Showing posts with label pattern. Show all posts
Showing posts with label pattern. Show all posts

Tuesday, December 2, 2014

Product Review: Rolling Mill Resource

I recently had the great privilege of spending a week in the home studio of metalsmith Melissa Muir. It was a working trip - I am helping her with some photos for her upcoming book about the hydraulic press - but we found plenty of time to play. Among other things, Melissa introduced me to texture papers from Rolling Mill Resource.... and I fell hard in love with the rolling mill all over again. I placed my own order after I got home and finally had the chance to sit down and play with it about 10 days ago.


I am so thrilled with this product that I could not wait to share it with you! Aside from superb customer service (which seems to be in short supply these days), Tracey from Rolling Mill Resource stocks an eclectic assortment of patterns and designs in a variety of sizes. The cost is reasonable, too - small sheets start at $2.50 and options go all the way up to large sheets for $12.60. My first order (shown above) included some small shape templates and - to my surprise - a very generous package of sample designs for testing in my rolling mill.  My second order included even more samples to play with before I committed my paid designs to the metal.


The designs are deeply laser cut into heavyweight paper - the brown patterns in the photos above are the recessed areas, which are crisp and clean even where there is a lot of fine detail. Tracey's free downloadable instructions are super easy to follow and give a great overview of the mechanics of roll printing that's very helpful in learning the process. I invited a couple of my more advanced metals students to have a play date in the studio with me yesterday so we could experiment with the patterns, and even for those who had never worked with a rolling mill before, the results were uniformly excellent. I don't think we got a bad roll print all day!


This is one of my favorites - and it's on a particularly thick piece of copper. The print is perfect.


I also love the subtle matte texture the uncut sections of paper leave on the metal.


Once we printed up a bunch of metal, we used some of the Rolling Mill Resource templates to make some components.



We had such a good time! And although we didn't wind up doing anything ground-breaking with the components we made, it was fun to experiment with shapes and patterns, and everyone left with lots of metal to play with at home.

My friend Dawn's earrings, using a harlequin pattern from Rolling Mill Resource
My earrings using Mikel's Flower pattern from Rolling Mill Resource
If texturing metal and roll printing interests you, Melissa has an excellent video on the difference between the embossing achieved in a hydraulic press and roll printing in a rolling mill. She also has a video on the process of roll printing which will give you a good look at how it works. And when you're ready to try some paper patterns, you won't be sorry if you start with the excellent selection at Rolling Mill Resource. You can even get them to convert your own photos to custom textures, something I plan to try very soon, and although I haven't tried any this way, the patterns are also suitable for use with metal clay.

It's such a pleasure to come across an artist who not only provides top-of-the-line customer service but also an excellent and original product. I have amassed a fairly substantial collection of their patterns in a short amount of time, and I am really looking forward to experimenting more with them. I have some ideas... now where did I put that extra time I was saving?

Until next time -


Edited to add: This is not a sponsored post, and I received no compensation from Rolling Mill Resource for featuring their products. I paid for the patterns I received, and my opinion is based solely on my personal experience with them. Melissa Muir is a personal friend, and all her videos are free to everyone on YouTube.


Friday, August 8, 2014

Freeform Friday: the Majolica experiment


In my last post, I shared with you a little of the background and the history of this style of ceramics/decoration. Now I have put it all to practice. 


This summer, during the clay camp I teach, my teens did a Majolica project. I had made simple terra cotta plates for each student, and while their thrown pieces were bisque firing they glazed.
They did a fantastic job and really enjoyed the process. They best results seemed to occur when they built their design out, making choices as they went. It was organic, and they were able to assess and make creative decisions freely. Those that had a precise plan still had great results, but it seemed the freedom of "off the cuff" was more rewarding. ( The students were using Amaco Velvet underglazes over  a ^04 opaque white glaze.)

Thursday - 

This morning I sat down to do a few test pieces- I am using the Amaco Gloss Decorating Series glazes over the same low fire white glaze. Sadly this series is discontinued. My glazes had dried, and I have reconstituted them. Its been a long road to get here: sitting down to glaze with colors and coffee.
I like an orderly glaze table. 
Keep your coffee and brush water on opposite sides of the table. 
The discontinued GDC series. 
Building up background areas. 

The test pieces. Before
All in all - I need to learn from my students. For the most part I am not thrilled with this selection. I need to just play with color and pattern and not get too precious or whimsical with details and motifs. I'll fire these today, so I understand what works best with layering and thickness. Then I will glaze the rest...

Friday - the results     ( Please excuse the 1. brevity 2. coffee stains on the counter. you'll see. I'm still on my first sips.)

So I open the kiln today, just 5 minutes ago - looks great! I am sorely disappointed that this line of glazes is discontinued. They are lovely. Fully fused into the base glaze, they feel satiny and the colors are intense. The top pix, with coffee, shows both the level of gloss finish, and a bit of the texture. The glaze looks bumpier than it feels.
I am not thrilled with my designs. But seeing these is sparking ideas in my coffee deprived brain. I think I need to go peruse my "Eye Candy" page in Pinterest, and pull out my Mehndi/henna design books. Thats where I am headed... 

So tell me! What do you think? 


Off to drink coffee, and glaze! 


Jenny
www.jdaviesreazor.com






Friday, July 25, 2014

Freeform Friday: Majolica!

Majolica -
In one word, one style there is so much history culture and tradition...


In my next pair of posts I would like to dazzle you with pictures, place Majolica in art/ceramics history, and show you how I am applying it to a series of pendants and charms. Ready? Cool...

Majolica is a tin glazed pottery - which translates as a colored earthenware clay body, with an opaque white (tin-based) glaze. Decorations are painted on top of the white glaze...
"Tin-glazed pottery is pottery covered in glaze containing tin oxide which is white, shiny and opaque. The pottery body is usually made of red or buff colored earthenware and the white glaze was often used to imitate Chinese porcelain. Tin-glazed pottery is usually decorated, the decoration applied to the unfired glaze surface by brush as metallic oxides... The makers of Italian tin-glazed pottery from the late Renaissance blended oxides to produce detailed and realistic polychrome paintings.

The earliest tin-glazed pottery appears to have been made in Iraq in the 9th century... From there it spread to Egypt, Persia and Spain before reaching Italy in the Renaissance, Holland in the 16th century and England, France and other European countries shortly after." (Thanks Wiki)


1. Dish with bird, in Islamic-derived style, Orvieto, ca.1270-1330
2. A Hispano-Moresque dish, with Christian monogram "IHS", . Valencia, c.1430-1500.

3.Iznik dish - British Museum. Dated 1540-1550.
4. Persian Pottery from the city Isfahan, 17th century.

Tracing its history is an amazing cultural trek across the Medieval landscape. And I love that kind of thing... Persian pottery ---- Islamic Moorish Spain---Renaissance Italy---then a jump to the left  (Is the Time Warp playing in your head now?) and into Victorian England where they really change it up... It's Maiolica in Italy. It's Faience in France. It's talavera in Mexico... I can't get enough!
1. An albarello (drug jar) from Venice or Castel Durante, 16th century. Approx 30cm high
2.  plate depicting the birth of Venus, by Francesco Xanto Avelli of Rovigo, 1533
3. Coppa amatoria depicting Elena Bella, majolica, from Castel Durante, Urbino, c. 1540–50
4. 
storiato decoration on a plate fromCastel Durante, c.1550-1570

1. detail of plate by William de Morgan Victorian era/late 1800's
2. G Jones majolica quail game tureen 
3. from Pinterest... sorry no details.
4. 19thc Victorian French Majolica Palissy Ware. Pike Fish Platter
And the modern contemporary era? Yes, many current potters are still using the age-old techniques in new ways, with modern aesthetic sensibilities! 
1&3 - Posey Bacopoulos
2 &4 - Linda Arbuckle

Are your eyes dazzled yet? Do you want to time travel to the Middle Ages and serve an apprenticeship? ( I do, but I'm an art history geek like that...)

Majolica isn't for everyone. Some pieces is so over the top, so ornate, so colorful. Embellished to a crazy place. But, you ask... where is the connection to Art Jewelry? 

Let me leave you with a teaser for my next post in 2 weeks. I have majolica pieces in progress - pendants and charms. These are part of the all-encompassing countdown to Beadfest. Stay tuned in 2 weeks - to see the results. I promise to post them - whether they are good, bad, ugly, or over embellished! 



Until then - have a colorful weekend.
Jenny 


www.jdaviesreazor.com
















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