Backstage Pass: Ploof, Cahoon and Warg video sessions

Whenever I travel for work, I make it a point to at least get out and get local for part of the trip…

Here is a shot of the rocks near Two Lights, just southeast of Portland, ME. It was a misty morning, and I could barely see the lighthouses. I apologized profusely at the airport for all the sand my shoes dragged into the rental car...

Originally Published 5-19-2013

Despite a temporary delay (due to crushing print deadlines) I have finally sorted out my notes and photos from recent studio visits in New England with metalsmith/jewelry artist (and life) partners Chris Ploof and Ann Cahoon, and the incomparable Pauline Warg, enamelist extraordinaire. It was a busy week, with IWP Video Production staffers from Colorado meeting up with me and the fantastic artist talent here on the east coast. I had forgotten just how gorgeous New England is, and I was delighted to spend some time meeting these three talented artists and assisting Garrett and Nick with the backstage and editing support during the filming of three IWP videos.

For the Massachusetts leg of our journey, we shot at the Chris Ploof/Ann Cahoon studio in Leomister. I haven't been to Massachusetts since I took a workshop at Metalwerx in 2009 (with Michael Boyd) and both Chris and Ann are instructors there as well. Chris specializes in Mokume Gane and Damascus, and is the metalsmith's metalsmith. He can form, forge, cast, solder, fabricate, make tools and also runs a thriving and busy production/manufacturing facility and business.

Watching him create a mokume gane billet and then pattern it on video was a treat for me, because I have never seen that process live. Chris is a real pro and living proof of the work hard/stay humble ethic common to many New Englanders. Chances are if you own a weighted Delrin forming mallet, it was manufactured in the Ploof facility, right alongside his incredible luxury metal rings and other jewelry objects.

The other half of this life and work partner duo, Ann Cahoon, spent the afternoon demonstrating a variety of stone settings on camera, and her exacting nature and high level of quality control is another contributing factor to the success of their business. Ann is a consummate professional, and I admire her for the difficulty she conquers every day as a stone setter: one of the most unforgiving tasks jewelry makers perform in pursuit of their craft. I truly do not know how she did it on camera with such composure and professionalism. 

Both Ann and Chris are hard-working and modest. It was a long day of filming and they both not only shot their own material for the video, but got other important work done in the studio while their partner was on camera. Both artists were in the midst of preparing a body of work for the Vegas shows, and interrupted that important production process for our filming sessions. I feel so much gratitude to both of them for allowing us into the studio during such a busy period. I picked up some great ideas for my own studio while I was there, and filled two-thirds of my notebook with information on tools, mokume gane, stone setting, sources, and all kinds of studio information which they happily shared with me. Then, after packing up, a hasty good-bye, and the promise to spend time with them in the future, it was off to I-95 and on the road to the rugged and glorious state of Maine.

Pauline Warg is a tremendous teacher, with a full-fledged shop and education storefront in Scarborough, Maine. Her video will cover Torch Fired Enamels, and she is an accomplished pro. I was so honored to spend the day with her and her husband, and I discovered at lunch that she studied with Philip Morton (author of Contemporary Jewelry, A Studio Handbook) -- one of the giants of education in our craft. Pauline herself  is the author of Making Metal Beads, and she teaches and lectures regularly at crafts centers all over the country. It was a tremendous delight to spend the day there, and I totally covet her amazing neon-color welding goggles! I took another third of a notebook of notes down, bought some enamel supplies I have been looking for, and the hunt is on for those welding goggles, btw...

At the end of my time in New England, I had a few precious hours left to explore along the rugged coast (just 4 miles from my hotel!) on the way up to the airport, and I got to indulge my inner nature geek. I filled my phone camera with shots taken along the rocky shore, and managed to find and explore three state parks and two wildlife areas in less than 6 hours.

I was delighted that I finally got to see the infamous misty Maine coast and was reminded so much of my beloved island of Espanola in Galapagos. The Maine shore is visually similar to those islands, with rugged rock cliffs, huge waves, fascinating plants and the never-ending song of the sea. Maine was the only state along the entire east coast I hadn't been to, and I have wanted to go there since I was a child.

[caption id="attachment_658" align="alignright" width="112"]2-inch PVC pipe protects those mandrels, and ductwork strapping holds them secure. Awe. Some.[/caption]

As I clamored over those rocks and listened to the lighthouse horns, I vowed I would return to Maine (with my favorite Galapaganian) and spend some time again on those shores. I had to keep looking at my watch to not lose track of time, because the coast (anywhere) is my favorite place on earth. I got damp and dirty, but I managed to pull out one remaining clean set of clothes to change in the airport bathroom and fix my bad hair day before heading home. After one last bowl of delicious chowder, I was on my way to the gate, and back at home by dinner.

Life is good.

Today's tip: Is courtesy of Chris Ploof. Check out (above, right) how he stores his many ring mandrels, keeps them handy, grabbable, and clearly labeled, just behind his bench. I intend to make a Depot run this week and use this brilliant solution. It both protects the tools, and puts them in easy reach -- what more can you ask for? Thank you Chris!

On set: Michael Boyd’s DVD

Learning from the best of the best

Here's Micheal Boyd cutting some Montana Agate at the Diamond Pacific Genie, my favorite piece of lapidary equipment. I have had mine for more than 10 years and it still runs as well as it did the day I bought it.

Originally Published 5-4-2013

Last week I was lucky enough to hang out in Colorado with my teacher, mentor, and close friend Michael Boyd during the filming of his upcoming IWP workshop video: Basic Lapidary for Jewelry Makers. It was really fun for me to finally transition to the behind-the-scenes video workshop team, rather than be in front of the camera yet again. I really am much happier when I get to wear my editor's hat at work!

The shoot went very well, and Michael's video will be a really great resource for anyone looking to add lapidary to their skill set. Truly, the best part of the experience for me (well, besides doing a good job on the work part of the week) was catching up with my pals, Ryan Gardner, Nancy Blair, Joe Korth and of course, Michael -- because I didn't make it to the CoMA Conference last year.

It took us two lunches and a dinner to catch everyone up on news, show reports, new stash additions, Tucson, gossip and all that stuff, and after having gone "underground" for nearly a year while I worked on my book, it was so much fun to be out and about with my tribe again. And, yes, the margaritas at Jorge's are still as great (and as potentially dangerous to your navigational skills) as I remember.

While I was there, I cut into some of the new "K2 Blue" material, fresh out of Pakistan via Tucson, I had a heart-to-heart with my mentor about the new body of work I am beginning, and caught up on what Michael has been up to himself -- including some gorgeous new pieces with luscious gold spirals and incredible surface textures.

Keep an eye on the IWP store for Michael's video -- due out in August 2013. There are also some sequels planned for Michael's first video, and hopefully both Joe and Nancy will be onboard for some filming and perhaps some projects for Lapidary Journal as well in the near future.

In the meantime, I will be on the road again next week to do more behind-the-scenes work for three more filming sessions in New England with three well-known metals artists. I don't want to let any corporate secrets out, so ... more on that later.

Be sure to check in at the IWP store for news and previews about the workshop videos, and I will be writing about my behind-the-scenes experiences here as the summer goes into full swing.

2014 promises to be a great year -- as far as workshop videos go.

Back to learning

Originally Published 4-9-2013

I think if I had unlimited resources I would be a perennial student. Now that my life is my own again, of course I opted for a metals workshop. This past weekend I had a great time with the fantastic Andrea and Chuck Kennington of NC Black Co. Not only did I catch up with my Pa. Goldsmiths cohorts, I spent the day learning, hammering, soldering and creating all sorts of complex and mind-boggling micro shell forms with the awesome tools NC Black has designed and manufactured for just that purpose. If you haven't seen them yet, check out the tools from NC Black -- but don't go yet...

I really can't say enough about what a great teacher Andrea is. She is talented, giving and so modest. This hard working metalsmith, jeweler and educator has spent the past few years developing and growing a thriving tool company from the ground up -- traveling a grueling schedule back and forth across the country several times and stopping at schools, studios and arts organizations all along the way to teach and spread the word about her company. She is a hero.

I loved catching up with my friends at PSG, catching up on all the news from Andrea's travels, seeing the things her students have been up to, eating takeout sushi and Wawa hoagies, and mostly, mostly remembering what "normal" is for me, plain old ordinary Helen the metals student. I have been recharged by the experience, and it has given me the energy to teach in turn this coming weekend at Bead Fest Spring. Talk about passing the torch!

So now, go check out the tools from NC Black Co. here: www.ncblack.com

And if you have the opportunity to take a class with Andrea and Chuck, jump on it.

They are the best.

10 books I can’t live without

Originally Published 3-7-2013

I love books, art and design. I can take root in a bookstore, losing many hours randomly browsing the shelves -- and a good, used bookstore with a coffee bar is my idea of heaven on earth. I often rescue old books on esoteric topics to save them from destruction, give them a home, or just because they might help me someday.

Books don't boss, direct or dictate like a person would. They gently show. Or they tell. Reading calms me, centers my mind and helps me move forward when I reach a place on the road where I don't know what to do next. I often turn to my books for random guidance; just pulling something off the shelf to see what wisdom is there inside, no matter the topic. The act of opening a book and drawing in information helps me to clear away conflict in my head and find a direction. So I guess it is a good thing I work in publishing, even though that field is changing at the speed of a data stream. In my mind, there is still a place for books and printed information, because the learning experience is radically different when you hold an object -- like a book -- in your hands to draw in information with all of your senses at the same time.

To me, that is the information that sticks -- because I can associate it with a moment in time where I saw the words and images, held the weight of that book in my hands, heard the authors words in my head and felt the passing of time as I absorbed the knowledge between the covers. It is hard to choose my "Favorite" books, because I am constantly moving, growing and living, and what I love now is different from what I loved before. However, these are perennial favorites I recommend to students and friends who ask. Some are old or out of print, which is a shame, but all of them are an inspiration to me.

1. Practical Jewelry Making, By Fritz Loosli, Herbert Merz and Alex Schaffner, Ubos/Scriptar, ISBN 2-88012-040-3. When I am blocked at the bench, I pull this book out and do some of the exercises in it.

2. Modernist Jewelry 1930-1960 The Wearable Art Movement, By Marbeth Schon, Schiffer Publishing, ISBN 0-7643-2020-3. This book is an unbelievable and inspirational review of the blossoming of artisan jewelry in the US.

3. Foldforming, By Charles Lewton-Brain, Brynmorgen Press, ISBN 978-1-929565-26-9. Groundbreaking, brilliant work by one of the most important makers of our time.

4. David Smith Sculpture and Drawings, edited by Jorn Merkert, Prestel-Verlag, ISBN 3-7913-0793-2. David Smith is a master of space, and I enjoy reading his letters and essays.

5. Design Through Discovery, by Marjorie Elliot Bevlin, Holt- Rinehart and Winston, ISBN 0-03-089701-7. A textbook from my art school days that has survived repeated purges of the book shelves.

6. Jewelry of Our Time,  Art, Ornament and Obsession, By Helen Drutt English and Peter Dormer, Rizzoli, ISBN 0-8478-1914-0. Anyone interested in owning or making studio jewelry should own this book.

7. Jewelry Concepts and Technology, By Oppi Untracht, Doubleday and Company, ISBN 0-385-04185-3. Own it. Read it. Live it.

8. Silversmithing, By Rupert Finegold and William Seitz, Krause Publications, ISBN 0-8019-7232-9. Every member of the cult of the hammer and anvil needs a copy of this book. It is our manual.

9.  Creative Stonesetting, By John Cogswell, Brynmorgen Press, ISBN978-1-929565-22-1. A brilliant compendium of the most challenging technical work of our craft.

10. Art Jewelry Today - Volumes 1, 2 and 3 - Dona Z. Meilach, or Jeffrey B. Snyder, Schiffer Publishing, Ltd. ISBN 0-7643-1766-0; ISBN 978-0-7643-3065-0; ISBN 978-0-7643-3883-0. Browsing these volumes is like going to a museum with a fantastic collection of important works in studio jewelry.

There is one more book to read. Really read. At least once a year -- in the summer on the beach or in a hammock somewhere where you can hear birds, wind or surf and feel the sun on your skin. In a quiet natural place far from the buzz of the modern world. So you absorb it with all of your senses and remember what it means.

Fahrenheit 451, By Ray Bradbury. A Del Ray Book -- 1953.
ISBN 0-345-29234-0.

Restoring normalcy

It was freezing cold (literally) at the Tucson Shows this year, but the weather didn’t change the fun of going

Some really sweet Hornitas Jasper slabs for sale at Tucson Electric Park.

Originally Published 2-19-2013

It was great to head out to the Tucson Gem and Mineral Plus Shows just after finishing the heavy lifting of getting most of my book completed -- well, virtually completed -- because the mental and physical break of being somewhere different allowed me to slip gently back into my "normal" life and routine.
The funny thing is, I feel like a stranger in it.
In Tucson, I made my regular contacts, found some new tools to write about, taught some classes, found some gorgeous new rock to cut into, and met up with friends and colleagues I haven't seen since, well, last Tucson. But as I went from show to show, I experienced a strange sense of detachment to everything normal -- mostly because the huge project that has consumed me for a year is gone now.
It was truly a strange feeling to not have to think about that content anymore, and now that it is gone, I realize just how much of my life it took up. The great thing is, even though I was sleeping in a hotel far from home, I clocked at least 9+ uninterrupted hours per night -- something I haven't done since I started writing the book last winter. I have a habit of waking in the night to deal with whatever is on my plate, and writing a book is like an endless buffet -- there are just too many plates. Let me tell you, sleep is a good thing. Because, each day, I felt better, stronger and more "me".
The experience of writing this book has taught me something valuable about long term projects and what they can do to your "normal" life. I am very proud of the work I did, and as I read some of the in-progress edits of my work, I don't remember the experience of writing those words so long ago. What I do remember is the constant pull of the content, the desire for it to be good, as perfect as I could make it in the time I had to produce it, the intense focus required of a complex project and the hope that someone out there would value it once it became an actual thing you could hold in your hands.

In a way, this book writing experience was like parenthood -- you pour lots of effort and hope into something and eventually you must let it go its own way in the world. At that moment, you stand there alone, unburdened, and wondering what you are supposed to do next. So, in Tucson, I bought some rock. I walked around alone and thinking and I made a very simple plan.
I spent this past weekend cutting some stones, and I made some sketches of what I want to make -- now that I don't have an agenda or the expectations of anyone but me for my work again. No agenda is good. Because I can remember this strange state of "normal" once again.

Today's tip: Use your phone camera to take "notes" when you are at a gem show. I clicked off shots of the names and localities of much of the cutting rough I purchased in Tucson, so I didn't have to write notes with wet and dirty fingers after grubbing around in slab bins.