MARIANNE HUNTER
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MARIE-HÉLÈNE AMILIEN
France
I was introduced to enameling at the early age of 9 years old, in a small village where I lived with my parents 40 KM from Paris. To keep me occupied on Wednesday afternoons, my parents enrolled me in a small hobby workshop for children run by a non-professional woman. At that time in l980, enamel was quite popular and I remember choosing to learn enameling because I was fascinated with the small kiln. I started with simple sifting on ready-cut patterns of copper and moved on to cloisonné. By the time I turned 13, I had enjoyed the art so much that my parents gave me a small kiln, enamels, copper and tools. I continued to make small things, teaching myself from Gertrud Rittman Fisher’s book, but the translation was not complete so most of my techniques
were unsuccessful.
At 17, I went off to study at Sorbonne Nouvelle in Paris, where I studied how to organize exhibitions, the theory of theater, French literature and tales until I graduated at 23. I worked in a bookshop as a bookseller responsible for the Fine Arts Department, and although I loved books I knew I wanted to do something else.
Enameling seemed the most natural direction to take. With money from the French government I began my search for instructors. It was not an easy task, as France did not have any professional schools for enameling. But I did find 3 wonderful artists: Paul Buforn, in Limoges, who worked in classical style; Marie-Thérèse Masias, Paris, a creative drawing teacher and enameller; and Michel Coignoux in the Jura French mountains who worked in liquid enamels.
While still a student of Marie-Thérèse Masias, I met Colette Poirier (Copo) at an enamel exhibition and she invited me to study with her for 5 days. Colette had a collective shop with 7 other craftsmen and women in the south of France (Grignan) and she was the only enameller in the shop. Normally, she did not teach but would help those who asked, but since I was the first young enameller to come along in a very long time, she reached out and taught me Champlevé and enameling on copper mesh.
I also had the good chance to meet Jean-Claude Bessette who mentored me in hand polished silver cloisonné on copper and we remained very good friends. My studies did not end there, but continued when I had the good fortune to be handed the phone number of Michel Coignoux, who oversees the Enamel House in Morez, and is the organizer of Les Recontres Internationales de l’émail. I studied with Michel for 2 months learning enamel on steel and liquid enamels. He offered me the opportunity to work in the enamel factory with him on large scale, where I also learned so much from Jean-Pierre Jacquet. I continued to work at the Enamel House, receiving the public, answering phones and giving estimates. Through enameling, I have met so many wonderful people.
At present, I work mostly with copper and steel that I cut myself from my drawings. I mix liquid and powder enamel and make lots of samples. My favorite technique is Cloisonné, but I also work a lot in Sgraffito. I was lucky enough to be invited to several workshops in Hungary and Germany, and through the years it changed my own world and my way of thinking.
My head is full of stories, characters and landscapes. I live with them, write and draw them. My stories and characters are travelers. They come from mixed and imaginary countries. Except for my travel to work, I do not travel much. I am a bad tourist. I like to be the only one in a place and take my time. I enjoy visiting the same place several times and that is only possible if the place is not too far.
With books it is all so much easier, and I read a lot. I like folk arts, textiles, flea markets and children’s books. It’s my way to travel. I love life and my job. My works have something to see with dreams and tenderness.
To see more of Marie-Hélène's work click on her My Page and also visit her web site:
http://emauxamilien.free.fr/
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From our friends in Australia,
BERNARD DOHERTY
AUSTRALIA
25TH INTERNATIONAL CLOISONNÉ JEWELRY CONTEST
awarded Grains of Glass Member
Bernard Doherty
the Award for Excellence
for both design in jewelry and enameling!
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Trade Associations Issue Consumer Alert Warning of Glass-Filled Rubies
Several trade organizations, including MJSA, recently issued a consumer alert warning of increased supplies of glass-filled rubies being sold without the proper disclosure. The alert noted that although the stones have "significant fissures filled with relatively large quantities of lead glass," they are being sold as natural rubies in U.S. department stores and elsewhere.
In addition to MJSA, the other industry groups that signed on to the alert were the Jewelers Vigilance Committee (JVC), the American Gem Trade Association (AGTA), American Gemological Laboratories, Gem Research Swisslab, and the New York Gemstone Association.
Note: To read the MJSA Tech Sheet Tips for Handling Glass-Filled Rubies, click here.
The issue of glass-filled rubies has been an issue for several years. In the January 2008 MJSA Journal, Gem News columnist Deborah Yonick noted that the problem could be traced to the crackdown on Burmese gems in the early 2000s. Following the passage of the Burmese Freedom and Democracy Act of 2003, which effectively banned the importation into the United States of any Burmese product (including rubies), buyers began turning to new ruby sources, primarily Madagascar. However, while some of the gem rough was attractive, much of it was riddled with cracks and fissures.
"To bring to market more affordable versions of higher-price goods that have no to mild treatment, " she wrote, "dealers in gem-cutting centers began enhancing poor-quality rubies by infusing high-lead-content glass into fractures-adapting a treatment from the emerald and diamond trades, [according to] Russ Shor, market analyst for GIA." The glass-filled rubies had flooded the market for three years, and buyers at that time were being cautioned to insist on full disclosure information-a warning being reiterated today.
For jewelers who have to work on pieces that contain glass-filled rubies, the challenges can be daunting. "Most glass-filled rubies on the market were probably too included or fragile to be faceted in the first place," says Arthur Skuratowicz, director of the Jewelry Training Center in Colorado Springs, Colorado, and author of the MJSA Tech Sheet noted earlier. "Although they may appear legitimate to the naked eye, they are heavily fracture-filled with a highly unstable material that does not hold up to even the most common jewelry practices."
Note: To read the MJSA Tech Sheet Tips for Handling Glass-Filled Rubies, click here.
According to the consumer alert, while the FTC Guides do not specify the exact wording to be used to identify these products or to disclose treatments, some leading international gemological laboratories are using classifications such as "composite lead glass filled ruby" or "hybrid lead glass filled ruby." For a vast majority of this material the Gemological Institute of America will not issue "ruby" reports, instead issuing identification reports containing the description "a manufactured product" with "special care required." The AGTA has determined to classify and describe this product as "composite lead glass filled corundum/red-special care required."
The alert also noted that, depending on the level of treatment and the lead-glass filling to which this material has been subject, and based on the definition of the "gemstone" contained in the FTC Guides, it may be improper to use the term "ruby" to describe these products.
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AMY ROPER LYONS
CLOISONNÉ
West Palm Beach, Florida
Armory Art Center's 2012 Visiting Master Artist Workshop Series
Cloisonné Workshop with AMY ROPER LYONS
"Composing with Color and Line: Cloisonné Enameling Demystified"
March 29-31 | $425
The Armory Art Center
1700 Parker Ave.
West Palm Beach, FL 33401
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JOANNE CONANT
FAURE STYLE ENAMELING WORKSHOP
Fauré Enameling: Building Volume and Dimension
Instructor: Joanne Conant
Level: Intermediate and above
Requirements: Basic Enameling Experience
Program: Winter
Status: Open
Length: 3 Days
Tuition: $ 450
Only $ 427.5 for registration before 01 March 2012
Materials: $ 35
Date: March 30, 2012 - April 01, 2012
Time: 10:00 AM - 5:00 AM
Location: Metalwerx
Try this unusual technique, developed by Camille Fauré in Limoges, France, in the early twentieth century. Forty-mesh enamel is sculpted into three dimensional shapes on a layer of silver foil using special tools and techniques...A fascinating addition to the enamellist's toolbox.
Over three days, students will explore the use of colorful transparent enamels to create a very unusual look. This technique was almost lost to history - let's find it again! All skill levels welcome.
You can see more examples of Joanne's enameled artwork on her website www.JoanneConant.com.
METAL WERX SCHOOL FOR JEWELRY AND THE METAL ARTS
50 Guinan Street
Waltham, MA 02451
http://www.metalwerx.com/workshop/51
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DIANE ALMEYDA
PLIQUE-A-JOUR WORKSHOP
NEW for 2012!
Plique-a-Jour Enameling Workshops in Miami, FL USA
With Diane Echnoz Almeyda
February 11-12, 2012 Pierced Plique-a-jour
February 18-20, 2012 Wirework/Filigree Plique-a-jour
July 4-5, 2012 Pierced Plique-a-jour
July 6-8, 2012 Wirework/Filigree Plique-a-jour
October 6-8, 2012 Wirework/Filigree Plique-a-jour
October 13-14, 2012 Pierced Plique-a-jour
Classes will be held in Miami, FL at the Courtyard Miami Dadeland.
Special hotel room rates and complimentary shuttle from MIA (Miami Int’l Airport)
will be available. Limited class size.
Two day pierced plique-a-jour classes are $375.
Three day wirework/filigree plique-a-jour classes are $575.
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THE CRUCIBLE Workshops
Oakland, California
WINTER, 2012
Introduction to Enameling I weekend Intensives
March 3 - 4 (weekend intensive), 10am-4:30pm
Instructor: Judy Stone
Introduction to Enameling 1 weeknights – 5 weeks
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Thursdays,7-10pm
Feb. 2 – March 1
Tuesdays, 7 – 10pm
Instructor: Katy Joksch
$275.00 (Tuition: $235.00, Studio Fee: $40.00), Members: $251.50
Introduction to Enameling 2 – 5 weeks
Wednesdays, March 7 – April 4, 7 – 10pm
Instructor: Judy Stone
Cost: $265.00 (Tuition: $220.00, Studio Fee: $45.00), Members: $243.00
Introduction to Enameling 1 weeklong
Monday – Friday, 9 -12 pm
April 2 – 6
Instructor: Judy Stone
Cost: $355.00 (Tuition: $265.00, Studio Fee: $90.00), Members: $328.50
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Grisaille: Enameling Technique-1 ENL5212-A
Instructor: Olga Barmina
March 17 – 18, 10am-5pm
In this class we will cover traditional grisaille enameling as well as a few experimental approaches to grisaille. Grisaille (“grey”) is the application of white enamel to a black enamel background. After many applications and firings the white sinks into the black to create halftones and shading. This technique is often associated with medieval French enameling. In 2 days we will learn to apply black enamel to a copper piece to create a smooth background. Then we will use finely-ground white enamel mixed with water, oil of lavender or turpentine to paint over the dark background. Light areas of the design will have more white enamel layers than gray areas creating an impression of low relief. We will experiment with the application of silver foil and few touches of gold to enhance the pieces. Later in the class students will have time to explore sgraffito-style grisaille and other experimental approaches.
Previous experience required.
Prerequisite: Introduction to Enameling I & 2 or permission of instructor
Cost: $305.00 (Tuition: $250.00, Studio Fee: $55.00), Members: $280.00
Small Scale Cloisonné Enameling Intensive - 3ENL2212-A
Instructor: Roberta Smith
Saturday & Sunday 10-5pm
March 24-25
Previous experience required.
Prerequisite: Introduction to Enameling or permission of instructor.
$290.00 (Tuition: $240.00, Studio Fee: $50.00), Members: $266.00
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Fred Ball's Experimental Enameling Techniques Workshop
Friday through Sunday, April 20,21,22 10 am-5pm
Instructor: Judy Stone
$320 materials included
At the studio of Gian Joller
5086 Alhambra Ave.
L.A., CA. 90032
contact/ registration:
jewelryandenamelworkshops@gmail.com
Manon Tree: 818 284 9583
Fred Uhl Ball (1945-1985) was an enamelist who lived and taught in
Sacramento and whose work is currently undergoing a revival. Once
viewed as highly unorthodox, Ball's techniques and approach to
enameling nonetheless created a firm basis for current contemporary
enameling. The techniques he wrote about in his out-of-print
Experimental Techniques in Enameling (1972) included working with fire
scale, creating collages, using liquid enamel and other materials
associated with the porcelain enamel industry, over- and under-firing
and much more. Explore a wide range of Ball's techniques with Judy
Stone, whose own work was greatly influenced by Fred Ball's book.
Judy Stone has been enameling since 1972. Along the way she developed
a unique composite of enameling techniques based on the contemporary
work of the late Fred Ball. Today she shows and exhibits her unique
sculptural enameled copper vessels throughout the U. S. and teaches at
The Crucible in Oakland, CA.
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PATSY CROFT
Cloisonné/Champlevé
July 30 – Aug 3, 2012
Mendocino Art Center.
Mendocino, California
Enjoy beautiful Mendocino Ca. where the Pacific meets the Cliffs and feed your creative mind.
Spend 5 or 10 Days in this beautiful location and learn to fuse high karat metals to create a canvas for Cloisonne or Champleve in 2d or 3d, just waiting to receive beautiful sparkling enamels. With this technique you will be able to secure cloison wires to a fine silver base so they will never fall over. Once your jewel is built, absorb all the enameling information you can from Patsy such as theory, color gradation, enamels that sparkle, setting stones in the enamel, as well as polishing.
Each student will create their own designs throughout with individual attention to complete their own project.
With the technique of fusing high karat metals an enamellist can build jewels in the form of Champleve, and Cloisonne as in the double sided jewels I developed and 3 dimension forms as the Black Pearl Pendant with no soldering to contaminate our beautiful enamels.
ALSO
Settings for Your Enamel Jewels Aug. 6 – 10, 2012
Patsy Croft is offering a second week to continue and complete your jewel of Cloisonné or Champleve, in this beautiful location of Mendocino CA. In the past three years teaching a five day class, students have asked for more. With the weekend to rest up, we will begin Monday morning fresh. You can choose to complete your 3d jewel or design and make a setting of your 2d cloisonne jewel. Learn to fabricate settings for your cloisonné masterpieces in gold or silver, or a combination of both and accenting your creation with gemstones. Again, each artist will design their own settings and receive individual attention to complete their jewel.
www.patsycroft.com and www.enamlinghotline.com
www.mendocinoartcenter.org
707-937-5818 or 800-653-3328
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THANK YOU Everyone for your support, interest, and compliments. Without you there would be no Grains of Glass. As we progress into the new year, I hope to bring your more interesting tutorials, articles, and featured artists. There are so many of you across the globe winning awards, entering exhibitions, teaching, and studying, not to mention the Guilds,and conferences that take so much work. We are a community of specialized artists that not many in the general public know about, and I might add, not many in other areas of the arts also. But within 2 years, and 892 members later, we are changing all that. Technology and social networks are leading the way. Right now, we are a private social network, spreading quietly through Facebook and hooking up through personal web sites of our members. When its time, and with your approval, I would like to see the site go public. Many people I have met have asked to enter the site just to see and buy jewelry and artwork. We have a treasure chest of enormous artwork that could use potential buyers and we should think about how we can draw them to us.
In closing, as the new year begins its first day, I have also made a new change to the site. Grains of Glass has always been a free membership and will remain so, but I have added a "donation" button just in case your pockets get to jingling to help support the site. As my Mom always said, "a penny saved, is a penny earned!"
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2012 SAUL BELL DESIGN AWARD
1st ROUND FINALISTS
THIS IS GOING TO BE A VERY TIGHT RACE!!!
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Step Up Your ENAMEL DESIGNS With The Masters OF Metalsmithing
presented by
FLORIDA SOCIETY OF GOLDSMITHS
NORTH EAST CHAPTER
http://www.fsgne.com/
The MJSA 21st Annual Vision Awards Competition Is Open!
Every year, the association celebrates outstanding talent
in the field of jewelry design with our MJSA Vision Awards competition.
The winning designers and students represent
the future of the jewelry manufacturing industry--
and the Vision Awards competition showcases their creativity
and boosts their careers.
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MJSA ensures the Vision Award winners receive the recognition
they deserve by promoting their triumph through the industry's
leading publications, which in 2012 will include
Instore, Metalsmith,
and the association's own MJSA Journal. In addition, their winning entries
will be on display for thousands of buyers
and exhibitors during the annual MJSA Expo New York,
the largest and oldest trade show in the U.S. dedicated to the design
and manufacture of jewelry, which will be held March 11-13, 2012.
Other prizes include gift certificates of up to $500
(courtesy of Rio Grande),
cash awards, book libraries, and, for student winners,
scholarships up to $1,000.
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2012 AWARD CATEGORIES
Design Excellence
Honors designs that exhibit exceptional creativity, craftsmanship,
and marketability.
Visionary Technical Solution
Honors designs in which specific technical challenges--such as
combining two non-complementary metals--were overcome to take the
piece from concept to completion.
Laser Distinction
Sponsored by LaserStar Technologies Corp.
Recognizes entries in which the design relied upon the use of a laser.
Recognizes entries that include a minimum of 75% of a karat
gold alloy in the design.
Recognizes entries that include a minimum of 75%
of the design metal(s) in 950 palladium.
Recognizes entries that include a minimum of 75%
of the design metal(s) in either 90% or 95% platinum.
Custom Design Distinction
Honors designs that met a client's request for a custom designed
piece and the challenges encountered during the design
process and how they were overcome.
Future of the Industry Award
Recognizes the work of students in jewelry-related programs
who exhibit exceptional design talent and creativity.
Click here to learn more about this year's competition
and find out how to enter! Or visit the Career Center at mjsa.org.
Thank you to our 2012 sponsors:
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The 2012 Smithsonian Craft Show is now open for business and Co-chairs Anne-Lise Auclair-Jones and Ann Peel invite all eligible candidates to apply for this 30th Anniversary celebration of American craft. As in the past, the exhibitors will be selected by a jury of three highly qualified independent experts. The Smithsonian Women's Committee asks the jurors to identify the most accomplished artists in their respective media, whose work is innovative, well conceived and expertly executed. The jury is asked to strive for a show that is well balanced among the various media. All qualified candidates are considered equally.
For the first time, Craft Show applicants are being given the opportunity to highlight their use of materials that are green, recycled, reclaimed and repurposed by applying for the Mixed Media
category or by mentioning their use of such materials in their artists' statements for any category.
We look forward to hearing from all of you as we plan another exciting show.
NOTICE: You must be prepared to pay for your application at the time you fill out the online application.
Event Location: National Building Museum, Washington DC
Event Dates: April 19-22, 2012Preview Night Benefit: April 18, 2012
Deadline: Online application midnight EST September 18, 2011
Application Fee: $50 for online applications
Jury Notification: October 31, 2011
To apply online, please visitsmithsoniancraftshow.org
or go to Juried Art Services www.juriedartservices.com
Please let me know if you have questions.
Thank you.
Heidi A. Austreng
SWC Program Coordinator
Mail: MRC 037 PO Box 37012, Washington, DC 20013
E-mail: austrpr@si.edu
Tel: 888-832-9554
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