Please welcome the following new members:
Evelyn Markasky
Kristen Dempsey
Christine Finch
Cynthia Miller’s work will be shown in “Curious Harmony” at Morgan Contemporary Glass Gallery in Pittsburgh through Jan. 29, 2012.
“Swan Nebula Sextet” by Cynthia Miller
Jan Harrell, Delia DeLapp, and Judy Stone are taking part in the invitational exhibition “Harold Balazs and his Enamelist Friends”, April 13-May 5, Art Spirit Gallery [http://www.TheArtSpiritGallery.com], Coeur d’Alene, ID.
Membership dues for 2012 are due by January 31, 2012. To avoid missing timely announcements from the NCEG and newsletters, please renew now. You can find the membership renewal form at http://www.enamelguild.org/NCEG/membershipJoin.php
Please send all membership news including recent exhibitions, awards, or anything that might be of interest to enamelists to Judy Stone (judy@jstoneenamels.com).
NCEG Events in 2012
The NCEG has some wonderful events planned for 2012. The 2 listed below will take place at The Richmond Art Center. In addition several programs are in planning stages and we will keep you posted as they get firmed up. If any of you would like to host a meeting/social–get-together for people who are interested in enameling in the area where you live, please contact Anna Tai. We are also seeking ideas for programs which the guild might want to sponsor this year. The more interest we have the more likely it is that the NCEG will survive into the future.
Beyond Borders: The NCEG Juried Exhibition, Conference, and Workshop
The 11th International Juried Enamel exhibition sponsored by the NCEG will take place from September 15–November 9, 2012. The Richmond Art Center will be hosting the exhibition. The entry deadline is April 6. We would like to encourage as many NCEG members as possible to apply. You can find the prospectus and entry form at http://www.enamelguild.org/NCEG/activitiesExhibition-prospectus2012.php. We are looking for volunteers now to help set-up and take down the exhibition. If you are interested, please contact Judy Stone.
Kato Jaworski, the education director at the RAC, and NCEG member, Ed Lay, who teaches enameling at RAC, will be working with the NCEG board to put together a one-day conference and 2-day workshop at RAC on Columbus Day weekend. The conference and workshop will coincide with the juried exhibition. There will be more information about these events as plans become more concrete. Save Columbus Day weekend!
A Workshop with Shana Kroiz
Shana Kroiz, who lives and teaches in Baltimore, MD, will be teaching “Experimental Enameling on Electroforms,” August 6–9 from 10:00am–5:00pm at the Richmond Art Center. The workshop will be sponsored by the NCEG but open to anyone. Those of us who attended Shana’s break-out session and/or workshop at the Enamelist Society Conference were wowed. We feel thrilled to be able to offer this wonderful opportunity to learn the basics of electroforming as well as the enameling techniques Shana has developed. There will be more details in the next 2 newsletters about this workshop. In the next issue of the NCEG newsletter Delia DeLapp will take readers on the step-by-step process of setting up an electroforming unit after taking Shana’s workshop at the conference.
——————————return to top——————————
Exhibitions in California
San Diego’s Craft Revolution: From Post-War Modern to California Design
October 16, 2011–April 12, 2012
Collection Source: Mingei International Museum, Plaza and Theater Galleries
This local exhibition will reveal the important contribution of San Diego craftsmen to the post-war Southern California art scene. The progression from sleek modernism to unconventional handmade objects of use such as furniture, doors, jewelry and ceramics will be explored. Many of these San Diego-based artists received national attention and participated in major Los Angeles exhibitions, including the California Design series held in Pasadena and Los Angeles. This exhibition will feature over 60 artists including Toza and Ruth Radakovich, Rhoda Lopez, Jack Hopkins, Arline Fisch, Ellamarie and Jackson Woolley, Larry Hunter, Kay Whitcomb and James Hubbell.
Mingei International Museum
1439 El Prado
San Diego CA 92101
HOURS
Tuesday – Sunday 10:00 am – 4:00 pm
Closed Mondays and national holidays
School and group tours by appointment
ADMISSION
$8.00 – Adults
$5.00 – Seniors, youth (6-17), students with ID and military with ID
$5.00 – Group Tour Rates (10 or more)
Free – Members and children under 6
Color and Form
Taboo Studio
1615 1/2 West Lewis Street
San Diego, CA 92103 619-692-0099
February 10, 2012 – March 23, 2012
Opening Reception
Friday, February 10 6:00-8:00 pm
New Jewelry by:
• Heather Guidero, • Ananda Khalsa, • Brooke Marks-Swanson, • Valerie Mitchell, • Joan Parcher, • Munya Avigail Upin, • Barbara Uriu
The textures and colors of the mid-western landscape serve as an inspiration for Brooke Marks-Swanson's compositions in metal, paint, and stone. Barbara Uriu’s love of gemstones is reflected in straightforward designs highlighting the natural beauty of her unique stone combinations. Well-known enamelist, Joan Parcher works with simple shapes and bold colors to create designs that have been featured in some
of the most prestigious jewelry and craft periodicals. Ananda Khalsa is inspired by Asian art and natural forms. Much of her work includes semiprecious stones and original miniature paintings containing powerful symbolism.
——————————return to top——————————
Special Workshop In LA
|
Workshop student project from Catherine Witherell |
Fred Ball’s Experimental Enameling Techniques
Friday through Sunday, April 20,21,22 10 am-5pm
Instructor: Judy Stone
$320 materials included
At the studio of Gian Joller
5086 Alhambra Ave., L.A., CA. 90032
jewelryandenamelworkshops@gmail.com
818-284-9583
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. |
Introduction to Enameling I (Weekend Intensive)
March 3–4 (weekend intensive), 10:00am–4:30pm
Instructor: Judy Stone
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.
Introduction to Enameling 1 weeknights – 5 weeks
Thursdays, 7:00–10:00pm
February 2 – March 1
Tuesdays, 7–10pm, March 6–April 3
Instructor: Katy Joksch
$275.00 (Tuition: $235.00, Studio Fee: $40.00), Members: $251.50
Introduction to Enameling 2 – 5 weeks
Wednesdays, March 7– April 4, 7:00–10:00pm
Instructor: Judy Stone
Cost: $265.00 (Tuition: $220.00, Studio Fee: $45.00), Members: $243.00
Introduction to Enameling 1 weeklong
Monday – Friday, April 2 – 6, 9:00am–12:00 noon
Instructor: Judy Stone
Cost: $355.00 (Tuition: $265.00, Studio Fee: $90.00), Members: $328.50
Grisaille: Enameling Technique-1 ENL5212-A
March 17 – 18, 10:00am–5:00pm
Instructor: Olga Barmina
In this class we will cover traditional grisaille enameling as well as a few experimental approaches to grisaille. Grisaille (“grey”) is the application of white enamel to a black enamel background. After many applications and firings the white sinks into the black to create halftones and shading. This technique is often associated with medieval French enameling. In 2 days, we will learn to apply black enamel to a copper piece to create a smooth background. Then we will use finely-ground white enamel mixed with water, oil of lavender, or turpentine to paint over the dark background. Light areas of the design will have more white enamel layers than gray areas creating an impression of low relief. We will experiment with the application of silver foil and few touches of gold to enhance the pieces. Later in the class students will have time to explore sgraffito-style grisaille and other experimental approaches.
Previous experience required.
Prerequisite: Introduction to Enameling I & 2 or permission of instructor
Cost: $305.00 (Tuition: $250.00, Studio Fee: $55.00), Members: $280.00
Small Scale Cloisonné Enameling Intensive - 3ENL2212-A
Saturday & Sunday 10:00am–5:00pm
March 24–25
Instructor: Roberta Smith
Previous experience required.
Prerequisite: Introduction to Enameling or permission of instructor.
$290.00 (Tuition: $240.00, Studio Fee: $50.00), Members: $266.00
Revere Academy of Jewelry Arts
April 7–8, 2012 9:00am–5:00pm
Instructor: Deborah Lozier
$399 + $125 kit
Saturday 3:00–6:00pm
May 26–28, 2012, Saturday–Monday, 9:30am–4:30pm
Instructor: Deborah Lozier
Current Mendocino County MAC Members: $250
Current MAC Members: $265
Non-members: $295 plus a non-refundable $25 non-member registration fee
Enameling the Basics
5 weeks 2/25/2012-3/24/2012
Instructor: Olivia Competente
Class fee $80/$90
Materials fee $28/$38
Enameling Advanced
5 weeks 2/25/2012-3/24/2012
Instructor: Olivia Competente
Class fee $80/$90
Materials Fee $50 to O. Competente
Enameling on PMC
2 Sundays 3/4/2012-3/11/2012
Instructor: Olivia Competente
Materials fee $65
Class fee: $98
Enamel shows
Deadline: March 30, 2012
Enamel Guild North East 20th Anniversary Juried Enamel Exhibition
The Enamel Guild North East is sponsoring an enamel artist exhibition at the Cape Cod Museum of Art, Dennis, MA, in conjunction with its 20th Anniversary. The exhibit is open to all enamelists who reside in the US and who are current EG/NE members. The exhibition will run from November 17, 2012 through January 27, 2013.
A complete prospectus, entry form and membership application are available here.
Deadline: April 6, 2012
Beyond Borders: Experimentation and Innovation in Enameling
11th International Juried Enamel Exhibition sponsored by the Northern California Enamel Guild (http://www.enamelguild.org). Guild and hosted by the Richmond Art Center (http://www.therac.org), Richmond, CA
September 15 - November 9, 2012
Artists do not have to be a member of NCEG to submit entries for jurying. Eligibility of the artist's work includes:
Enamel (vitreous glass fired to metal) must be the focus of the work; Only original work produced within the last two years (2010-2011) is eligible; student work is encouraged; Only accepted work that is shown in the submitted digital images will be exhibited; Each entrant can submit one, two, or three pieces for the single entry fee of $25 for NCEG members or $35 for non-members.
Jurors:
Merry Lee Rae - lives and works in Freedom, CA. She sees herself as dedicated romantic. Her cloisonné jewelry is her voice.
-
Martha Banyas - has worked primarily in enamel since 1972. She was a full time faculty member at Mt. Hood Community College and has taught enamel workshops in the U.S., Canada , and Japan. Since 1973, she has participated in numerous one-woman and group exhibitions worldwide. She has traveled extensively in Asia and Eastern Europe since 1981. She has been a full-time studio artist since 2005.
-
Nancy Servis - is a curator and currently is the Executive Director of the Richmond Art Center, Richmond, CA. She has taught at the University of California, Davis; the California College of the Arts, Oakland, CA; and Solano College in California.
For Prospectus and entry form: http://www.enamelguild.org/NCEG/activitiesExhibition-prospectus2012.php.
Deadline: April 6, 2012 (extended)
46th International Exhibition of Japan Enamelling Artist Association
The Japan Enamelling Artist Association is organizing the exhibition "All Enamel Work for Creating Beauty". The exhibition will be held at the Tokyo Metropolitan Art Museum from July 25 - 31, 2012. Artist may submit up to 3 entries. Entries classified as flat, 3-dimensional or accessory.
Contact jstoneenamels@sbcglobal.net for prospectus.
Metal and General Exhibitions
Deadline: February 29, 2012
Differences Unite Us
Sponsored by Ganoksin, the Internet's largest jewelry website, this international online exhibition will feature work dedicated to the theme "Differences Unite Us". Artists are free to interpret the theme in any way they choose. There is no limit on materials. Each artist may submit up to 6 pieces at no charge.
Complete information available here. Note that the exhibition deadline has been extended due to the flooding in Thailand.
Deadline: March 15, 2012
The Ugly Necklace Contest
Can you put together a well-designed and functional, yet UGLY, necklace?
Complete information available here.
Deadline: April 15, 2012
'Look At Us Now!' Innovations in Metal Clay
The 2012 PMC Guild conference exhibition will be a prime time virtual exhibition slideshow of the latest, best work being done in metal clay. Pieces can be made with any type of metal clay and combined with any type of other materials. Up to 6 pieces may be entered with no fee for entry.
Complete information available here.
Deadline: February 13, 2012
Feathers and Fur Animal Artworks
Healdsburg Center for the Arts
February 29-April 2, 2012
All through history artists have honored the animal world by painting and capturing images of animals from all walks of nature. This show will explore the artist’s eye creating images of all Mother Nature’s creatures real, interpretive or imagined. The show will be comprised of a spectrum of works, ranging from classic to whimsical interpretations.
All media encouraged – Paintings, Sculpture, 3d, Assemblage, Collage, Metal, Photography, Glass, Clay, Fiber, Carved……… Express yourself freely in both media and theme.
For more info: http://www.healdsburgcenterforthearts.com/wp/wp-content/uploads/2011/11/Application-Animal-SHow-20121.pdf
Tool, Supplies and Supplier Info from the Orchid Chat
By Judy Stone
I occasionally glean some useful supply info from the Orchid Chat (http://www.ganoksin.com) which I find useful or that I want to pass on to other enamelists. The excerpt below is from Elizabeth Johnson, who is also a glass artist. The post is dated. Jan. 22, 2012.
There was mention a few days ago about potentially applying enamels with a syringe. In the glass fusing world we use several different mediums to mix with powdered glass or enamels (80 mesh) for the purposes of squeezing through a fairly small (#4) round cake decorating tip or a small hole in the top of a squeeze bottle (similar to dispensing catsup, but smaller).
I imagine if you start with 325 mesh enamel and a binder you can work it through a smaller opening (pinhole size) to apply in a squeeze-on manner. One of the binders I use is called Liquid Stringer Medium, available from http://www.fusionheadquarters.com/Liquid_Stringer_Medium_p/licstr.htm It's thick enough to hold the enamel in suspension. It may need to be thinned somewhat with water for the proper consistency to squeeze out. The resulting designs are fairly brittle when dried (before firing) so there's not much opportunity to clean up mistakes before firing. But it does fire off cleanly at temps above 1300F.
If you need a tougher squeeze-on medium, another product I use is Verrey Glass Sculpting Medium from http://www.verreyglass.com/
After mixing the medium and enamel you'll have to thin it with water to the right consistency to squeeze from a bottle. It contains glycerin or some other gel-like substance that lubricates for a smoothly-flowing product, and it's tough enough after drying to allow for cleaning up the edges of the design with a toothpick, etc. But it does not always burn off cleanly when mixed with light-colored glasses. Worth a bit of testing for use with enamels and silver, I would think.
Fusion Headquarters also has a brand new medium I haven't tried called FlexiGlass. It's a liquid bonding agent that is flexible when dry and is advertised to burn off cleanly during firing. The system involves a liquid medium to mix with your powder, and sheets of specially designed transfer plastic sheet that A) Does not cause the FG Medium to bead up when applied wet, B) will withstand temperatures up to 350deg for drying the FG Medium and C) will not stick to the FG Medium after it is dry. Squeeze or paint your design onto the transfer sheet, dry it, peel it off, stick onto your base product and fire. Of course, they sell a special FG powdered glass to use with the FlexiGlass medium, but it's not the right coefficient of expansion to work with a metal base such as silver. However I wouldn't let that stop me from testing the Flexi-Glass Medium with Thompson or other enamels designed for use on silver.
From Tara Locklear’s Workshop: How to Make Your Own Custom Color Ceramic Decals and How to Enamel and Fire Decals on Lightweight Steel
Reprinted from the Vitreous Voice, December, 2011, with notes from Roberta Smith
This workshop was held in Carlsbad, CA on Saturday & Sunday, October 22 & 23, 2011.
Tara Locklear is currently a senior in the Metal/Small Jewelry program at East Carolina University and is scheduled to graduate with her BFA in the spring of 2012. She has been very interested in the properties of materials and with re-purposing. This was Tara’s first teaching workshop.
Each student received 2 three-inch square pieces of 22 gauge cold rolled steel, decal paper, and unleaded white enamel to cover the 2 steel tiles. The steel can be bought at any home improvement store. It must be sandblasted or sanded to create a surface for the enamel to adhere to and is only enameled on one side.
|
Tara applying cover coat
|
After firing the cover coat, the class took a field trip to FedEx Kinko’s to scan images into the computer and use a laser printer to print onto special decal paper. The printing goes on the shiny side of the paper. The ink was allowed to set and dry for at least five minutes before handling.
|
You can buy small amounts (5 sheets) of clear decal paper for laser printers, copiers and Micro-Dry Printers from Micro-Mark, The Small Tool Specialist. |
Note: Laser decals use a special decal paper that is heat-set in a laser printer, and takes advantage of the iron used as a toner component for most laser printers. The newer decal paper made for laser printing requires no cover-coat.
After wetting the decal with water, it was transferred to the enamel surface. A paper towel was used as a squeegee to remove air bubbles. The decal was then thoroughly dried on top of the kiln before carefully firing. Under optimum conditions, the firing cycle should be slow and well ventilated, with the first 800ºF being the most critical.
The decal is the last firing of the piece. Any details that you want in your piece must be done before the decal is fired on.
|
|
|
Workshop Decal Samples |
||
WARNING: Do not use decals on surfaces that come in direct contact with food or drink. Some colors in decals may contain lead and/or cadmium. Keep decals away from children unless properly supervised.
Roberta Smith, who attended Tara’s workshop, and Chris Spurrell will be co-teaching a 4-day week day class this summer at The Crucible in Oakland, CA, on Enamel Photo-Transfer and Decals. Stay tuned!
Coming Full Circle
By Delia DeLapp
Four years ago, while spending an afternoon at John Killmaster's studio in Middleton, Idaho, I spied a wonderful little table-top enameled copper sculpture. I didn't even know copper could be welded and I was immediately attracted to the piece. I realized it might open up a whole new area of exploration for me. I asked John how he produced it and he told me his friend, Harold Balazs, had created it. John was introduced to enameling by Harold in the early 1970's while he was planning a large outdoor mural for the Boise Art Museum. Two years later, I purchased a tig welder to teach myself how to create three-dimensional enamel sculptures.
|
Cement sculpture by Harold Balazs |
Upon completion of my 14-foot medusa sculpture, which had been commissioned by Barbacoa Restaurant in Boise, I knew I had to meet the artist whose work had inspired me. I contacted the now “mature” enamelist and eagerly inquired as to the possibility of scheduling a visit. He replied in a very welcoming and humorous manner, "Well, you’d better come soon. You never know how long I'll be around!"
I felt very privileged and soon traveled to Mead, Washington with my husband to meet the famous Harold Balazs, who is considered to be a living treasure. We turned off the main street in town and drove down a little dirt road into what felt like a secret forest hideaway. My eyes got big as several large cement and metal sculptures came into view. I was filled with curiosity and wonder as everything was revealed, from the welded steel strap garden gate, to the wildly assembled brick outdoor kiln, to the combination studio/barn, “Mead Art Works.” The log house was filled with an eclectic array of artwork from all over the world.
|
Outdoor Furnace
|
Harold and his wife, Rose were so generous with their time, spending most of the day showing my husband and me his studio and art. Harold also generously shared his expert knowledge with me – wonderful welding and enamel techniques.
His stencil technique is truly unique and brilliant. He starts with placing a ground coated steel panel on a swivel (usually a lid from a washing machine), and then sifts a very heavy layer of black enamel on it.
|
Placing black enamel on fired steel panel |
He uses a stencil cutter to cut around intricate line designs drawn on heavy mylar, leaving a border around the design and adding in tabs where needed to keep the stencil connected as one piece. The maze-like framework is flimsy, so he tapes it to a wooden frame for ease of taking it on and off the piece. He then places the stencil down and carefully brushes the enamel out of the open stencil areas, leaving the black line design.
|
|
Brushing off black enamel in open stencil areas |
Removing enamel tabs |
He then takes the stencil off and brushes away the enamel connection tabs.
The stencil is then placed back on the piece and he carefully takes his enamel powders, which have holes punched in their lids (rather like a salt shaker), and taps the edge of it to get the powder into the open areas of the stencil.
|
Shaking enamel into open areas of the stencil |
He rotates the piece around, working on all sides of the panel. The piece is then fired and afterward, he can go back and add more colors and details in the following firings. The result is absolutely beautiful.
At the end of the day, I asked Harold and Rose if they would adopt me! They smiled and stated that they are asked that a lot. I felt very compelled to purchase a piece of Harold’s stencil art, so my husband and I said our goodbyes and traveled on to The Art Spirit Gallery in Coeur d’Alene. Harold’s art has been on exhibit in this gallery since 1997. My very supportive husband proceeded to show some of my art to the owner and explained the reason for our visit. I was then invited to participate in the upcoming enamel exhibit opening on April 13. I am extremely honored to display my art alongside some of the most notable enamel artists in the country – Harlan Butt, Judy Stone, Mary Chuduk, and Jan Harrell – just to name a few. It is sure to be an evening to relish and enjoy, one that will contribute to the full circle of my life’s path.
Enameling Kiln for Sale
This is a “starter” kiln for $50. This kiln is in excellent condition and perfect for someone making jewelry or shallow dishes. It does not have a pyrometer. It does have an infinite switch. It was made by Norman kilns, model number 48B, 110V, with interior dimension of 4.5”H x 8”W x 9”D. Contact Judy Stone 510-526-3668 or e-mail judy@jstoneenamels.com.
More N-1 Coarse Grain Flux Available For Sale
Thank you to those of you who took most of my Japanese flux off my hands in the past month. I still have at least 1 lb. of +150 mesh N-1 flux to sell. I would like to sell it in 4 oz. ($10/4oz.) quantities but would consider selling it in smaller quantities for $4/oz. This enamel is great for cloisonné. Contact Judy Stone 510-526-3668 or e-mail judy@jstoneenamels.com.