In continuing my artistic journey, I began exploring glass in 2013, and metal in 2014. I fell in love with the infinite possibilities, and began searching for a way to bring my unique vision to life. I developed a process to transport my interweaving, swirling and organic designs into a metal form that I embellish with oil paint, to create morphing colors and levels of dimension.
UNIQUE PROPERTIES / PROJECT DESCRIPTION:
Cuff: Hand-Painted, Resined Champleve. 960 Sterling (PMC). Amethyst Cabochon. A wonderland-like juxtaposition and interweaving of flowing forms and color, delving down a hierarchy of details - every gaze discovering yet a new level of fantasia.
OPERATION / FLOW / INTERACTION:
Decorative Cuff, worn on the wrist or lower forearm.
PROJECT DURATION AND LOCATION:
From Aug 2015 to Jan 2016, Pittsburgh, USA
PRODUCTION / REALIZATION TECHNOLOGY:
960 Sterling (mix of PMC3 and PMC Sterling metal clay), Oil Paint, Resin. I begin with sketching on paper. I scan the drawing & redraw on the computer to refine the edges and add additional details. Then I cut a mold of the design in Plexiglas using an etching laser. After forming the silver clay in the plexiglas mold, it is fired in a kiln. I use traditional techniques of forming, polishing, soldering & stone setting. With tiny brushes, I paint the recesses with oil paint. I uncover the tiny details with a burnisher, then seal the color by applying resin with a toothpick.
SPECIFICATIONS / TECHNICAL PROPERTIES:
Width 71 mm x Depth 60 mm x Height 62 mm
cuff, silver, sterling, amethyst, color, champleve, jewelry, fantasia, organic, flowing, bracelet, 960, PMC, metal clay, sintered
How to apply very complex color designs in a permanent method to metal, other than using enamel. Initial tests utilized Guilders paste and sealing with a 2-part epoxy resin. The negatives were difficulty of application, limited color pallet, and fumes. Colored pencils were promising, but impossible to apply to tiny recesses. Subsequent tests with artist oils proved better on all issues, supplying a diverse color pallet, better bonding with the metal, easy application, no negative reaction with the resin.
Rolling out such a large piece of clay and obtaining a clean impression from the large mold was very difficult. The clay was getting trapped in the mold. The solution ended up being a combination of discovering a better release agent for the mold, and reducing the impression time.
The cuff needed to be formed prior to resin application, presenting a curved surface. To keep the resin from flowing out of the wells, the solution was to incorporate design elements around the circumference of the cuff, to create boundaries for containing the resin.
TEAM MEMBERS (1) :
All Images: Liz Sabol, 2016
Copyright Liz Sabol, Bead Lizzy, Liz Sabol Creative.