Convergent Series

learning, using & teaching metal clay, and other aspects of life

What I did last week (part 2…)

Posted by C Scheftic on 2012/01/23

OK, so why did I go off making those domed disks described in my last post? Well, I started them as soon as I received this photo in the mail:

That’s not a piece of mine. It was made by the very talented Maria Richmond, and it was included in an email from the delightful Zelda’s Bead Kit Company, to illustrate a workshop that Maria was to teach there last week.

I’ve wanted to take one of Maria’s workshops for quite some time now; but never managed to have both time and money available to coincide with the projects of hers that interested me the most. But when I saw this one, I contacted her right away, to ask about the size of the disks, and learned that they were some “antique enameling disks” that Maria had bought online to include in the materials-kits for the sessoin. Yes, they are very nice disks, and it’s great that they are now going to good use. But I saw that bracelet and immediately pictured making it with hand-made, textured domed disks, designed and developed using metal clay techniques!

Thus the little collection I made last week: two different metals (copper and rose bronze, from Hadar’s metal clay powders), some of each in two different sizes, all with a deep “rose” pattern on their convex (domed) side, and with either a much finer “rose” pattern or a shallow “fern” or “swirl” on the other (inner, bowl) side (varying in such a way that I could easily tell which was made from which metal). I made those to take to Maria’s class, about twice as many as I thought I’d need, plus a few smaller ones in case I needed some minor adjustments in length.

Now, my larger pieces are slightly bigger than Maria’s disks, and my smaller ones were not quite as big as hers. It looked like five of my bigger ones would come out to just a smidge under six of hers, which seemed like a size I could wear. So I just used those, rather than try to tweak the length any further by varying the size of the pieces.

Following Maria’s instructions in all other regards, the photos to the left and right here show how my bracelet came out. I was delighted.

Maria’s sample, and all of those made in the workshop except for mine, were made entirely of copper elements (not just the disks, but also the coils, links, jump rings, and clasp pieces) and, as a last step, darkened with Liver of Sulphur (“LOS”). I chose, however, not to use LOS on mine. I figured that would overpower the kiln-colors that I liked; the metals will darken soon enough on their own with age.

Then, a few minutes after I finished mine, as I looked at it on my arm, trying to decide which side should face out, I had a real “Aha!” moment. I took it completely apart and, when I reassembled it, I alternated both metals (rose bronze – copper – rose bronze – copper – rose bronze) and the orientation of each piece (rose up, coils up, rose up, coils up, rose up). I then bent the wire-wrap connectors a bit to encourage everything to lie in a particular orientation.

But, even if it rolls up and down my arm, this way I am more likely to have some elements land wire-coil up, and others, rose-dome up, thus featuring both Maria’s wire-work idea and my own metal-clay approach, respectively. (We’ve already discussed the possibility of jointly offering something along this line as a two-part class later in the year.)

And, yep, it’s a two-sided bracelet. Somehow, I just can’t help but make fully reversible pieces. Stay tuned: I’m hoping to find time to finish up yet another variation or two on this in the next week or so.

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