May is upon us. We have colder, greyer weather ahead but still a sprinkling of colourful leaves to catch your eye and lift your spirits. I find those little spots of colour inspiring, encouraging me to use those contrasts in my jewellery designs. I find myself drawn to garnets and carnelians at this time of year, and increase my use of copper for the warmth it adds to cooler coloured silver pieces. What is everyone else making, I wonder? Send me some photos and a few words and I will share them in next month's newsletter!
Keep warm, everyone, and enjoy this newsletter.
*June's monthly committee meeting is on the 10th June, to leave us all free for Queen's Birthday on the 3rd. 7pm at the studio, 37c Tanner St.
June Members' Workshop
Repousse´and ChasingSaturday 8th June, 10am - 3pm
This is another chance to get out the pitch pots, hammers, and tools for creating patterns and textures in the surface of your metals. Learning more about the use of pitch pots and the ability to move and shape your metal now will help later in the year when we are planning a special weekend with Nicola Roake.Click on her name to see some of her work). We have a set of letters now for those of you who are interested in adding text to your pieces too.
Please ring Arthur/Tui to book your place in this class 382 1332. $20 for the day, bring some lunch, your materials, and any ideas or questions you might have. It is always stimulating to spend time with others who share a common interest!
Kobi Bosshard Visit
Solvegj organised a great visit from Kobi Bosshard at the guild studio at the beginning of May. There was a good turnout of members to hear him talk about his work, and everyone went away enthusiastic and inspired as a result. Following is Solvegj's report on his visit, and Yvonne's response as well. The photos have come from Arthur. |
| Kobi Bosshard |
Kobi Bosshard's visit to the Studio on Wednesday morning 8th of May 2013
It was a very inspiring morning.
Kobi presented us with reflections on his life long experience being, what he calls, a craftsman. He doesn't consider himself an artist. (In my eyes he surely is one!). He is happy to be called a 'master' now.
He stated: ”You are a master when you have something unique -small it may be- added to the line of masters.”
Some other remarks worth noting:
“You learn a skill by practising the basics for a long time”.
“The metal will tell you what can be done and what can't!”
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| An intent audience |
His response to a question about copying was also worth pondering on:
“ There is nothing against it It is excellent practise to learn from by copying.
Every object you make will have something individual because you went through the process. None will ever be exactly the same”.
He made many of his own work over and over again and enjoys doing this still now, knowing they are good and sometimes can even be improved upon, better again!
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| A great turnout for an interesting talk. Thanks to Kobi for making time to come and visit us, and to Solvegj for organizing everything. |
We hope we can arrange a workshop in the near future. Kobi suggested it has to be on
design saying, ”there has to be something in it for me too. “
Our library has purchased the recently published book Kobi Bosshard: Goldsmith, by Damian Skinner. I am sure many members wiil enjoy reading the interviews in this book and see the many examples of his work.
The NG Gallery has an exhibition of his work this month.
Highly recommended!
Solvejg Ruarus
We recently had a first try on a Saturday
workshop in colouring applications on metal.
New Library Book:
"The Penland Book of Jewelry
Master Classes in Jewelry Techniques"
Unfortunately we had lost this book, as it has not been returned. I had heard that this book offers a lot of insightful instruction from ten innovative jewelers, each presenting their unique work and the techniques used to create it.
I spotted this book last week in
Scorpio's bookshop.
The first subject in the book shows this
technique. Marilyn Da Sylvia works with
gesso and colour pencil on metal, mostly on copper.The instructions are amazing, very
detailed... The work shown is just stunning.
There is more. What about forging, using weathered wrought
iron nails?
Or masses of granulation ….
Forming and chasing....
Etching......
I am really pleased that I found a new copy and hope many of us will get inspired.
Solvejg
Thank you to all concerned for setting up the working shop, to Tui and Arthur for taking the names for the class and especially to our two tutors who had spent a lot of time preparing for this class.
ENAMELLING WORKSHOP 25 May 2013
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Michelle demonstrating and talking with Anita.
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Saturday's enamelling workshop was very well attended by seven enthusiastic members. Our two tutors Michelle andAnita had gone to an awful lot of work to prepare useful notes which
included technical data, technical facts and tips on enamelling. They demonstrated step-by-step of how to prepare metals for fluxing, firing, pickle, placing in the kiln, and what not to do! The front two tables had been set up for demonstrations and working stations. Everything we needed was there from glue and flux to coloured glass.
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Heads down, busy at work.
After the demonstration, the class made copper shapes, cleaned using fine sandpaper, wire wool,and yes Handy Andy cleaner. Keeping ones oily fingers off the cleaned piece, painting a thin coat of glue on and sifting a fine coat of flux on, carefully carrying the piece to place on a trivet (an other art in itself), waiting for the flux to dry before putting into the kiln which was at 810oC for 1 minute 20 seconds. The timing was crucial in the kiln so the big clock was sat on the bench beside the kiln and one 'clock watched' at the minute hand went round! The heat from the kiln was great, so a leather glove was used to protect the hand when placing the trivet in or taking it out. When cooled, the piece is placed in the pickle, fire scale cleaned off, washed again with Handy Andy (what would we do with out Andy) and then back for the next step. The small kiln, which is for precious metal clay, didn't hold the heat once a trivet with a piece on was put in because the trivet immediately absorbed the heat and the trivets really were too large to fit comfortably. I put a piece in and the kiln dropped 50oC and took sometime for the 800oC.
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Sifting technique.
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Like busy bees we went about cutting three circles so that we could go through the initial process of learning how to do enamelling. Why three circles – just in case we messed up. Once we had got the process correct it was over to each person to plan and design and take through the steps needed to a finished piece/s. Cloisonne was also demonstrated during the day and a few enterprising people challenged themselves with making their own Cloisonne piece.
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Using the kiln.
I decided that never having done this before, I would keep it simple and make a pair of round earrings. Now, that was a challenge especially when putting the enamel on, accidentally the table was knocked, the earring fell off the cork and I had to clean off the enamel powder and start again. After the first layer was baked I decided to try sgraffito, a simple Koru on both circles. Simple yes, but two designs the same – it didn't work so I opted for a small round circle using a template. I tried making an elongated pair of earrings all fluxed and dried and into the kiln one fell down into the base of the trivet and attached itself. With brute force using pliers I managed to get it off and in doing so, cracked the enamel. I decided that if I made one pair successfully for the day, learnt by mistakes then I would be satisfied.
At the end of the course, we were all able to admire various pieces that had been made. Jo was busy photographing and by doing this, it is a record for us all. Individual frustrations, lots of laughter and expert tuition made for a great day. Arthur Harrison had kindly come along to make sure that we had everything needed. With his quick efficiency and dexterity, fashioned up some little copper spoons we needed. The Kiwi No. 8 wire came to the fore - useful equipment included wine corks for sitting pieces on, wine corks with needles for making designs – sgraffito, straws, small kitchen sieves, kitchen stainless steel spatulas, ice cream container for the vinegar and salt pickle. The glass powder and kiln were the expensive items.On coming home, I reread the notes given us and then promptly looked up Wikipedia for enamel where I found the Ancient Egyptians were using enamel on their pottery, stoneware and at times, jewellery. This is well worth reading.
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Pam Absolum
Summary of SSG Committee Meeting May 6, 2013
Arthur wrote to the Tannery landlord and got the gravel removed from in
front of our door and some large metal planks taken away too.
Summary of SSG Committee Meeting May 6, 2013
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Term 3: Bookings for
8 in Level One and 2 in Level Two
Noeline handed out samples of a survey to be completed by
students at the end of each term. This
will give us feedback on how we are meeting the expectations of the
students. We are also asking for
referrals to new students.
Grant Report: Arthur
and Mark finished the report to Creative New Zealand stating how we spent the
grant money.
Annual meeting: The
new date for the AGM will depend on when the books are finished being looked at
by the reviewer. Diederic will try to
get the books returned by the end of May.
The AGM can take place six weeks after the notice and all relevant
documentation has been sent out to the membership.
Website: We decided
that a website is not necessary yet. We
will talk to Crystal and discuss the possibility later.
General: Karen noted
that someone had walked into the studio and requested a referral for a
jewellery commission. She passed it on
to Crystal who could not take it on but who passed it on to Chloe. We should have a list of members who would
like to take commissions ready to hand out to people who are interested in
having something made. Jo will ask about
it in the next newsletter.
Solvejg arranged to have Kobi Bossard speak to our members
on Wednesday morning. Fifteen people
have signed up to attend. Sol will ask
him about the possibility of teaching a master class.
Noeline suggested Tony Williams (enamellist) as another
possible master class teacher. Jo suggested David McLeod who works with
hydraulic presses.
Diederic wants to set aside money for library books in the
budget. Karen asked if we could
reinstate our subscriptions to Art Jewelry, Jewelry Artist and Ornament.
Meeting ended at 8:05 p.m.
