or craft.
Palo Alto Art Center
Enameling and Cloisonné course # 67358
Instructor: Risha Bond
Saturday 12-3pm, July 9-August 6 (5 weeks)
Brilliant color on the surface of metal is a rich art form dating back to ancient times. Students will produce jewelry using a contemporary approach to traditional techniques including cloisonné, basse-taille, roller printing and Limoges. We will work in silver and copper and use lead-free enamels. $10.00 materials fee payable to instructor. Lots of individual attention and all levels are welcome. Additional studio time from 3-6p m is available for a studio fee of $15/month.
Cost: $99 Palo Alto Residents/$114 non-residents
How to Register: Online: http://enjoyonline.cityofpaloalto.org
Sharon Art Studio
For more information or to register go to www.sharonartstudio.org
Enameling the Basics
Saturdays, June 11- July 2, 10am till 1 pm
Learn the basics of enameling as we survey the rudiments of this classic craft. All materials for a series of introductory projects are provided. Thereafter students are responsible for purchasing supplies. No metal arts experience necessary. Beginners welcome!>
Class fee $98/$108
Enameling Advanced
Saturdays, June 11 – July 2, 1:30pm till 4:30pm
Learn the advanced techniques Of Basse Taille-Enameling transparent over a silver texture and Champlevé- enameling in defined spaces on a acid etched metal. Students must know basic enameling techniques.
Class fee $70/$80
Materials Fee $50 to O. Competente
Where to Show
Enamel Exhibitions
3rd BIENNIAL INTERNATIONAL ART ENAMEL EXHIBITION
PLESSIS-PATE , France
Deadline: October 3, 2011
November 9-13, 2011
The city of Le Plessis-Pâté organizes a biannual international exhibition of art enamels on metal, open to professional and amateur artists. Honorary featured artist will be Barbara Lipp. The Opening ceremony, by invitation only, will take place at the Espace Michel Berger on Wednesday November 9th at 7 pm.
The artists may submit:
- Individual artists (not member of a participating association): 4 works maximum
- Associations : 3 works maximum per member artist
Exterior dimension may not exceed 80 cm x 80 cm (including frame).
The exhibition fee is:
- 20 € per independent artist,
- 5 € per artist submitting as a part of the association
Inscription Bulletin to be sent to: biennale.emaux.2011@orange.fr
For more information please go to the English language prospectus.
Metal/Jewelry/General Exhibitions
Elizabeth R. Raphael Founder's Prize
Deadline: June 3, 2011
February 3—June 30, 2012
Pittsburgh, PA
We are pleased to announce a call for entries for the 2011 Elizabeth R. Raphael Founder's Prize, a $5,000 cash prize plus award. Presented in conjunction with a juried exhibition at the Society for Contemporary Craft (SCC), a corresponding catalogue and a feature video on the winning artist, the biennial prize is funded by the daughters of Elizabeth R. Raphael, the founder of SCC and a nationally known figure in the contemporary art scene for several decades.
This year's prize will be awarded in the category of small metals and jewelry, on the basis of an entry that addresses the theme of "transformation." Artists are asked to submit Mac compatible CD with 4 images, CV, support materials and $45 application fee to SCC by June 3, 2011. In addition to the prize-winning entry, entries by all of the finalists will be included in the Founder's Prize exhibition to be held at SCC from February 3—June 30, 2012.
http://www.contemporarycraft.org/The_Store/Exhibitions.html
Buying an Enameling Kiln
By Judy Stone
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Firing in a kiln |
One of the biggest issues for those wanting to set up a home studio for enameling is the purchase of a kiln. Many budding enamelists fire with torches since that is what they may have on hand to do soldering and annealing. At some point, many find that they would like more control over their enameling then they can get with a torch or they wish to fire bigger pieces. Realistically, an enameling kiln is usually the most expensive purchase that one can have in a studio set up for enameling. It is also the one piece of equipment that will never be obsolete and is infinitely repairable.
Once the decision has been made to buy a kiln, the questions start. What brand should I buy? Can I use kilns branded for other types of materials such as PMC, burnout, glass, or pottery? How big an interior should I get? 120V or 220V? How should the door open? Brick or fiber muffle interior? Built in digital controller? What should I use for kiln floor protection? Should I buy a used kiln? Where can I get the best deals? Hopefully this article will make choosing a kiln a bit less scary for first time buyers and give a bit more information to those seeking upgrades or additional kilns.
Kiln Use
If you are planning to use the kiln for glass fusing or slumping and/or PMC/Precious Metal Art Clay in addition to enameling, you should either get a kiln with a built in programmable digital controller or plan on augmenting your kiln with a “stand-alone” controller.
Kiln Size
The kiln should be suitable for the size of the pieces you're going to make. It should meet your production needs. Most who do enamel art pieces grow out of their first kiln; those who do jewelry may never have that happen. Consider how the kiln fits your future. You can always fire a small piece in a large furnace, but you can't fire a large piece in a small one. The larger the kiln interior the more power it takes to heat up. Interiors over 10” usually require 240V.
Kiln Types
a. Fiber or muffle interior?
Fiber interiors, because the elements are enclosed, take a shorter period of time to heat up to temperature and diffuse the heat more evenly than a brick interior. The fiber weighs less than brick so the overall weight of the kiln is less. The down side of fiber interiors is that if an element goes, the whole interior must be replaced and the replacement is usually quite costly. Also, because these kilns are often used for media that require opening and closing the kiln door while the kiln is firing, their elements usually can’t take a lot of heavy duty enamel production work where the kiln door is opened many times over an extended period of time. Brick interiors are heavier but easier to maintain than fiber interior. Kiln soak which allows the brick to absorb and diffuse heat takes longer with a brick kiln but, once achieved, can rival the diffusion achieved in a fiber muffle.
b. Controllers
There are three types of controllers used in enamel kilns: infinite switches, simple digital controllers and professional digital controllers.
Infinite Switches: There are controllers with knobs similar to electric ranges or stoves with low, medium, high or numbered 1-5 etc. These are very basic and inexpensive. They do not control the temperature of the kiln; they only control the amount of time the elements are actually on. They should be used in conjunction with a pyrometer, which is a stand-alone device that accurately measures the temperature inside the kiln via a thermocouple.
Digital Set Point Controllers: The controllers can be programmed to heat up and cycle around a set temperature for an indefinite period of time. They are relatively inexpensive and easy to use.
Programmable Digital Controllers: These are designed to be programmed for several different types of programs that control the rate of heat up, the temperature to be reached, how long the temperature is held, and the rate of cool down. They also can shut off automatically. They are more complex to program, but sometimes come with pre-set programs for enameling (see Paragon). These controllers are necessary for controlling PMC/Art Clay firings as well as small ceramics and fused and slumped glass.
c. Power Requirements
The larger the kiln the greater amount of power is required to operate the kiln. Before purchasing a kiln make sure you understand the power requirements, volts and amperage that is available in the location for the kiln. Small kilns can operate on 120 volts whereas larger kilns (interior openings greater than 10” x 10” x 8”) operate on 240 volts and may require up to a 50 amp service. These kilns usually require the services of a licensed electrician for installation of special receptacles and special wiring. This will obviously add to the cost of purchasing a kiln. Consult an electrician and the manufacturer for the exact electrical specifications for the model you want to purchase. Wrong voltage is the number one mistake made by customers when ordering a kiln. Make sure the service is 208 or 240 volts, the wiring looks exactly alike. Even with a 120V kiln you need to provide a separate circuit for operation. Otherwise you might not be able to run lights and other tools while the kiln is on.
Kiln Brands
A few manufacturers, such as Cress, have stopped making enameling kilns. There are however several U. S. manufacturers of kilns used exclusively for enameling.
Paragon
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Paragon SC-2 Kiln
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The most visible manufacturer is Paragon (http://www.paragonweb.com/Enameling_Kilns.cfm). Paragon kilns come in a variety of sizes. There is an option for brick or muffle interiors. Many of their enameling kilns come with their standard digital controllers which have pre-set enamel programs that hold the temperature at a set-point. Some of their kilns can be used for PMC, enameling and fused glass. Several things to note about Paragon enameling kilns:
a. The latches are problematic. They can loosen and they are sometimes difficult to manipulate.
b. A hole on the top of some of the kilns, which can be closes with a ceramic insert, allows heat to escape
c. The exterior skin of the kilns can get very hot to the touch because the insulating qualities of the brick interiors especially are not great.
Paragon kilns are the best buy for people seeking a good enameling kiln. The variety of kiln types and the variety of interior sizes is appealing to most enamelists. The basic Q-11A (brick interior, no digital controller) or the SC-2 (fiber muffle, digital controller) can be for most people, who enamel small objects, a very satisfying kiln. The price range is $500 to $800 for midsize 120V kilns. Many online distributors carry Paragon kilns, and you can often find these kilns on sale. Paragon also sells a digital battery-operated pyrometer which is very portable and can fit into the thermocouple opening of any kiln. The digital readout is very accurate.
Vcella
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Vcella Model 12 Kiln |
Most enamelists who enamel professionally or have been enameling for a long time swear by Vcella enameling kilns (www.vcella-kilns.com). Vcella, unlike Paragon, is a small family-owned business that doesn’t advertise in the enameling community. Word of mouth brings people to their kilns. The major selling point for these kilns is their superior insulating ability, durability, personal service. The downside for buying these kilns, besides the fact that they cost a bit more than other kilns, is that, because they don’t have any major distributors, you will need to pay a hefty freight bill on a very heavy object. Vcella sells a separate Fuji set point controller to go with their kilns. Vcella often receives their kilns back to refurbish and resell, so if you are in the market for a used kiln, call them to see if they have any in stock.>
Amaco
Amaco (http://www.amaco.com/shop/category-27-metal-enameling-kilns.html) , like Paragon, has a wide distribution network. They produce a limited selection of kilns as well as the FA-5 “beehive” kiln. Thompson carries a very basic kiln with no controller or pyrometer made by Amaco. These kilns tend to be the least expensive because they are very basic.
Other Brands
Other manufacturers such as Neycraft and Satellite make kilns that are not primarily specified for enameling but that can be used for enameling. Neycraft were the first kilns on the market to have fiber muffles and built in controllers. Satellite kilns and other brands that are meant to be used for burn out in casting can be used for enameling as well. Check the latches on these kilns to make sure you can open and close the door easily. Top loading kilns and kilns with elements on the floor, ceiling and door are to be avoided.
Used Kilns
A good kiln would be one in which the interior fire brick is in good condition and the elements are not broken. The kiln floor especially should not have 'pot holes'. Some cracks in the fire brick are normal after use, but you would not want any fire brick pieces loose and looking like they might fall out. If it looks to be in pretty good shape, it probably is. It is probably wise to find out if you can obtain replacement elements and switch, (i.e. is the manufacturer still in business?) If not, you might want to write down pertinent information about the kiln (volts, amps, interior dimensions, etc.) and call a kiln manufacturer or go to a local ceramic supply store that has a kiln repair techie on hand to see if they could make replacement elements for your no-longer-being-manufactured kiln or repair kiln brick. If, when buying a used kiln, you are bartering about price, this would be a good reason for requesting a reduced cost.
Used kilns often turn up at Ceramic, glass, and jewelry suppliers. They are often advertised on Craigs List and EBay. Many schools get kilns as donations and sell off kilns they are not using. Local guilds may also get kilns to resell. Since kilns rarely die, a used kiln is a great acquisition.
by Jeff Caplan
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“Florida Panther Treasure” by Merry-Lee Rae Photo: Ralph Gabriner |
On January 6, 2011, a group of artists and students accompanied Sandra Bradshaw on a field trip to visit the studio of Merry-Lee Rae. She shared many of her techniques and the equipment she uses to create multi-layered cloisonné portraits and nature inspired images that have the feeling of fine English water colors. Many topics were discussed as we rambled through the studio and show room.
The benefits of building cloisonné on top of domed copper or silver:
The benefit of using thin fine silver sheet, as thin as 26 gauge for this purpose. The silver is domed using the Bonny Doon Hydraulic Press, with custom dies made of pierced Plexiglas sheet. Merry-Lee prefers to use a 6-aught Hercules saw blade (Otto Frei) to cut out the dome from the sheet. Merry-Lee makes extensive use of a drum sander fitted with a 40 micron paper to shape the blank and finish the surface of the final cloisonné.
Tools that Merry Lee likes to use:
A cool tool Merry-Lee showed us was the Fisher Mouth BlowPipe: a propane torch that uses the artist’s breath as the oxygen source. It provides a “third hand” (your mouth) to adjust the heat of the flame for soldering, etc. Made by Fischer in Germany, available through Fischer. The one from Otto Frei is inferior.
Merry-Lee’s process for designing a new piece is loosely as follows:
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Merry Lee’s Design Method
Photo: Sandie Bradshaw |
1. She makes an actual-sized drawing in color pencil.
2. She converts the drawing to a “coloring-book” outline format.
3. Using her test plates of enamel colors, she matches them to the colors in the original drawings. She uses Japanese Enamels from Coral Shaeffer in Seattle.
4. She logs each color of choice in her sketchbook. She also logs in the amount of raw metal, bezel setting, stones, etc. used to make the piece. She marks the stones and gold up by 1.5x her cost. She pays herself as an artist at $50/hr (flexible based on each piece). The sum of this becomes the wholesale price. Retail is double that.
To keep track of her time she has a separate note card for each piece she works on and tracks with that. Other artists’ time discussion techniques were mentioned including have a 10 minute timer going off to keep you on track of the time it takes to make a piece. You simple make a hash mark each time the alarm goes off and then add the hash marks at the end of each day. That also permits you to work on more than one piece as you can keep track in 10-minute increments how long you worked on each one.
5. Next Merry-Lee will transfer the coloring book outlines to the metal using Saral Transfer paper (red). This color will burn off in the kiln.
6. Next she will bend the flattened wire to match the shape of a section of the figure.
7. To apply the wires to the blank, she will dip the wire into concentrated klyr-fire. She dehydrates commercial klyr-fire in a petri dish on top of the kiln.
8. Next she fires the wires into place (Blank is already prefired with a layer of enamel. See http://www.merryleerae.com/pictures1/).
9. Next she starts to apply the enamel. She will use 8-14 layers and as many as 25 firings to create a piece.
More into is available on her website. http://www.merryleerae.com/
She showed us a sample piece of a cat’s head, used in her classes, which combines a variety of techniques using foil, shot, underlay, oxides and enamel.
Cleaning of Her Enamels:
Merry-Lee uses the water washing technique. Washing 5 times, in a spoon in successive cups of water. The first 3 cups are tap; the last 2 are distilled water.
Fine Grind:
To make her incredibly creamy colors, Merry-Lee will grind her enamel colors in a small mortar made of synthetic sapphire. Talk about elbow grease! She reminded us not to mix leaded and un-leaded enamels as they will eventually cause sinkholes.
Stress Management:
Before she sifts on a base coat of enamel, Merry-Lee uses a handy product mixed with klyr-fire to remove surface tension. It’s called Vacu-coat. It’s traditionally used in lost wax investment preparation with a vacuum table. It’s available from Otto Frei. (ref #121.795, not listed on the web, must call in for this item.)
We found Merry-Lee Rae to be open with her information and willing and able to answer all questions. Thank you so much for the studio tour Merry-Lee.
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Merry-Lee’s Sample Cat Photo: Sandie Bradshaw
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Opportunities
"Made in America" series with Diane Sawyer:
Our PR efforts are already rolling for the San Francisco show in August. We will be pitching the producer of the "Made in America" series with Diane Sawyer, and we're looking for artists who use only American made materials for their work. As you can imagine, being featured on this series is a highly sought after opportunity for many companies. If you only use U.S.-made materials in your work, please email Elizabeth Ryan (eryan@craftcouncil.org) with the following information: name, company name, phone number, email, location, medium, materials used, and material sources.
Smithsonian Enterprises seeking products manufactured in the U.S.:
Smithsonian Enterprises is a division of the Smithsonian organization and it is seeking apparel, souvenirs, toys, gifts and jewelry in a variety of mediums to be sold in its shops. One of the key criteria for this particular search is the products they select must be manufactured in the U.S. If your work fits the criteria and you want to be considered for inclusion in the Smithsonian shops, you can learn more about this opportunity and print out an application here. Completed forms can be mailed to: SMITHSONIAN INSTITUTION
MRC513 PO Box 37012
Capital Gallery Suite 6001
Washington DC 20013-7012 You can also submit an electronic application here.
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