Learn how to form, fabricate, solder, set-stones in our 4 wk Metal + Glass course, etch, cast and more!
evening #1: First evening: working with copper: safety, drilling, sawing. Adding textures.
evening #2: Making a ring band out of silver (stamp, hammer finish, roller print, etc.)
evening #3: Working with wax create a small piece w/the lost wax technique- to be cast in Sterling silver.
evening #4: Finishing wax projects, invest models for casting in metal. Waxes for metal casting are weighed and calculated (*sterling runs $2.50/grm. Lab fee includes 20grams of sterling silver casting grain). Lo-tech casting with Cuttlefish bone.
evening #5: Cast moulds in sterling silver!
evening #6: Enameling copper projects, forming, how to make your own basic findings.
evening #7: Bezel settings cabochon stones or fossils or crystals, or an enamelled glass piece.
evening #8: Finish up projects No experience necessary!
Copper, wax, glass, and some sterling silver are supplied*. A list of local suppliers is included. Questions concerning this course? Please see our FAQ’s
Approx 4×5” piece of copper sheet, 2’ copper wire, sterling silver for 1 ring band, fine silver bezel wire to set 1 cabochon cut stone. Glass is included for casting/flame-working (whatever method is covered), silver solder to complete class projects, wax, 10 grams of sterling silver for casting (either cuttlefish or lost wax), powdered vitreous enamel, 1 doz saw blades, 1 1mm drill bit, 1 half face particulate respirator, nitrile gloves, refractory materials for casting moulds. Students are encouraged to supply their own cabochon cut stones, crystals, rocks, etc.
Additional materials not included: cabochon cut stone(s), extra sterling silver grain for lost wax castings, sterling silver sheet/plate for setting stones on/constructing other pieces. Sterling silver casting grain may be purchased at $2.50gram.
Ring Band Workshop Saturday afternoon, February 2nd, 1pm-4pm $88/pp includes all materials to construct a beautiful, wide band sterling silver ring! Learn how to properly measure your finger(s), work with a Jeweller’s saw and blades, add textures with hammers, stamping tools and rolling mill. Form, solder and finish! Fun for parties! 🙂
Steel stamps, Chasing & Repoussé tools & how to use them! TBA February 2019
$175 per person, ALL materials included.
Make your own mark! Learn how to create stamping tools for decorative use, and chasing/repoussé tools traditionally used in making dimensional forms/decorations in copper, silver, gold for use in armour, architectural designs, and jewellery.
Students will spend the first evening designing and making their stamps and chasing/repoussé tools. The 2nd evening learning how to use these tools working with a cast iron pitch pot and German pitch. Demonstrations in how to transfer pitch to their pots, transfer designs/images to metal, and through hammering/chasing these images will appear as low relief in the metal. Copper will be used in this workshop. Note: students receive pitch bowl/pitch, copper for projects and a minimum of 12 stamping tools. Students leave the workshop with their copper practice pieces, stamps made from the first evening and the basic knowledge to continue forward. Hammers sold separately, but are available for use during class.
Repoussé is a metalworking technique in which a malleable metal is ornamented or shaped by hammering from the reverse side to create a design in low relief. It is a form of toreutics.
There are few techniques that offer such diversity of expression while still being relatively economical. Chasing is the opposite of repoussé, and the two are used in conjunction to create a finished piece. It is also known as embossing.
While repoussé is used to work on the reverse of the metal to form a raised design on the front, chasing is used to refine the design on the front of the work by sinking the metal. The term chasing is derived from the noun “chase”, which refers to a groove, furrow, channel, or indentation. The adjectival form is “chased work”.
The techniques of repoussé and chasing use the plasticity of metal, forming shapes by degrees. There is no loss of metal in the process as it is stretched locally and the surface remains continuous. The process is relatively slow but a maximum of form is achieved, with one continuous surface of sheet metal of essentially the same thickness. Direct contact of the tools used is usually visible in the result, a condition not always apparent in other techniques, where all evidence of the working method is eliminated.