ECU Symposium Material Topics Discussions - crafthaus2024-03-29T05:41:03Zhttp://crafthaus.ning.com/group/ecusymposiummaterialtopics/forum?groupUrl=ecusymposiummaterialtopics&feed=yes&xn_auth=noSymposium Wrap Uptag:crafthaus.ning.com,2011-05-13:2104389:Topic:2385292011-05-13T18:46:01.788ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058043920?profile=original" target="_self"><img class="align-center" height="486" src="http://storage.ning.com/topology/rest/1.0/file/get/1058043920?profile=original" width="623"></img></a></p>
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<p>I wanted to do one last post on the symposium. After a quick nap, and time to get gussied up, everyone heads to favorite local downtown hang out Tipsy Teapot, where we host a rock out cocktail party. We even have live music! It's a great way for everyone to just hang out and party down before heading home. This is a group shot of all the symposium…</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058043920?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058043920?profile=original" height="486" width="623"/></a></p>
<p> </p>
<p>I wanted to do one last post on the symposium. After a quick nap, and time to get gussied up, everyone heads to favorite local downtown hang out Tipsy Teapot, where we host a rock out cocktail party. We even have live music! It's a great way for everyone to just hang out and party down before heading home. This is a group shot of all the symposium participants this year who were at the party.</p>
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<p>I'm not in this shot. I was in my studio, at my bench. I love meeting new people and getting the chance to talk to old friends, but by the end of the weekend, I wasn't in the mood to socialize. I was in the mood to make. For me, the symposium reignites my passion for the field and my passion for making, after that holiday lull. You get to see so much awesome work and listen to so many great people share their knowledge, how could you not want to get back in to the studio?</p>
<p> </p>
<p>The current grads and undergrads are already working on next year's symposium. I've seen the short list for presenters and I think we're in for another great experience. Having just graduated, I don't know if I'll be able to attend the symposium in January, but I'm grateful for having had the opportunity to participate these past two years. I'm also grateful to the Crafthaus community for allowing me to share this unique experience. Thanks for following along these past few months!</p>
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<p>For information regarding the 2012 Symposium, <a href="http://ecusymposium.wordpress.com/" target="_blank">check the blog here.</a></p>
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<p>To purchase The Sketchbook Book (mentioned in a previous post), <a href="http://www.blurb.com/bookstore/detail/1980836" target="_blank">go here.</a></p>
<p> </p>
<p>Thanks again!!!!!!</p> Day 3: Tom Muir Lecturetag:crafthaus.ning.com,2011-04-30:2104389:Topic:2332662011-04-30T15:35:31.160ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=RESIZE_480x480" width="450"></img></a> <span class="font-size-1"><em>Tea Infuser</em>, sterling silver, 1991</span></p>
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<p>Our last lecture of the symposium was Tom Muir, who spoke in depth about his work. Unfortunately, I missed most of his talk, because I was busy making sure that we were ready to return work from the student exhibition, and also taking down the Art/Science Laboratory exhibition I…</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036314?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Tea Infuser</em>, sterling silver, 1991</span></p>
<p> </p>
<p>Our last lecture of the symposium was Tom Muir, who spoke in depth about his work. Unfortunately, I missed most of his talk, because I was busy making sure that we were ready to return work from the student exhibition, and also taking down the Art/Science Laboratory exhibition I co-curated. I was able to talk to Tom a little one-on-one, where we discussed electroforming and how to maintain a properly working bath in a communal studio environment. Tom has an incredible amount of technical knowledge, and we were so fortunate that he was able to share so much of it with us at the symposium.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058039326?profile=original"><img width="248" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058039326?profile=RESIZE_320x320" width="248"/></a><span class="font-size-1"><em>Tea Infuser</em> on Drip Stand, sterling silver, 1993</span></p>
<p> </p>
<p>Tom is what I consider to be a metalsmith's metalsmith. Traditional, technical fabrication all the way. I can't even conceive of making some of the things he makes. He spoke a little bit about his first bench job after finishing his undergraduate degree; how he struggled and how much he learned from that experience. I think this type of thing is so important for students to hear from artists they look up to. Students sometimes need to remember that their heroes were once students themselves, and it took them many years of hard work and dedication for them to get where they are now. That brief little story Tom told about his first job is something that really stuck with me from the symposium.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036864?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036864?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Tea Infuser</em> (off drip stand, open position), sterling silver, 1993</span></p>
<p> </p>
<p>Some of you may recall that Tom juried the Extreme Tea exhibition at the SNAG conference in Houston <span class="font-size-2">last year. I made a tea infuser, submitted and was rejected. I was a bit miffed, I think as we all are whe</span>n we get rejected, but when I saw the exhibition in person, I understood why my piece wasn't in the show. And when Tom spoke about tea infusers in his lecture, I got an even better understanding. My piece wasn't functional in the classical sense of tea infuser, which is an important criteria for Tom. I'm glad the one part of the lecture I was able to catch was how Tom got introduced to tea infusers and how they then began to make their way into his own body of work.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058039137?profile=original"><img width="293" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058039137?profile=RESIZE_320x320" width="293"/></a><span class="font-size-1"><em>Orchid Vase</em>, sterling silver, 1997</span></p>
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<p>Even though my work and Tom's work are quite opposite, I enjoyed the few interactions I was able to have with him. Tom's the type of person you feel like you can learn from just by standing next to him. His traditional techniques also brought a nice balance to the symposium.</p>
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<p>For more information about Tom and his work, <a href="http://personal.bgsu.edu/~tmuir/index.htm" target="_blank">you can check out his website here.</a></p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058036301?profile=original"><img width="450" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058036301?profile=RESIZE_480x480" width="450"/></a><span class="font-size-1"><em>Twin Risers</em> - Teapot, sterling silver, 2007</span></p> Day 3: Michael Dale Bernard Lecturetag:crafthaus.ning.com,2011-04-19:2104389:Topic:2268122011-04-19T21:11:05.602ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>Sorry for the three week hiatus, but I got super crazy busy with finishing up my MFA thesis. I hope you understand.</p>
<p> </p>
<p>After all the workshops, and lunch, everybody filed back into the auditorium for the last two lectures, starting with Michael Dale Bernard. I was familiar with Michael's work, having been fortunate enough to meet him at the Houston conference, but never really asked how he arrived at his imagery. It was interesting to hear him talk about growing up in the…</p>
<p>Sorry for the three week hiatus, but I got super crazy busy with finishing up my MFA thesis. I hope you understand.</p>
<p> </p>
<p>After all the workshops, and lunch, everybody filed back into the auditorium for the last two lectures, starting with Michael Dale Bernard. I was familiar with Michael's work, having been fortunate enough to meet him at the Houston conference, but never really asked how he arrived at his imagery. It was interesting to hear him talk about growing up in the Mid-West, and now living in LA, and how both of those experiences influence his work.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058033409?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058033409?profile=RESIZE_1024x1024" height="402" width="538"/></a></p>
<p> </p>
<p><span class="font-size-2"><em>Dozer</em></span></p>
<p><span class="font-size-2">Laser cut and powder coat, pyrite</span></p>
<p> </p>
<p> </p>
<p>I really enjoyed watching the progression his work has taken over the years, starting with simple silhouettes and laser cuts, to more and more elaborate works. The earliest works utilized both the positive and the negative, while the newer works seem to have gained more dimension. I've always enjoyed Michael's work, even though it's vastly different than my own. I love these two pieces with the pyrite, made specifically for a show dealing with rocks. We also got a look at some pins made for production( <em>Urban LTD</em> series), which were frankly hysterical. LA seems like such a foreign concept to me, and I was fascinated at how he develops his imagery from the environment around him.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058031905?profile=original"><img width="640" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058031905?profile=RESIZE_1024x1024" height="409" width="545"/></a></p>
<p><span class="font-size-2"><em>Dump Truck<br/></em></span></p>
<p><span class="font-size-2">Laser cut and powder coat, pyrite</span></p>
<p><span class="font-size-2"><br/></span></p>
<p>Michale also had some really great process shots in his presentation on how he lays out and solders the frame works for his "Wood Be Diamonds" series. He makes drawings on tracing paper, super glues the pieces of metal to the tracing paper, and then solders them together. The paper just burns up, leaving a soldered framework. He went through this process rather fast, and nearly everyone in the auditorium asked him to back up and say that again, slowly. I don't know about everyone else, but I certainly gained ever more respect for him as a maker. Work smarter, not harder.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058032221?profile=original"><img width="640" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058032221?profile=RESIZE_1024x1024" height="484" width="484"/></a></p>
<p>From the <em>Wood Be Diamonds Series<br/></em></p>
<p>Hand-carved and painted wooden diamonds.<br/> Powder coated trellis frames.</p>
<p> </p>
<p>Micheal ended his presentation with his current body of work, the aforementioned "Wood Be Diamonds". He carves faceted "diamond" out of recycled wood, which he then paints with nail polish. I love this. I love that in this day and age in out field you can use a material like nail polish and still be taken seriously. Micheal has an emotional and sensory connection to nail polish, pertaining to mainly the color and the smell. I use clear nail polish to seal the knots on some of my pieces, and I kinda hate that they later stink by nail polish, but hey, to each his own. Still I find this type of material exploration incredibly exciting.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058033579?profile=original"><img width="640" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058033579?profile=RESIZE_1024x1024" height="491" width="491"/></a></p>
<p>From the <em>Wood Be Diamonds Series<br/></em></p>
<p>Hand-carved and painted wooden diamonds.<br/> Powder coated trellis frames.</p>
<p> </p>
<p> </p>
<p>For more on Micheal Dale Bernard and his work, <a href="http://michaeldalebernard.ning.com/" target="_blank">check here.</a></p> Day 3: Workshops with Tom Muir, Michale Dale Bernard and Mi Sook Hurtag:crafthaus.ning.com,2011-03-26:2104389:Topic:2127682011-03-26T17:34:25.202ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>Ok, so here's the part of the symposium where things get a little spotty. I spent the first session on Sunday bouncing between Tom Muir's mechanism workshop and Michael Dale Bernard's powder coating demo. Mi Sook Hur, gave an incredibly thorough power point on her mold making and casting process, but I was afraid to pop in because it was very quiet and I didn't want to interrupt. I tried to see a little bit of everything during the first time slot because I was scheduled to assist in the…</p>
<p>Ok, so here's the part of the symposium where things get a little spotty. I spent the first session on Sunday bouncing between Tom Muir's mechanism workshop and Michael Dale Bernard's powder coating demo. Mi Sook Hur, gave an incredibly thorough power point on her mold making and casting process, but I was afraid to pop in because it was very quiet and I didn't want to interrupt. I tried to see a little bit of everything during the first time slot because I was scheduled to assist in the breakout session that was taking place during the second time slot.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058022526?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058022526?profile=RESIZE_1024x1024" width="750"/></a><span class="font-size-2"><em>Tom Muir at the bench.</em></span></p>
<p> </p>
<p>Since I already know the basics of powder coating, I decided to check out Tom's demo first. I had to work the registration table, so I got to the demo a little late, and I think I missed the part where he talked about what he was actually going to show us. This made it kind of difficult to follow the instructions. The room was packed, and even though we projected what Tom was doing at the bench on the big screen, I still had a hard time following. But he did throw in bunches of helpful tips and tricks. I learned that the fluorides in flux aren't harmful, and some advice on how to file a straight edge. I really enjoyed listening to Tom talk about his first few years as a metalsmith and his first job at a jeweler's. I think it's good for students to keep in mind that the technical masters we all look up to, weren't always such technical masters, that it takes years and years of practice.</p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058022942?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058022942?profile=RESIZE_1024x1024" width="750"/></a><em><span class="font-size-2">Samples</span></em></p>
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<p>I went down to the woodshop to see what was going on at the powder coating demo and found lots of excited people and lots and lots of brightly colored test pieces and examples. Michael covered the basics and had everybody prep a few pieces to powder coat. He talked about how to achieve different effects by mixing or layering colors, which don't blend like paint, but act more like enamels. I thought this was interesting since most people shoot for that even flat color surface. Michael also had some of his finished work out, along with some of his components. I was able to ask him about a piece I'd seen him wearing the day before and learned that it was actually a left over from a larger piece, where practically all the components were up-cycled from a previous process or object. I love how resourceful Michale is when it comes to making work. He has a different way of looking at the mechanical than I do, and I find it fascinating. </p>
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<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058024827?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058024827?profile=RESIZE_1024x1024" width="750"/></a><span class="font-size-2"><em>Michale Dale Bernard powder coating.</em></span></p>
<p> </p>
<p>I was afraid to just pop into Mi Sook's lecture because the lights were off and the room was very quiet, with soothing music playing. I for sure would have been an interuption. But, I heard that it was an absolutely wonderful presentation, and I'm sorry to have missed it. While you are able to do a lot at the Symposium, you simply cannot do everything. I was able to get a few shots of her work table though.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058021324?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058021324?profile=RESIZE_1024x1024" width="750"/></a><em><span class="font-size-2">Mi Sook Hur's molds and casts.</span></em></p>
<p> </p>
<p>Until next time!</p> Day 2: Student Exhibition and Charm Swaptag:crafthaus.ning.com,2011-03-15:2104389:Topic:2036912011-03-15T20:22:13.962ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>Our last event for Saturday was the opening for the Student Exhibition and this year, we also had a charm swap.</p>
<p> </p>
<p>All attendees to the symposium are invited to send a piece of work to be displayed for the duration of the symposium. Space is sort of limited in the case that we reserve for this show, so we ask that participants be mindful of size when choosing a piece to show. The work is shipped to us, and attendees pick up their pieces Sunday afternoon, so we at ECU don't have…</p>
<p>Our last event for Saturday was the opening for the Student Exhibition and this year, we also had a charm swap.</p>
<p> </p>
<p>All attendees to the symposium are invited to send a piece of work to be displayed for the duration of the symposium. Space is sort of limited in the case that we reserve for this show, so we ask that participants be mindful of size when choosing a piece to show. The work is shipped to us, and attendees pick up their pieces Sunday afternoon, so we at ECU don't have to worry about return shipping. It's a system that works fairly well for us, except when people don't ship their work on time.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058015797?profile=original"></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058015910?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058015910?profile=RESIZE_1024x1024" width="750"/></a></p>
<p> </p>
<p>This is one of my favorite parts of the symposium, and my personal biggest contribution. All of the ECU grads head up different committees, supported by our wonderful undergrads, and for both symposia, Marissa Saneholtz and I have co-chaired the Exhibitions committee. The Student show is our biggest responsibility, and we also put together display cases with work from the presenters.</p>
<p> </p>
<p>I really loved dealing with the Exhibitions. I swear, I was on the best committee. Unwrapping the work was always a surprise and I love love love seeing the work from different schools. This year we were able to set up the show a week ahead of time, so the rest of the ECU art school got a chance to see it as well. My undergrad helpers Sarah West and Tara Locklear and I came in on a Sunday afternoon to install the work and the handful of people in the building were stopping to take a peak before we had even finished. I think it's so great for students to see what their peers at other institutions are doing, and I know the rest of the School of Art and Design gets excited about it too. I actually had several professors from other disciplines tell me how much they enjoyed this exhibition.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058018450?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058018450?profile=RESIZE_1024x1024" width="750"/></a></p>
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<p>While we've done the student Exhibition both times, this year was the first time we had a charm swap. We've gone a little charm crazy here, thanks to undergrad Tara Locklear. She began coordinating regular swaps about a year ago, and we do one about every 6-8 weeks. Everyone makes a charm and puts it in a box. All the boxes get numbered and then we pull numbers. You get what you get. No switching or pouting.</p>
<p> </p>
<p>This system works great for 10-20 people, but we had to tweak it a little bit for 100+ participants. We had everyone (faculty and students) place their charms in an unmarked box, assigned people numbers and called them up by groups. People came and grabbed a box at random, and a safety pin so that they could wear their charm right away.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058016240?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058016240?profile=original" width="640"/></a><em><span class="font-size-1">Charm by Amy Tavern, photo credit Amy Tavern</span></em></p>
<p> </p>
<p>I also helped out with this event, putting out boxes and keeping the crowd under control with undergrad Lisette Fee, while Tara called out group numbers. It was really great and I had a lot of fun because I got to see many of the charms as people opened them. But the worst part was telling people NO PEEKING! Even Lisette and I weren't allowed to peek! It was so hard to be surrounded by boxes full of all kinds of mysterious, awesome charms and not be allowed to look at them until it was your turn to pull a box. I got a gold powder coated lady by Marissa Saneholtz, and ECU undergrad Sam Woitovich, got my charm, a sterling silver cut out of North Carolina.</p>
<p> </p>
<p>These images are both courtesy of the wonderful Amy Tavern, currently a resident artist at Penland. Above, is the charm she made for the swap, which Ken Bova received. Below, is Ken's charm, which Amy received. Not every swap was so serendipitous, but I will say I saw a <em>ton</em> of really awesome charms, and everyone was excited to meet the person who had made their charm. It was a fun way to wrap up an exciting and exhausting first day.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058016192?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058016192?profile=original" width="640"/></a><em><span class="font-size-1">Charm by Ken Bova, photo credit Amy Tavern</span></em></p>
<p> </p>
<p>Any one can participate in any of our charm swaps, never mind geography! If you'd like to participate in future ECU charm swaps, contact Tara Locklear here on Crafthaus.</p>
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<p>Thanks for reading!</p> Day 2: Panel Discussiontag:crafthaus.ning.com,2011-03-10:2104389:Topic:2015162011-03-10T23:39:12.859ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058008181?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008181?profile=RESIZE_1024x1024" width="750"></img></a> <em><span class="font-size-1">photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>After Nicole's lecture, all of the presenters and speakers participated in a panel discussion, answering questions compiled by ECU students. ECU grad Marissa Saneholtz acted as moderator.</p>
<p> </p>
<p>The first question presented to the panel, and one I was particularly interested in,…</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008181?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008181?profile=RESIZE_1024x1024" width="750"/></a><em><span class="font-size-1">photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>After Nicole's lecture, all of the presenters and speakers participated in a panel discussion, answering questions compiled by ECU students. ECU grad Marissa Saneholtz acted as moderator.</p>
<p> </p>
<p>The first question presented to the panel, and one I was particularly interested in, was: Do you sell everything you make and how do you decide what pieces to keep for your personal collection? Michael Dale Bernard answered the second part of the question immediately with "The ones that don't sell!", while Caroline Gore chooses not to keep any of the work, preferring each piece to go out and live a good life, in a gallery or with friends. Ken Bova felt that you should keep the pieces that speak to you personally. This idea totally speaks to me, since I have pieces that I know I'll never part with, because they are so personal.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008285?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008285?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>Another interesting question posed to the panel was: What would you save if your house/studio were on fire (family and pets not withstanding). Nicole Jacquard answered with an emphatic "Let it all burn!" and several panelists agreed with that sentiment. Mi-Sook Hur choose to save a certain brooch, simply because it would be easy to grab on her way out the door. Many of the panelists though chose to save either partially finished pieces or sketchbooks.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058007708?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058007708?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">photo credit Dejan Jovanovic</span></em></p>
<p><em><span class="font-size-1"><br/></span></em></p>
<p>There was a discussion on labels; what do you call yourself? Metalsmith? Jeweler? Goldsmith? Artist? Bob joined in at the point, recollecting how some fought to get "goldsmith" in the title of SNAG. James C. Meyer interjected at that point, stating that with the price of gold being what it is, he no longer puts "goldsmith" on his business card. The panelists talked about their inspirations, emerging artists they're following and making the jump from school to life.</p>
<p> </p>
<p>The biggest thing that I think all the panelists tried to impress on us students, or maybe just the biggest thing I took away, was that it doesn't matter what you call yourself, or where you get your inspiration, or who your audience is, as long as you make personal, genuine work, that speaks to you. Notice what you notice, and be true to your own personal vision.</p>
<p> </p>
<p>That, and Orca's Curtains.</p> Day 2: Nicole Jacquard Lecturetag:crafthaus.ning.com,2011-03-03:2104389:Topic:1976302011-03-03T22:09:08.204ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>After all the workshops were over, everyone took a quick break before heading back to the auditorium for Nicole Jacquard's lecture, <em>Technology and the Politics of the Handmade</em>.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=RESIZE_1024x1024" width="750"></img></a></p>
<p><em><span class="font-size-1">Bob Ebendorf, Nicole Jacquard, and Linda Darty, photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>Nicole gave a fascinating talk, and while…</p>
<p>After all the workshops were over, everyone took a quick break before heading back to the auditorium for Nicole Jacquard's lecture, <em>Technology and the Politics of the Handmade</em>.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008258?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Bob Ebendorf, Nicole Jacquard, and Linda Darty, photo credit Dejan Jovanovic</span></em></p>
<p> </p>
<p>Nicole gave a fascinating talk, and while I have a little experience with 3-D modeling and rapid prototyping, some of the things Nicole covered were completely new to me. When Nicole gave me her brooches to put in our faculty display, and I was amazed at the colors and patterns that had actually been digitally printed onto the material. So I was super excited that she covered this process in her talk.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058010853?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058010853?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Frost Pins, SLS nylon, silver</span></em></p>
<p> </p>
<p>Nicole uses the 3-D modeling program Rhinoceros, and exports the digital files to various types of printers. The one she uses the most is a Zcorp machine, which is able to print over a million colors. You can also project images onto the surface, which is how Nicole produces certain effects on her pieces, such as the urn pictured below. Nicole also uses Fused Deposition Modeling - where ABS plastic is extruded through a nozle that is heated and the plastic filament is bonded layer by layer as it builds up the form, Selective Laser Sintering (SLS) where a laser fuses nylon powder together (see Frost Pins, above), and a process similar to Stereo Lithography, where ultraviolet light is used to cure a photo sensitive resin.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058011124?profile=original"><img width="750" class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1058011124?profile=RESIZE_1024x1024" width="750"/></a><em><span class="font-size-1">Nicole Jacquard, Wallpaper II and III, brooches, Zcorp and silver</span></em></p>
<p> </p>
<p>Nicole had great process shots in her presentation, both of making models in Rhino, and of the various printing processes she utilizes. I know a lot of metalsmiths tend to get scared off by technology being used to make work sometimes, but I think that Nicole has an excellent approach to combing both traditional metalsmithing with these new technologies. You use this type of technology because there is no other way to get this type of results. 3-D printing is just another tool at our disposal.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058011277?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058011277?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Moon 4am, Zcorp</span></em></p>
<p> </p>
<p>She covered how her family, their lake house, and her Aunt's bar influenced her work. People who make work about their family always interests me. I sometimes feel like as artists we're supposed to make art about lofty social, historical, political topics and I love it when I come across an artist who is dealing with incredibly personal subject matter and putting it out there for everyone to see. It's like saying that this personal thing is just as important as commentary on the war or the environment.</p>
<p> </p>
<p>Nicole also talked about her time in Australia, where she earned a doctorate from RMIT, although she didn't originally intend to. She also had great process shots of this body of work which show just how much handwork still goes in to finished pieces that utilizes a 3-D printing process. Even if is cut out with a milling machine.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058008241?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058008241?profile=RESIZE_1024x1024" width="750"/></a></p>
<p><em><span class="font-size-1">Nicole Jacquard, Letters and Notes, Zcorp</span></em></p>
<p> </p>
<p>I can't speak for everyone, but she left the students at ECU <em>VERY</em> excited about the possibilities of using these technologies. We currently don't offer any type of 3-modeling which I think is a bit of a disservice to our students, especially since we have a 3-D printer on campus. Hopefully, inspiration from Nicole will help us to make steps towards intergrating some of these practices in our own program.</p>
<p> </p>
<p> For more on rapid prototyping and 3-D printing check out these sources:</p>
<p> </p>
<p>Red Eye Express<br/><a href="http://express.redeyeondemand.com/" target="_blank">http://express.redeyeondemand.com</a><br/> <br/>Solid Concepts<br/><a href="http://www.solidconcepts.com/" target="_blank">www.solidconcepts.com</a><br/><br/>Quick Parts<br/><span style="margin-right: 0pt;"><cite><a href="http://www.quickparts.com/" target="_blank">www.quickparts.com</a></cite></span></p> Day 2: Slip Casting with Lisa Johnsontag:crafthaus.ning.com,2011-02-23:2104389:Topic:1930042011-02-23T23:25:42.832ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>So, as I said before, symposium participants attend two out of three workshops per day, which means there's going to be one workshop that you have to miss. Unfortunately, I missed Lisa Johnson's slip casting workshop. You just can't do it all. But I'm going to do my best with what I have at hand.</p>
<p> </p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1058002153?profile=original" target="_self"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058002153?profile=RESIZE_1024x1024" width="550"></img></a></p>
<p><em><span class="font-size-1">Photo by Dejan…</span></em></p>
<p>So, as I said before, symposium participants attend two out of three workshops per day, which means there's going to be one workshop that you have to miss. Unfortunately, I missed Lisa Johnson's slip casting workshop. You just can't do it all. But I'm going to do my best with what I have at hand.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058002153?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058002153?profile=RESIZE_1024x1024" width="550"/></a></p>
<p><em><span class="font-size-1">Photo by Dejan Jovanovic</span></em></p>
<p><em><span class="font-size-1"><br/></span></em></p>
<p>Lisa was kind enough to put a hand out up on the symposium blog a couple weeks before the event. I went ahead a printed out a copy because even though I knew I wasn't going to be able to make it to her workshop, you just never know when this sort of information might come in handy. The handout is very comprehensive, complete with diagrams of every step, names of artists who use slip casting for sculpture, and tips on selecting an object to mold.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058001588?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058001588?profile=RESIZE_1024x1024" width="550"/><em><span class="font-size-1"> </span></em></a></p>
<p><em><span class="font-size-1">Photo by Dejan Jovanovic</span></em></p>
<p><em><span class="font-size-1"><br/></span></em></p>
<p>Lisa's workshop took place down in the ceramics studio. This was the first time we had a workshop in another department's studio. All the other workshops take place either in our undergraduate studio, or in the neighboring Art Education classrooms. I thought this went great with our theme of material topics. Last year we had a couple workshops that dealt with found objects and unconventional materials. It seems like this year the workshops focused on more traditional media (wood, painting, ceramics) but adapted for jewelry. It's an interesting dynamic.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058001475?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058001475?profile=RESIZE_1024x1024" width="550"/></a><em><span class="font-size-1">Photo by Dejan Jovanovic</span></em></p>
<p><em><span class="font-size-1"><br/></span></em></p>
Ceramic is a great material on it's own, but it's great to see it combined with metals in a contemporary. I got to see some of Lisa's finished work up close and personal, and she does a great job combining the two. Transition points are always difficult (at least for me) especially when dealing with two different media, but Lisa handles it effortlessly. She brought a necklace for the small present exhibit, comprised of ceramic hand grenades with fabricated metal tops, and a fabricated metal chain. I loved this piece. It was the perfect marriage of materials. I love how Lisa doesn't just limit herself to one medium of the other. She enjoys both, excels at both and allows herself to create work with both materials. I think as metalsmiths we can sometimes get caught up in <em>having</em> to use metal, or mostly metal. <br/>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058001448?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058001448?profile=RESIZE_1024x1024" width="550"/></a><span class="font-size-1"><em>Lisa Johnson, Indiana Princess Wedding Ring</em></span></p>
<p> </p>
<p>Also, I love this punch bowl. I think it's hysterical. I would have loved to have seen it in person, but I'm sure it was too big to bring all the way from Indiana for just two days. I love that Lisa makes work with a certain sense of humor. Humorous work is a tricky thing.</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058002237?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058002237?profile=RESIZE_1024x1024" width="550"/></a><span class="font-size-1"><em>Lisa Johnson, For the Birds Punch Bowl<br/></em></span></p>
<p> </p>
<p>I'm sorry I didn't get to see Lisa's workshop, but grateful for the little time I did get to interact with her and for the chance to see her amazing work. If any one out there got to see Lisa's workshop I would LOVE to hear your comments about it!!!</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1058001815?profile=original"><img width="550" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1058001815?profile=RESIZE_1024x1024" width="550"/></a><span class="font-size-1"><em>Lisa Johnson, For the Birds Punch Bowl, detail</em></span></p>
<p> </p>
<p><span class="font-size-1"><span class="font-size-2">Until next time!</span><em><br/></em></span></p> Day 2: Mineral Pigments with Ken Bovatag:crafthaus.ning.com,2011-02-15:2104389:Topic:1887602011-02-15T20:18:50.287ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>We're very lucky to have Ken Bova with us this year, since Linda is abroad with a group of students in Italy. And while we miss Linda very much, we're all super happy about working with Ken, so we asked if he would teach a workshop at this year's symposium.</p>
<p><a href="http://storage.ning.com/topology/rest/1.0/file/get/1057997751?profile=original" target="_self"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057997751?profile=original" width="480"></img></a> <span class="font-size-1"><em>Ken Instructing Us on Color</em></span></p>
<p> </p>
<p>Ken has recently been…</p>
<p>We're very lucky to have Ken Bova with us this year, since Linda is abroad with a group of students in Italy. And while we miss Linda very much, we're all super happy about working with Ken, so we asked if he would teach a workshop at this year's symposium.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057997751?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057997751?profile=original" width="480"/></a><span class="font-size-1"><em>Ken Instructing Us on Color</em></span></p>
<p> </p>
<p>Ken has recently been working with mineral pigment temperas which he mixes himself. I've heard him talk a little bit about it, so I was very excited to see his demo. He started off with a brief power point on the history of mineral pigments as used in Renaissance manuscript illumination. It was really fascinating, especially since these things are still intact today. Works done uses this technique last for centuries or more.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057995794?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057995794?profile=original" width="640"/></a><span class="font-size-1"><em>Demo Table</em></span></p>
<p> </p>
<p>Ken's work table was AMAZING! Colors, gold leaf, rocks and small vials of mysterious powers, some of my favorite things! His samples were simply stunning. I found myself not really caring what kind of jewelry he's made using this technique; I just wanted his sample sheets to frame and hang on my wall.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057995820?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057995820?profile=original" width="640"/></a><em><span class="font-size-1">Tiny Mineral Pigment Paintings</span></em></p>
<p> </p>
<p>A painter at an artists residency he was attending told Ken her secret to egg tempera. This egg tempera recipe has been handed down from master to student for centuries, and Ken was nice enough to put in all in a handout for us! He also had a recipe for sizing or mordant, the adhesive used in gold leafing, which he also demonstrated. Ken talked at length about color theory, and the minerals he uses, which provide a very specific color range.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057997186?profile=original"><img class="align-full" src="http://storage.ning.com/topology/rest/1.0/file/get/1057997186?profile=original" width="480"/></a><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057995820?profile=original"><span class="font-size-1"><em> </em></span></a><em><span class="font-size-1">Ken Applying Gold Leaf.</span></em></p>
<p><em><span class="font-size-1"><br/></span></em></p>
<p>Ken showed us how to make the gold leaf sizing, how to apply the leaf, how to grind minerals and how to make the actual egg tempera. This involved Ken doing the most incredible thing with an egg that I've ever seen, and I can't really describe. All I can say is that it took him three tries and he was somehow left with just the egg yolk, absolutely no white. We were all super impressed. After he mixed him color, Ken showed us how to apply it to the paper in thin, even coats.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057996523?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057996523?profile=original" width="640"/></a><em><span class="font-size-1">Ken Bova, (you can get )From There to Here</span></em></p>
<p>Ken's workshop was incredibly comprehensive and I can't believe how much testing and troubleshooting he's done on this really obscure (at least for jewelry) technique. I know some artists (myself included) that can be a bit proprietary with their methods, but I think Ken literally told us everything he knew about this subject that he's spent so much time testing and perfecting. I'm excited to see where he goes with this.</p>
<p> </p>
<p>Be sure to check out <a href="http://kenbova.com/home.html" target="_blank">Ken's brand new website!</a></p>
<p> </p>
<p>Thanks for reading!</p>
<p> </p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057996838?profile=original"><img class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057996838?profile=original" width="640"/></a><em><span class="font-size-1">Ken Bova, Earrings</span></em></p> Day 2: Wood Carving with Dan Dicapriotag:crafthaus.ning.com,2011-02-07:2104389:Topic:1818582011-02-07T22:05:43.103ZLiz Steinerhttp://crafthaus.ning.com/profile/LizSteiner
<p>After Caroline's lecture, everyone dispersed into the workshops. For the workshops, we have three people present on Saturday, and they teach the same workshop twice. Students choose ahead of time which two workshops they would like to attend. We do the same thing for Sunday's workshops, with three new presenters. So, students get to attend 4 out of 6 total workshops. Not too shabby.…</p>
<p>After Caroline's lecture, everyone dispersed into the workshops. For the workshops, we have three people present on Saturday, and they teach the same workshop twice. Students choose ahead of time which two workshops they would like to attend. We do the same thing for Sunday's workshops, with three new presenters. So, students get to attend 4 out of 6 total workshops. Not too shabby.<a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057992181?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057992181?profile=RESIZE_1024x1024" height="430" width="648"/></a><span class="font-size-1">Dan demonstrating at the bandsaw.</span></p>
<p>My first workshop of the day was Dan DiCaprio's <em>Woodcarving for Jewelry</em>. Dan started off with a brief power point on his work and the work of some other artists who carve wood on a jewelry scale. I really enjoyed his process images, which documented each step he takes in creating a piece, from layout, to final finishing. It was also really great to see the work of other jewelry artists using wood, and helped me understand the context of Dan's work a lot better.<a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057991745?profile=original"><img width="521" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057991745?profile=RESIZE_1024x1024" width="521"/></a><span class="font-size-1">Pieces in Progress</span></p>
<p>Dan took us through his entire process, starting with glueing his basic shape to a piece of wood. Next is cutting out the shape with the bandsaw. He gave a lot of tips on how to get into tight curves and how to safely cut something small and/or curved on the bandsaw. I always viewed the bandsaw as a tool for just roughing things out, so it was really cool to see just how well Dan thinks out his final product at this stage in the process, and how detailed he can get at this early in the process.<a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057992225?profile=original"><img width="538" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057992225?profile=RESIZE_1024x1024" width="538"/></a><span class="font-size-1" style="color: #000000;">Carving with a bur.</span></p>
<p>Dan then demonstrated carving and finishing the wood with burs and a flex shaft. I never realized that most of his forms are actually hollow, and he talked a little bit about at what point in the process he slices the form in half in order to carve the interior, then glue it back together. He talked about an easy method of repairing cracks in the wood, and shared resources for materials and tools. Last, he showed us how he inlays silver into the surface of the wood, and talked about adding pin mechanisms.</p>
<p><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057991932?profile=original"><img width="750" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057991932?profile=RESIZE_1024x1024" height="555" width="555"/></a><span class="font-size-1">Dan Dicaprio<em>, Wrap</em>, Ebony and Silver</span>, <span class="font-size-1">2" x 3" x 1.5", Courtesy of Charon Kransen Arts</span></p>
<p><span class="font-size-1"><span class="font-size-2">I found Dan's workshop fascinating. Even though our time in grad school at ECU overlapped by one semester and we still keep in touch, I guess I never realized how little I actually knew about Dan's work, other than I love it. I'm always impressed by people that can carve like this, since I have such a hard time thinking subtractively. I'm very much an additive person. But the methodical detail Dan puts into each piece, how considered every aspect is from the very beginning, amazes me, since I have a completely different way of working. All that care and thought into making something that looks so simple, elegant, and effortless.</span></span></p>
<p> </p>
<p><span class="font-size-1"><span class="font-size-2">But I guess that's what it's all about. <br/></span></span></p>
<p> </p>
<p><span class="font-size-1"><br/></span></p>
<p><span class="font-size-1"> </span><a target="_self" href="http://storage.ning.com/topology/rest/1.0/file/get/1057992056?profile=original"><img width="526" class="align-center" src="http://storage.ning.com/topology/rest/1.0/file/get/1057992056?profile=RESIZE_1024x1024" width="526"/></a></p>
<p> </p>
<p><span class="font-size-1">Dan Dicaprio, <em>Curl</em>, Ebony and Silver, 2" x 3" x 1.5", Courtesy of Charon Kransen Arts</span></p>