Tuesday, May 27, 2014

Botanically Beautiful – Incorporating the Outdoors in Jewelry Design by Karen McGovern

Get ready, I’m about to share some secrets.  Well, not secrets per se, but stuff I figured out on my own and haven’t shared before.

With Summer finally on the horizon, we are all spending more time outdoors enjoying the beauty of the season.  Flowers in bloom, and so many intense colors popping...great inspiration for jewelry, no?
 
I love incorporating unusual bits and pieces into my jewelry designs.  Everything from leaves and flowers to opossum, raccoon and coyote teeth.  Some of these oddities are readily available online and are now quite common in art and jewelry designs, so head to the Google machine and you’ll find just about anything you can think of. 
 
For me, using found objects and botanicals tells such a great story.  I usually use these items in “totem” designs—some with a strong Native American influence.  I’m fascinated with mythology and storytelling, and often write a short story or poem to go with the design.  I’ve included some design examples here that incorporate a variety of insect wings, and coyote teeth.
 
A few of my mixed media designs using odd bits and pieces.  The one on the far right is called Tallmadge's Dragons. 
I wrote a short story to go with it...you can read it here.
I find that I am often inspired by one “thing” that sparks the creation of an entire, often elaborate, design.  A photograph, an unusual bead, an antique element like a chatelaine pencil (personal favorite and collected whenever I can find them).  I love things with a history, real or imagined.

This is one of my favorite optic lens designs.  I used cicada wings and a
fantastic tintype circa 1840.  I imagined her to be a pioneer woman of
science, an adventurer and explorer.  Isn't she just wonderful?
Today, in honor of glorious Summer, I am going to share my techniques for using real butterfly wings in jewelry design. There is a lot of butterfly wing jewelry out there; this is just my take on how to use the wings.   First, a bit of back story about butterfly farming.  I am a conservation biologist with the Rare Species Conservatory Foundation.  My work is a direct reflection of my love of wildlife and wild places, and my passion for protecting both.  Working with insects in jewelry designs is challenging, rewarding and also fascinating.  No, I do not head out to my backyard with a net and a can of Raid.  I use insects sustainably harvested through farming techniques.  YES, there are INSECT FARMS around the world that supply just about anything you can think of to museums, schools and collectors.  Butterfly farming is especially interesting to me.  I researched the subject quite a bit, and found that the industry is usually family-run in small, rural communities around the globe.  The insects are housed in botanical garden settings (remember there are many stages in the development of most insects that are very involved and work intensive for both the bug and the bug keeper).  Specific plants are grown for specific insects, kept in almost sterile conditions, and require constant upkeep so the larvae can grow and mature.  It is much easier to sustain a captive colony of insects rather than capture from the wild.  AND, this in turn ensures wild populations of insects will continue to flourish.  Funds raised support families and communities, and many also support local wildlife and ecosystem conservation education programs.  A win-win all around.  I could go on and on, but instead, GOOGLE IT. AND, be aware that there are many sources for NON SUSTAINABLY harvested insects.  Do your research and please use only certified sources.
 
So, back to using butterfly wings.  In case you didn’t already know it, butterfly wings are made of magic.  That’s right; they are a magical substance that no human can really understand.  Incredibly beautiful, made up of tiny scales covered in fairy dust that reflect and refract light, repel water, STICK TO NOTHING, and seem to be as fragile as spun glass but are actually tougher than aged leather.  They do not cut easily.  They do not set in resin.  They will crumble into dust, shatter like glass, while at the same time dull a razor blade in seconds.  THEY ARE MAGIC I TELL YOU!  They should make tiles for the space shuttle using them and we could fly to Venus tomorrow.  I have spent a LOOOONG time figuring out the best way to handle them and here is what I have come up with….. 

1.  Why not resin, you ask??? I have seen some wings set in resin that look okay, but most look crappy. It’s all about how the light hits the scales on the wings. When they are flattened and coated with liquid resin, the entire wing tends to lose its luster and intensity. Some just turn black. And, unless the wing is framed somehow it will collapse on itself and turn into a ball of goo. You can set a laminated wing in resin, which brings me to…

2.  Laminating. I picked up a low heat plastic laminating machine at Office Depot for about $20.00. Worth it if you like to use delicate items like flowers, insect wings, etc. Must be low heat or the wings will discolor or turn black. Simply slip the wings into laminating pouches leaving a good amount of space between each wing and run it through the laminating machine twice. I tried do-it-yourself laminating sheets, but as I said, the wings stick to NOTHING and you need to get a good, air-tight seal around the wing that will not peel apart. The “dust” on the wings keeps them from sticking to any surface, no matter how adhesive the surface is. A laminating machine creates a true seal around the wing. After laminating, cut around the wings leaving at least a 1/8thinch border of laminating material. If you cut too close you will see that the laminating sheets will pop apart and the wing will slip right out. The border is also important if you plan to drill holes for rivets, etc. At this point you can coat with resin if you want the wing to be stiffer, but good laminating sheets will do just fine.

3.  Mica and plexiglass. I love mica and plexiglass. These two materials work really well with butterfly wings (and dragonfly wings) for many reasons. The material is easy to use and cut to shape. You can drill it for rivet setting. It doesn’t affect the appearance of the wing in any way and protects perfectly. Simply cut to fit the wing (leaving a 1/8thinch border around the wing), drill and rivet in place. My go to materials for setting wings.

4.  Glass. This is probably the best way to set the wing in a high-end, professional manner. You can buy glass domes and rounds in many sizes and these can be beze- set very easily. The best way I have found to bezel-set a wing fragment is under watch crystals. Optic glass cut in calibrated sizes from tiny to huge. The variety in size and shape is endless, and many come trimmed in 14k gold and sterling silver, as well as endless fashion colors. These make fantastic rings, earrings, cuff links and pendants. Simply create your bezel setting to size (or use premade settings), cut the wing to fit (more on that in a moment), set it in the bezel, top with the glass and VIOLA!!!! Optic lenses are also great and can be used to create wonderful pendants.

A sheet of laminated butterfly wings.
“But Karen”, you say, “How do you cut your butterfly wings to shape and size?”  That, my friends, can be tricky.  As I said, butterfly wings are very deceptive.  You’d think they would cut like tissue paper, right?  WRONG.  They are amazingly strong, yet highly brittle and shatter easily.  They have stiff, strong veins in them that are not easy to cut through.  You can’t touch them with your fingers, or you’ll rub off the scales and leave dark spots all over the wings.  

First, you need a really good pair of small scissors.  Really good, like hair salon quality.  And an X-Acto Knife with a brand new blade in it.  To cut to fit a watch crystal, I set the wing on a clean piece of white construction paper using tweezers, holding just the very edge of the wing.  I then place the crystal over the wing and press down with the fingers of one hand to hold it firmly in place.  Then I use the X-Acto blade to carefully and slowly cut around the crystal. Rock the blade back and forth—DON’T DRAG IT—untill the wing has been cut through all the way around.  Then I remove the crystal and pick the wing up with the tweezers.  If I need to further trim it, I carefully hold it with tweezers and use the best scissors I have.  For every good cut I get, I trash at least two.  You’ll see….they will shatter so easily.  AND, here’s a big tip from me.  Try not to hold your breath while you do this, because as soon as you think you are done and take a big exhale in relief you will blow your wings right off your table and end up cursing….A LOT.  Yes, the slightest breeze will take your wings away so no fans, AC, etc.

When placing wings on a pendant base to rivet, you can use a tiny dot of good old white craft glue just to hold the wing in place for the moment.  Glue doesn’t actually stick to butterfly wings, but when wet it will at least hold it in place while you place your mica, plexiglass, crystal, etc.  Yes, the process is work intensive, but the results can be so AMAZING!!!!


Here are some of my favorite butterfly wing designs.  I just had one featured in the most recent issue of Belle Armoire Jewelry Magazine.  I created it for Nunn Design, and instructions are included in the magazine, so go get it!!!  This issue also features work by other LMAJ members, so I am in fantastic company….


I won’t list all my sources for wings and watch crystals—a girl has to keep some secrets—but the Google machine will lead the way so I’m sure you will find whatever you need.  If you do give working with butterfly wings a try, please post pictures of your creations—I’d love to see what you come up with!!!!!

Monday, May 19, 2014

Getting Published

by Staci Louise Smith

I think I can honestly say that one of the most exciting things you can experience as a jewelry designer is to get published and see your work professionally photographed.

The upcoming Summer issue of Belle Armoire Jewelry has three of our very own contributors in it.  



Karen McGovern has two pieces in the gallery section....don't you love how they photographed them?  So beautiful.



Then I was flipping through and saw a great article by Carol Deckle Foss, who is soon to be our newest member at Love my Art Jewelry.



And I got this issue because I have two different polymer clay articles in it.  




So, how did we manage this?  Who did we have to know?  What strings did we pull, or hoops did we jump through?  

None.  We just submitted, and we got accepted.  

Now, every magazine is a little different in how they like things submitted, and when they are due.  Different magazines take different types of jewelry making techniques also......so, the best thing you can do, is to find the magazine you think your work would best fit into, and follow the instructions they have for submissions.  

Submit a project, and then wait.  Don't get discouraged if you do not get accepted.  Most magazines take submissions for EACH issue. So,  say you submit a bracelet, they may already have enough bracelets for that issue.  You can always take your piece and submit it again to another magazine.  

If you do get accepted, make sure to ask questions if you aren't sure what is expected of you.  Having a good relationship with the editor is important.  However, keep in mind, they are VERY busy as well, and may take a little bit to get back to you.

So, if you have been wondering how you get your work published, that's it, just put it out there.

I will add that it may not be for everyone.  You may need to take step by step photo's of your process for the article, and you have to write detailed instructions, with measurements and resources for your supplies.  This comes easier to some then others.  I would still encourage you to try it, at least once, to see if it is up your alley.

Most magazines also pay you for your contribution.  So not only do you get recognition for being in the magazine, your name and work in there, and a link to your website, but they pay you too.
Another added benefit, is that people get to see how you make things.  You may worry that this will hurt your business, but I think your customers will value being able to see how handmade your pieces are!  What better way to show the work that goes into your art?!

I think its a win win all around.  The magazines want an influx of new artist to feature, so they have variety, you want to get your name out there.  No one loses.

Here are some links to submission guideline pages for some jewelry magazines just to get you started!

Bead Design Studio

Bead it Today

Belle Armoire Jewelry and Jewelry Affaire

Stringing



Bead Style

Do it.  Just do it.  You don't know until you try!

Love My Art Jewelry Fine Finishings Boot Camp BLOG HOP!!!

It's time for our Blog Hop for our Fine Finishings bootcamp!

We want to see YOUR examples of your very best fine finishings!

Have you been working on making your own ear wires?

Maybe you just started covering your crimps?

Have you been trying to make sure you get those wire ends tucked properly so they don't snag or just wondering what wire is best for each bead or type of finding?

What about your packaging? Maybe you've been working on new ideas so your packaging shines as  brightly as those beautiful handmade pieces inside?

Getting started in a new medium or perfecting the pieces you already make? Even refining your process by making sturdier charm loops, sealing your metal,  and cleaning the holes on your handmade beads can take your pieces to a new level of finishing.




WE want to SEE what you've been working on! Please post a link to your blog post below! You have plenty of time to link up below! Link ups close on Saturday Night at 10:00 EST! 

Friday, May 16, 2014

Wood-Firing 101

MaryAnn Carroll


In my last blog post I shared a little bit about the differences when firing ceramic beads. The most recent and my most special firings are when my husband does the firing for me! Well, I make the beads, glaze and prep, but cannot take credit for the 18 1/2 hours that it took him to fire this last time stoking the kiln every 3 minutes. I also wrote a post on wood-firing in a little more detail a couple of months ago. Click the highlighted links to read a little more if you please. The March post is when the process started for this particular firing.


Near the end of this firing, one of our young friends Connor came over to assist.





Why the name Split Fire Pottery? The chimney is split in two.




And what came from this firing?

Bill is currently listing on Etsy. Check it out by clicking HERE.

Pictured below are some examples of the beads that came out of the kiln after a two day cool down. I lost about 10 due to the wire adhesion, but the ones that did come out I am thrilled with. The pictures are super sized so you can see the full effect of what this process does.

Here they are......








We did a little experiment and put some of my mid-fire porcelain in the chamber near the bottom of the chimney. The beads on top are the way they look from that experiment. The beads on the bottom are beads using the same glaze, but they were fired in my electric kiln.




You can see more pictures of this firing and others by going to our Facebook page Split Fire Pottery and Artisan Beads Plus

Thank-you for supporting artists who create handmade with handmade.

MaryAnn

Thursday, May 15, 2014

Boot Camp: Fine Finishings: Polymer Clay





by Staci L. Smith




Polymer clay is a wonderful product.  It is an extremely versatile medium, with a low cost for start up. 

That is good, and that is not good at the same time.  Even though it is very easy to work with, it requires some education and practice to create pieces that will last.  

So the first advice I would give on polymer is learn about it, know your product, and test your beads and pieces before selling them.  That may take months- but I highly recommend it. 


I often see the same questions come up time and time again in the polymer clay groups on facebook; what should we use to seal our beads? 

I also see complaints that polymer clay components break easily, crack or crumble.

This Boot Camp was made to help share the things that we have learned in our experience, to help you guys

1.  Make a durable, lasting product you can be proud of

2.  Inform the buyers of these products and the process, and give them tips so they can ask informed questions before purchasing.  Though this is not always the case, you usually get what you pay for.  It takes a lot more time to properly make something that is going to last, and that is going to push the cost of it up.  This goes for most things in life, and is no different in the arts and crafts world.

  In the polymer world, someone who spends hours making beads, layering and layering expensive, and durable sealers, who spends time conditioning the clay thoroughly, who puts endless effort into their work, will of course have to charge more for their time. 


Today I will be sharing a couple tips that I have learned, mostly the hard way (i hope to spare you some of my own fails I've had a long the way), so that you can make the best components possible.

1.  Conditioning the clay.  Thoroughly conditioned clay should  not crumble or break once it is baked. Using a pasta machine is the way to go!  I recommend just getting a good one if you plan to make components consistently.  Condition it well beyond when it feels soft- as this process spreads the plasticizer through the clay making for a stronger bead.  I love my Atlas. I bought a cheap one from the craft store and it was awful.  (another example of you get what you pay for).  A friend found mine at a rummage sale for me, so I got it for a great price anyway.
2.  This is a huge one- adding metal connectors or bails.  Unlike ceramic clay, polymer does not shrink when it is baked.  So, when you add your metal connectors, head pins, ect.....especially if they are going to have any kind of pressure on them, there are some simple things you can do to ensure they stay in place.  (I had some come out on me early on, and I was so embarrassed...)  First of all, I use the Sculpey Bake and Bond on them before pushing them into the clay.  Second, I cut the wire as long as I can, to ensure it is REALLY inside the clay, and not merely just under the surface or at the edge.  Third, try to push them in as straight as possible, to make the smallest hole possible.  If you wiggle it as it goes in, you create a bigger space around the metal.  As you push them in apply gently downward pressure on the bead, right above where you pushing in the metal, so that they clay is bonding around the area the metal has entered. You will be happy you took the extra time.  




3.  Bake it thoroughly.  Ovens vary, so using a thermometer is an option to ensure your items are being baked at the correct temperature.  I prefer using a convection oven, I bake on a pizza stone, and I bake it for longer then recommended, which hardens it s bit more (this varies from brand to brand and takes some experimenting).  Baking on a pizza stone is wonderful, because I don't get hot spots, it never burns, and it doesn't even put flat spots on my round beads, even if I just lay them on it to bake.

4.  If you do not paint your creation, you can sand it.  You should not varnish your polymer if it is not painted.  It is unnecessary.  Sanding is all you need to do.  You start with a bigger grit, and move down to a finer one.  Wet sanding is the best, and always wear a mask.

5.  Varnishing your clay.  If you do not use a water based varnish on your clay (this includes nail polish and many other varnishes) it will eat away at the clay over time, making it gummy down the road.
The sealers I most highly recommend, are Varathane, PYMII.

Varathane can be found at a number of place that sell house paint, and it varies by region.  It also comes in smaller sizes then this.


http://www.lowes.com/pd_49700-90-000000000000230031_0__?productId=3153381&Ntt=varathane+water+based&pl=1&currentURL=%3FNtt%3Dvarathane%2Bwater%2Bbased&facetInfo=


PYMII or Preserve your Memories II can be found online, here. http://www.pymii.com/   This comes in spray form, and though sprays have their draw backs at times, it really works amazingly to seal beads.

Ginger Allman has written some extremely thorough, and informative posts on PYMII.  

I also recommend sealing them many times.  I seal my beads with at least three coats, but usually more.  

Well, that is some of the most requested information I hear when it comes to polymer. I think the biggest fine finish suggestion is the part about testing your work.  Some brands of clay are too easily breakable for the making of beads.  Here is a good list of the different polymer clays and their qualities.

Ginger Allman has also done a great post about the newest type, Sculpey Souflee.  You can read all about that here.

As a matter of fact, if you are new to polymer clay, Ginger's blog, The Blue Bottle Tree, is full of wonderful information and tutorials.  She is extremely thorough in her testing, and meticulous in her writing.  Her and I have chatted a few times of various polymer clay topics, and I value her opinion and research!  I would highly recommend her blog.

As for our Fine Finishing's Boot Camp, we will have the blog hop on Monday May 19th.  For this Boot Camp, we just want you to blog about your most finely finished piece.  Feel free to share tips as to how you got there, or just show off what you have learned- we know you got skillz!  You can add your links right to this blog next Monday, there will be a spot to do that.  We do ask that if you participate, that you also visit the other blogs and comment and encourage each other in the hop.  You can add links all week, so check back and see what is new!

We hope to see you then!


 

Saturday, May 10, 2014

mary jane dodd

mjd - 2014

it is no mere coincidence that the moonflower blossoms at night.

it requires darkness
and the silvery light of the moon 
for the creamy white bloom to open. 

mjd - 2014

there are things that grow in the dark night of the soul
that, quite simply,
would never come to exist in any other way. 

these gifts only arrive in times of struggle and sorrow.

don't miss them because you are focused on the light at the end of the tunnel -

be in the tunnel - 
and find strength in knowing they are there along with you to be discovered.

-----------------------------------


Friday, May 9, 2014

So much to do, so little time

                                                                                                      by Kelli Pope
 
..Count down to show time...6 days, 10 hours....
 
This week I've been playing with lead-free pewter sheet metal.   
 
Pewter is a malleable metal alloy, traditionally 85–99% tin, with the remainder consisting of copper, antimony, bismuth. Silver is also sometimes used. Copper and antimony act as hardeners.  

Very nice to work with, and much cheaper than sterling silver.  
 
I also have some wonderful new enameled pieces finished.
 Yummy, Spring color, huh?
 
And some of the finally successful beads from last week's firing..........

Now to spend the weekend making jewelry out of some of this fun stuff!! 

Thursday, May 8, 2014

Components, Finished Pieces, and Growth

As a ceramic artist, gardener, and mother, there is something a bit extra special when you receive a gift of freshly picked flowers from a young child.
These flowers may be something you have been trying to grow or something that is plentiful without any effort at all. Either way, that special feeling that those were picked because that child thought of you and how you may enjoy those flowers - no matter how teeny the stem is once picked - is just beyond words...
As a ceramic bead maker, I started making some cone beads, which then changed into these larger cone shaped pieces, which I put two holes on the side so I could then hang them with wire.
I call them "Seed Pod Collectors".
Purely because of my daughter - the collector of anything in the garden...
And my good friend Jenny Davies-Reazor, a ceramic bead maker and mixed media artist was over one day for lunch, and I gave her one of these to fiddle with.
She had the brilliant idea of stuffing polymer clay into the bottom of these, adding some of my ceramic headpins and extra wire, then baking it to cure the polymer.
I love the way she added wire and a couple of spacer beads to the sides too.
And below I was creating layered porcelain beads and started putting some of the handmade glass headpins from my friend Nikki Thornburg to see if there was potential there for some fun pieces.
My brain just fluctuates between making bits and pieces - components...
Or trying to make finished pieces that could in my head, will hold special memories for that person that ends up with that pieces.

Either way, my work deep down, is never really finished when I am letting it go through selling it or by gifting it, it goes on and finds it's future path.

Right now I am getting into production mode of ceramic bead making for the Bead and Button Show in Milwaukee, WI (June 6 - 8, 2014). If you happen to be in the area for that show - make sure to stop and see me in Booth #610 with Nikki of Thornburg Bead Studio!

Tuesday, May 6, 2014

Cleaning the studio and cleaning the mind....

by Barbara Bechtel



Since mid-February, I've been on a purging binge in my studio. Being a mixed media artist with a tiny studio space, my collections and hoardings have become way out of hand in the last couple years. It's all fine and well to amass many things as a mixed media artist, but the reality comes when I realize I don't use most of it. Even if I'm keeping it around for when inspiration strikes, usually breaking it all out and making a colossal mess, generally results in a feeling of personal overwhelm. Then I clean it all up because my space is small. I like a tidy workspace. Don't get me wrong, in the throes of creativity, I'm super messy, as it should be for me....but my habits are to clean it all up when I mess up every surface and then find myself working on the floor in a tiny 2 ft. space.

I have great plans of renovating and sprucing up this space in the fall when we return from our summer time in North Carolina....so I've been taking time each week to sort, to sell on ebay and privately, to carry "treasures" to the flea market, but I want things to be very clean and trim and lean and mean. I've passed the point in my life where I need to keep collecting things, and I'm happy to work with what I have in the moment.

It's taken me several days of each week for the last 3+ months, but now I'm seeing some headway and it's looking good!

How do you work? Do you like to hoard things? Do you like a sparse creative space? What makes you personally feel most creative?

Monday, May 5, 2014

Know what you are buying......

MaryAnn Carroll
With shows in progress or coming up really soon, I thought I would share a little bit about ceramics. I think it is important to know the difference. The more informed you are, the more you are able to ask questions and make educated choices. Before I started creating my own beads six years ago, my only experience was two semesters in high school ceramics class. All that I really remembered was choosing what we wanted from bisque ware and then glazing them. I am sure that we built some things too, but if I did, it was probably ashtrays! Yuk! In 11th grade, I was an extremely intelligent and worldly 16 year old (not unlike some teens we know today) who knew all there was to know about life and school already and was done with what I needed to do. I was more focused on what was going on over the weekend much more than I was on academics. My most vivid memory is making six very huge (probably 2 liters) beer steins for friends! OMG! Can you even believe we could make beer steins in school in 1976? I'm sure that they eventually found themselves broken or in the dump, but they were a big party hit at Christmas!!!! Fortunately, for my mother and me, I grew up! I don't even like beer and gave up smoking in my early 20's.

With that said and with obvious reasons as to why those memories are vague, I then found myself back into creating with clay years later.  Since I am married to a retired art teacher, I was able to get lots of private lessons. I learned tons in a short period of time, but really got a wake up call when I graduated to firing from low fire to mid-fire in my new kiln with a malfunctioning pyrometer. You probably thought I was drinking, right?


You learn real quick when you wake up to see your beautiful creations in your brand new little 8 x 8 kiln and instead you open the door and ..... "Holy #$%@#$@!!"

That bottom that you see is part of the kiln brick that all of this melted on.  Yup, it caught all of it, bead trees, beads, nichrome wire and anything else that was upright. A very sad sight. This, however,  is a perfect example of what can happen when you fire a clay hotter than it is intended to be fired.

Also, for the record, this is not the be all end all in ceramics. It extends as far as my knowledge extends, but I think it is fair to say that these are the most common types of pottery that you will find. The main difference between clay types is firing temperature and how porous the piece is after firing. The firing temperatures for optimum hardness that I am giving you can vary. Many people choose to use firing cones that bend when the kiln reaches temperature. I do. I use a pyrometer also, but don't trust is totally! Go figure.

cones for an upcoming wood-firing (different cones melt at different temperatures)



cones that have melted in response to heat work


My summary is just to offer you some insight about the various types of pottery that you will see at shows and online and, hopefully, you will walk away with a little more knowledge about ceramics.  I will show examples of beads but, anything you see here pertains to large pieces as well.


So, what ARE you buying when you shop for ceramics? 

Low Fire Earthenware:  This is a low fire clay, which is most commonly fired in an electric kiln.  They are fired to about 1860 degrees. These clays are highly plastic (easily worked) and can be sticky.  This is what I was glazing when I was in my ceramics class.... You know... the beer steins!  It is also what I first used when I started to make my own beads.
earthenware beads

I sold these in 2009. It is funny to see how much I have evolved since then. I still see myself in these, but also see how much I've learned since this time.

Raku: This type of kiln is usually handmade. Once the kiln (often made from high fire barrel) reaches a temperature of 1860 degrees, the piece which is red hot is placed into another barrel of straw, sawdust, and paper which ignites instantly. The barrel is quickly covered and the work remains inside for a period of time. The glaze is often known for is copper like luster, but there are also many other glazes that are common with raku such as crackle glazes.

raku beads by Elements Pottery

Pit Fired: This is sometimes confused with wood-firing. I don't really know too much about this method, but I found a great little post that you might like to read. You can get there by clicking the link under the picture.

Pit-fired beads Lil Fish Studios


Mid-fire clays: There are many types. Some prefer to use stoneware and others porcelain.  There are many colors and types of stoneware. These are personal preferences for the artist and many choose what they do for the effect that they wish to achieve. There are stoneware clays that are nearly white and some that are black. The outcome of your piece depends on the type you use. If you use browns or blacks, the outcome after glazing will be extremely different than if you use white.

You can click HERE for a great post that Marsha Neal did on mid-fire clay and glazes for the Beads of Clay blog.

Mid-fire porcelain from the few left in my almost retired Etsy Shop

High-fire clays: Again, like mid-fire, these can be either stoneware or porcelain. These clay bodies can be fired to 2400 degrees. These are often used with methods such as gas, wood, soda, and salt. The process is used to create a certain look. The added materials (soda, ash from wood and salt) mix with the glaze for various outcomes. You will not see these used much with beads for a couple of reasons. Often kilns are large and designed for larger pieces. Also, the salt, soda or wood ash lands freely on the piece. When beads are glazed and put on bead trees, many can get lost due to the free form melting that takes place.

Here is a group that was showered with ash. It was a little bit of a disappointment, but it is the price you pay when wood-firing. The ones behind that grouping that were more protected came out great, but as you can see, there is a big chance of losing many.



I could not find any examples of soda or salt fired beads, but I do have wood-fired. That's because I am married to a wood-fire artist and get to put my little beads in his very big kiln!

We are going to experiment with mid-fire porcelain this time by adding it to the way back of the kiln. Here is a picture of what is going in.  I don't think I will put all of the porcelain in until I see the results.


Obviously, they need to be glazed. The ones on the tray are mid-fire porcelain and the others are high fire stoneware. Hopefully, I will share some results that are beautiful and not like the first picture that I shared in this post!

I'm a risk taker..... so, we'll see what happens.

Here are some of my favorites from past firings. The downside of wood-firing is that it is unpredictable. The kiln gets stoked with wood from every five minutes to every one minute near the end for about 16 - 20 hours.

The upside is that you get unique, one-of-a-kind pieces with every firing like a few of my favorites that I have pictured below.







So, I hope that you have learned a little more when shopping for ceramic pieces. If you are a ceramic artist or if you have any questions, please feel free to chime in.

Thank-you for supporting artists who create handmade with handmade,

MaryAnn
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