How to make a photopolymer exposure unit for use with a UV manicure lamp

Over the holiday I've been experimenting with photopolymer plates for making textures in metal clay. The first thing I did was create my own UV exposure unit so I could accurately cure the photopolymer plates using a UV manicure lamp. I thought I would share how I created the exposure unit with you.

1)      Purchase a very simple photo frame at your local dollar store. Choose one that is primarily glass held to a fiberboard backing with clips.

2)      Use safety glasses to protect your eyes when you cut glass! Cut the glass to size using a glass scoring tool. For a successful break, the glass tool should make a zipping sound when it is pressed across the glass. Gently flex the glass, bracing either side of the score mark. Take care not to cut yourself. The glass should break cleanly along the scored line. Always use caution when working with glass – the edges will be very sharp at this point!! If you are unfamiliar with working with glass, I highly recommend watching this Youtube tutorial that demonstrates this technique in detail.

3)      Under running water, use a 3M sanding sponge to grind the sharp edges and corners off your sized glass. Inhaling glass dust can seriously harm the lungs, so always grind glass using water and/or a particle mask. All edges of your sized piece of glass should now have a smooth frosted edge and will no longer be able to give you cuts.

Cut and sanded glass, fiberboard, and elastics

Cut and sanded glass, fiberboard, and elastics

4)      Use a jeweller’s saw to cut a piece of the backing fiberboard to match your sized glass.

Front side of the assembled exposure unit with fiberboard backing

Front side of the assembled exposure unit with fiberboard backing

5)      Depending on the size of your UV lamp, you can use black binder clips, or even elastics to hold your glass and backing together. I prefer using elastic bands because they take up less space when exposing the photopolymer plate.

Back side of the exposure unit showing the arrangement of the elastics that hold the unit securely together

Back side of the exposure unit showing the arrangement of the elastics that hold the unit securely together

I personally have a second hand Orly LED lamp that can accommodate an exposure unit that measures approximately 8 x 6 centimeters, and can expose a design measuring up to 5 x 7 centimeters. UV nail lamps can vary greatly in price, and in dimensions, but you can easily purchase one that would work for photopolymer plates for around $30-40 dollars.

Exposure unit inside the UV manicure lamp

Exposure unit inside the UV manicure lamp

You can easily create your own designs using a black paint sharpie and printable transparency film. The only requirements for this technique is that the artwork needs to be opaque, and needs to fit between the top glass plate of the exposure unit and the photopolymer plate.

I hope all of you have had a great holiday, and will have a fantastic year in 2016!

2016 Bead and Button Show Class Listings

The class information listings for the 2016 Bead and Button Show in Milwaukee have been released today.

I will be teaching four enamelling classes during the show.

Cloisonné Enamel on Copper

Description: Cloisonné is a style of enameling that uses fine wires to form partitions (cloisons) that aid in color shading and help to create the overall design. Students will create original cabochons or components using fine silver and colorful vitreous glass enamel on a copper base.

Students will Learn: What design considerations need to be taken into account when creating cloisonné pieces. Wet-packing enamel techniques will also be covered, with a focus on effective color shading. Students will also learn how to achieve a bright surface finish on enameled creations and will either make enamel cabochons for use in future work, or simple drilled enamel components.

 

Cloisonné Enamel on Fine Silver

Description: Cloisonné is a style of enameling that uses fine wires to form partitions (cloisons) that aid in color shading and help to create the overall design. Students will create original cabochons or components using fine silver and colorful vitreous glass enamel on a fine-silver base.

Students will Learn: What design considerations need to be taken into account when creating cloisonné pieces. Wet-packing enamel techniques will also be covered, with a focus on effective color shading. Students will learn how to achieve a bright surface finish on their enameled creations and they will either make enamel cabochons for use in future work, or make simple drilled enamel components.

 

Graphite and Enamel Charms

Description: Incorporate your own graphite drawings into vitreous enamel and make simple charms or components that have been decorated with your own drawings and then delicately colored with transparent glass enamels.

Students will Learn: Wet-packing enamel techniques with a focus on effective color shading. Preparation of the enamel surface for graphite drawings will be covered, as well as kiln firing methods.

 

Champlevé Enamel on Fine-Silver Metal Clay

Description: Champleve is a style of enameling that uses depressions in a metal backing to generate a colorful design. Students will create jewelry designs or components using fine-silver metal clay and colorful vitreous glass enamel.

Students will Learn: How to use fine-silver metal clay to design and make champlevé enamel pieces. Wet-packing and color-shading enamel techniques will be covered, along with how to achieve a bright finish. Molds will be available for optional use.

‘Advanced Jewellery-making Techniques’ at George Brown College

Good news!

I will be teaching the George Brown College Continuing Education ‘Advanced Jewellery-making Techniques’ course this winter. In this course, students will make a hinged box or locket, design and create a unified set of jewellery (e.g., earrings and pendant), and learn how to pour metal ingots to form metal sheet and wire from scrap silver.

The 12-week course will be held on Tuesday evenings from 6:30 – 9:30, and will begin on January 26th, 2016. More information can be found on the George Brown College Continuing Education website.

2016 Bead and Button Show!

Very exciting news! I will be teaching a number of classes at the 2016 Bead and Button Show in Milwaukee! The class information will be officially released on December 15th, 2015, and class registration will begin on January 5th, 2016.

I’m very excited about this, and I hope I’ll be able to see some of you in Milwaukee next summer!

Trying New Types of Metal Clay

The last few weeks I’ve tried out three types of new metal clay – one silver, one copper, and one bronze.

 

FYI (For Your Inspiration) fine silver metal clay

The clay comes out of the package feeling quite dry. Instead of instantly trying to re-hydrate it, I rolled the clay into a ball and kneaded it with my fingers. Luckily this seemed to be just the right thing to do - the clay seemed to relax from its original dry lump and became quite workable without the addition of water. The clay is very similar in consistency to PMC Flex, and has a long and comfortable working time. The shrinkage seems to be a bit variable, but my pieces didn’t distort. I think this clay will end up displacing PMC Flex as my favouite type to work with, once I get used to the increased shrinkage.

 

Prometheus Copper Clay

This clay is easy to work with, but is a bit grainy in texture. The copper clay took texture well, but took longer than I expected to dry thoroughly. The clay is quite hard in the green-ware stage, but was easy to refine using files and sandpaper.

Unfortunately my kiln pyrometer is a bit off, and my first firing of this clay was unsuccessful. My second firing went well, though. I used the 30 minute fire-and-quench method, and then pickled and tumbled the metal. I was left with a nice shiny piece of copper that I think should take enamel well.

 

Prometheus Bronze Clay

This clay behaved similarly to the copper in the green-ware stage.

On my first try, my kiln fired low and my pieces didn’t sinter. Three tries later at increasing temperatures and I finally got sintered metal, however the colour of the clay is much closer to copper than it is to yellow bronze.

One again I used the 30 minute fire-and-quench method when I was trying to sinter this bronze clay. I think perhaps I would have better luck if I tried the carbon method. I have heard that the colour of the clay is much more yellow when it is fired in carbon, however I haven’t yet had a chance to see for myself.

 

Enamelling on Prometheus clays

Both the sintered copper and bronze clay took opaque enamel well. Because copper and bronze are reactive and produce black oxides when they are heated, I tried to complete my designs in as few firings as possible. I got a fine black line of oxides around the edges of my enamel designs, however I quite like the look as a design element because it seems to emphasize the colours of the enamel.

Champlevé enamel on Prometheus clay

Champlevé enamel on Prometheus clay

Final thoughts on Prometheus clays

I like the idea of being able to work a little larger with the more economical clay. I’ll definitely be making more enamelled copper pieces in the future. I’ll need to experiment more with the bronze firing schedules to see if the metal colour is actually more yellow when fired in carbon before I try to enamel any more bronze pieces. At the moment I don’t think the fuss with firing is worth it when the colour of the sintered metal is almost indistinguishable from copper.

Champlevé enamel on Prometheus clay

Champlevé enamel on Prometheus clay

Dichroic Effects in Enamel

The last few weeks, I have been experimenting with some dichroic decals and powders that are more commonly used in glass fusing, and lampworking applications. Unfortunately, due to the incredible shine and reflective nature of dichroic coatings, good photographs of the sample pieces were very difficult to capture, but I tried my best.

Dichroic decal butterfly

Dichroic decal butterfly

Dichroic decal paper is a finicky mistress when paired with enamel. If the decals are fused at too high a temperature, the metallic oxides that give the dichroic sparkle can disappear in at least three different ways. The first disappearance can be caused by over-firing the uncoated decal and causing it to burn away to ash. Firing the enamel at a low temperature reduces the risk of this occurring. The second disappearance can be caused by over-firing a coat of enamel that has been applied over the decal to protect the dichroic surface. Unfortunately, in this case the metallic oxides that create the dichroic effect are likely absorbed into the glass and dissolve, leaving a cloudy residue behind. The third disappearance can be caused by continually firing a piece with an enamel-coated dichroic decal, even at a low temperature. Dichroic decals should be applied in the very last firings of the piece, because subsequent re-firings seem to start to dissolve the dichroic oxides, even at lower firing temperatures.

Dichroic decal dahlia

Dichroic decal dahlia

The second dichroic coating I have been experimenting with is dichroic extract. While this dichroic powder is significantly more expensive than the dichroic decal paper, it also seems to be quite a bit more durable. It can be tricky to apply accurately, so I have been using overglaze black enamel to add patterns and cleanly break up divisions between dichroic colours.

Dichroic extract cabochon

Dichroic extract cabochon

In general, the dichroic decals seem to have more directional variation in colour, whereas the dichroic extracts seem to be more even in tone. Dichroic decals also often shift their colours in the kiln, whereas the dichroic extract powders are much more predicable in their appearance. For instance, while magenta/green decal paper shifts to a teal blue colour, the emerald dichroic extract remains emerald.

Dichroic extract doughnut pendant

Dichroic extract doughnut pendant

I think both dichroic decals and powders could be used effectively in complex enamel designs like Cloisonné, as long as they are used at low temperature and added in the finishing stages of the piece. I’m looking forward to using them as accents. I’m dreaming of iridescent bird feathers.

Patterning your own Mokume Gane Sheet

This Sunday, August 16th, I will be teaching an exciting new class at BeadFX in Toronto - Patterning your own Mokume Gane Sheet!

Mokume Gane is a Japanese term used to describe mixed-metal sheet that imitates the look of wood grain. As someone who has a background in Botany, I absolutely adore the idea of mimicking the interesting textures and patterns of wood in metal.

 

Mokume gane seamless ring in silver and copper

Mokume gane seamless ring in silver and copper

In the class I will be teaching how to combine sheet metals, and then how to manipulate the metals to form interesting patterns. This is a workshop-style course to introduce students to the technique. Students will leave with their own uniquely patterned metals that they can incorporate into future projects. If time permits, I will show students how to make simple lentil pendants with their lovely patterned metal.

Mokume gane lentil pendant in silver and copper

Mokume gane lentil pendant in silver and copper

If you are interested in signing up for this course, don’t hesitate to call BeadFX to enroll. More information on the class can be found on the store’s website: https://www.beadfx.com/classes/class_show.php?class_id=439


Under-fired 2020 Flux Enamel on Copper

In my last post, I mentioned that there is a very large difference in appearance between under-fired and fully-fired clear enamel on copper. In this example, I used Thompson 2020 flux over copper.

When the under-fired piece came out of the kiln, the copper oxides were black and then cooled to the red colour captured in the photo. If I fully fire the copper, the oxides will be absorbed into the glass and the metal will appear bright once more.

Left: Under-fired 2020 flux over copper                                             …

Left: Under-fired 2020 flux over copper                                                                                                             Right: Fully-fired 2020 flux over copper

Penny Colour Tests

The other day when I was at the bank, I noticed an elderly gentleman in the line before me had just deposited a giant box of Canadian pennies (which are no longer in circulation). Canadian pennies made from 1942 to 1996 have a very high percentage of copper (98%), which makes them excellent for testing enamel colours. When my turn at the bank counter arrived, I sheepishly asked if I could get $2 worth of the non-circulating pennies that had just been returned. The teller was wonderful, and said ‘sure’ without a blink. I felt badly for asking her to count out 200 coins, but the allure of easy enamel samples outweighed my embarrassment.

Transparent enamel colour tests on copper

Transparent enamel colour tests on copper

The designs on the surface of the copper pennies make testing my current transparent enamel palette easier, because it allows me to judge which colours require a layer of clear flux enamel over the copper, and which colours can be applied directly to textured metal. This way, I can predict which colours will be effective with textural enamel techniques such as basse taille.

Transparent enamel colour tests on copper

Transparent enamel colour tests on copper

A few years ago now, I purchased a sample set of Thompson enamel that included all of the medium expansion enamels for use on copper, gold, silver, low carbon steel and metal clay (SAMP-C, for those of you who might be interested). At the time, I made a decision to use only transparent colours, because I loved the play of light on the surface of the metal. I made fine silver test strips which I keep in my sketchbook, but I didn’t take the time to do copper tests. Tomorrow, I’ll finish doing the last 12 transparent colours in my regular transparent enamel palette, and then I will begin testing the opaque colours from the sample set.

Transparent enamel colour tests on copper

Transparent enamel colour tests on copper

On another note – I find it very interesting how differently fine silver and copper behave when they are enamelled. I ended up firing my copper penny samples up to 1550 ⁰F, whereas for silver I would never go above 1510 ⁰F. When I’m working with reds, oranges and pinks on silver, I try to keep most of my firings around 1495 ⁰F so I don’t burn out the colour. Copper seems to require a higher firing, because it produces oxides at high temperatures that need to be absorbed by the glass enamel before the colour will reveal its true nature. It is particularly obvious when a clear flux enamel on copper is under-fired, because the undissolved oxides produce a very red colour beneath the glass. I’ll try to get a photo illustrating the dissolving copper oxides tomorrow.

Happy Father's Day!

When I was growing up, my father would take me out on fishing day-trips in the late spring and summer. I have very fond memories of us travelling out the highway from Prince Rupert to local lakes and rivers to fish for trout and salmon. The Rupert area receives a lot of rain, and as a result there are many bog ponds and sloughs that are the habitat for surprisingly hungry rainbow trout. I can’t say I’m a very accomplished fisher-woman, but it was always nice to spend some time outside. I did manage to catch the occasional fish, though I was never quite as successful as my dad.

In honour of Father’s day this year, I made my dad a brooch. I always thought that rainbow trout were especially nice-looking fish, with their pink cheeks, and spotted backs. I thought that the fish would make a lovely cloisonné piece, and I’m very happy with the result! Happy Father’s Day!

Rainbow Trout Cloisonné Pin

Rainbow Trout Cloisonné Pin

Two-Stage Metal Clay Firing and Issues with Firing Containers

When I make fine silver pins, or pendants with hidden bails, I tend to fire the metal clay in two steps.

During the first step, I fire the main design on the pin. For cloisonné the main design is usually just a simple frame.  With champlevé pieces the main design consists of raised areas of metal, and recesses that will eventually be filled with enamel.

Two freshly fired pieces intended for champlevé enamel

Two freshly fired pieces intended for champlevé enamel

During the second firing, I place the hidden functional pieces like the pin catch or the tube bail. I use art clay oil paste to cement the components down (even though it smells terrible!!), because it seems to create a strong bond without bubbles or issues with porosity.

The back sides showing hidden pin and bail components

The back sides showing hidden pin and bail components

I settled on doing a two-stage firing for a number of reasons:

                1) By firing the main design before adding components I am able to concentrate on getting a clean design impression. This way I won’t accidentally deform the front face of greenware clay when I am working on the back.

                2) After the first firing, I can clean up the back side to a nice polish. I find that even when I polish and sand greenware clay, the pieces always show scratches after they are fired. Polishing the back to a consistent shine without ridges or marks is much more difficult after the component pieces are added.

                3) I can easily experiment with the placement of the pin backs or bails without making a mess of the back side of the piece. I can easily wipe away smudges of oil paste with a cotton swab dipped in the thinning oil. This gives me the freedom to change my mind if I don’t like the spot where I originally placed a bail or pin component. This also makes it very easy to clean up messy oil paste seams before firing.

During the second firing, I usually support the pieces on a bed of vermiculite. This helps prevent the pieces from deforming or sagging oddly during the firing. I usually put the vermiculite in a ceramic fiber firing container like the ‘square head’, but in this case since I was wanting to fire two pieces at once I used a larger unglazed terracotta saucer.

Terracotta saucer and Vermiculite

Terracotta saucer and Vermiculite

I have had good luck in the past using terracotta pots and saucers from the dollar store. They do eventually crack, probably due to the stress of being exposed to high temperatures, but I can usually get quite a few firings out of them before that happens.

The particular terracotta saucer I used here was from a garden center, and it cracked spectacularly on the first firing.

Mess in my kiln...

Mess in my kiln...

My pieces fired nicely, despite the vermiculite spilling from the saucer. The mess in my kiln is easily cleaned, and is only a minor irritation. I suspect that what happened was that the saucer from the garden center had been exposed to a humid environment and had not completely dried out before I put it in the kiln.

Since I focus on making metal clay pieces for enamelling I avoid using stainless steel firing containers in my kiln. Stainless steel bowls tends to shed flakes of oxide that could cause impurities in enamel. I have also heard that the shed oxides collect on exposed kiln elements and burn them out more quickly, though this is not something I have had any personal experience with. For those of you interested in working with copper, bronze or steel clay, it is totally possible to keep your kiln clean enough for enamelling and still work with base metal. I simply use unglazed ceramic or ceramic fiber firing containers for the embedded coconut carbon firing.

Using ceramic fiber firing containers such as the ‘square head’ or ‘round head’ firing pots is the most reliable in my opinion. If you decide to use unglazed terracotta, make sure the pots or saucers are completely dry. Also, be prepared to do a bit of clean up once in a while.

I’m off to clean up my kiln…

 

Turritella Designs Receives an Award!!

On Friday afternoon, I received some fantastic news! One of my complex cloisonné designs, ‘In the Rushes’, was awarded the ‘Grand Prize Silver Medal’ in the Fire Mountain Gems 2015 Metals contest. I am absolutely thrilled, and very excited to have been a part of this year’s contest!

'In the Rushes'

‘In the Rushes’ was inspired by a summer afternoon I spent kayaking along the Humber River in Toronto. There were so many things to see hiding in the rushes. I wanted to capture the sense of life I found, and create a necklace with many stories to tell. The champlevé frog on the necklace clasp is hiding from the cloisonné heron center-piece. The blackbird perching on the cat-tail rushes on the back of the pendant is calling out a warning. The blue boulder-opal doublet on the bail of the pendant represents the river, and the rough granulated setting imitates the shore-line.

The pendant was constructed from metal clay, and the setting for the enamel center piece was made from fine silver bezel wire. The chain was created using the Viking-knit method, and finished with hand-made metal clay end-caps. The champlevé and cloisonné enamel pieces were created using a variety of transparent Thompson enamel colours.

You can find more details about the contest, and photos of other winners at this link: http://www.firemountaingems.com/beadingcontests/bc2015metalwinners

Why 'Turritella'?

One question I get asked frequently is how I settled on ‘Turritella’ as a name for my business. The answer is a long one.

‘Turritella’ is the name of genus of marine snail. These snails have lovely spired shells and their name is derived from the same Latin base that gives us words such as ‘turret’ and ‘tower’. There are many species of Turritella, but I was particularly fascinated by the fossil shells that are found in ‘Turritella Agate’*.

https://en.wikipedia.org/wiki/Elimia_tenera

https://en.wikipedia.org/wiki/Elimia_tenera

I grew up on the north coast of British Columbia, and for as long as I can remember I have loved agate. My grandfather on my mother’s side (who I never had a chance to meet) was born on Haida Gwaii. Haida Gwaii is one of the most starkly beautiful places I have ever had the chance to visit, and it is as well known for its mossy forests as it is for the fantastic agates that wash up on the beaches.

When I was young, I went on a trip to Haida Gwaii with my Nan and my mother, and we stayed at a fancy bed and breakfast near Towhill. My great grandparents were some of the English settlers who came to Canada to farm a homestead on the islands. The area they claimed is now part of Naikoon Provincial Park, near Rose Spit on the north eastern tip of Graham Island.

During this visit, the owner of the bed and breakfast took us out along North Beach in his pickup truck to see what remained of the homestead. A small meadow was all that was left of the farming effort, and the traces of the house had melted into the moss and salal.

When my ancestors moved from Haida Gwaii, my great grandmother returned wheel barrows full of agates to the ocean, retaining only a handful of the impressive agate collection she had amassed over years of walking North Beach.

One of the aspects that drew me to agates was their translucent character and colour banding. My fascination with colour and light is also what drew me to enamel. It seemed natural to name my jewellery business after a type of agate. The fossil name was a way to tie my scientific background and love of the ocean into my artistic business, and quietly poke fun at the slow, meticulous practice that is enamelling.

 

*Before I get pounced on by the scientists in the room, I should clarify that ‘Turritella Agate’ is the common name of the fossil lapidary rough, and while it contains fossils that look similar to Turritella species, they are likely species of the fresh water Elimia snail. That being said, the name ‘Turritella Agate’ is common in the Lapidary crowd, whereas ‘Elimia Agate’ may raise eyebrows even if it is technically more correct.

Cloisonné Dayflower Earrings with Kyanite and Peridot

These lovely cloisonne earrings were inspired by the vivid blue and green of the Asiatic dayflower. The cloisonne triangle is made from fine silver and Thompson unleaded glass enamel. The earring posts, jumprings and wire findings are sterling silver. Vibrant blue Kyanite drops and olive Peridot beads dangle from the cloisonne frame and add movement to the earrings.

The earrings measure 19 x 49 millimeters from the top of the sterling silver ball stud to the bottom of the Kyanite dangle.