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drawing enamel samples. White enamel was fired onto domed copper disks ranging in size from 2 centimeters to 3.5 centimeters. The surface was then etched to give it a paper-like tooth. Using normal graphite pencils the design was then drawn on, fired in, then another clear layer was fired on top to protect the drawings. This is my favorite enamel technique by far, mostly because it doesn’t require the tedious bending and placement of wires like in cloisonne nor does it demand much time stoning like in champleve.
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waxes ready to be cast. Preparing waxes to be cast in metal is to design a corral into which a herd of cattle are going to be hurled into at an ungodly speed. The opening must be a funnel so that the cattle naturally form rank and file. The transitions must be smooth so that they do not snag themselves and damage their leathers (cause inclusions of investment in the metal.) And most importantly, one must take care to insure that their numbers do not exceed what the confinement may hold (lest molten metal overfill the mold and splash hazardously.)
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I see art as an essentially human act. To take part in the art habit, as I understand it, requires all of the most vital and unique evolutionary tools that humans posses. Those tools include a large brain with a capacity for abstract thought, upright posture that elevates and prioritizes the eyes, and adept hands capable of skillful manipulation of resources. These tools are essential to the art process for both viewer and maker. They must have surfaced prior to any art making but I feel that art making and viewing has honed these tools.
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One year anniversary ring for my love. Hand carved slate, sterling silver, unknown stone. Photographed by my sweetie April Williams
These are some waxes to be cast in bronze for what will be a coon-hunt necklace. The hound is 2.25 inches long and the raccoon is 1 inch.
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