Metal stamping your jewelry: Part One

In a former life, I was a graphic designer.

Prepare yourself for everything a metalsmith needs to know about typography.
You have been warned…

FYI: The total height of the font includes the ascenders and descenders of all of the letterforms in the font..

Originally Published 1-14-2015

Metal Stamping is hugely popular these days, and I get lots of questions about it -- particularly about stamping straight and spacing letters. To understand how to nicely stamp words and phrases, it's critical to understand a little bit about typography. As a former graphics professional, typography and letter forms are near and dear to my heart, so here is an easy primer on the gentle art of typography for non-graphic designers.

First, a glossary is in order -- just so we can speak the same language:
A font, or a typeface, is an alphabet of a specific design. All of the letterforms, numerals, symbols and ligatures of a particular font will be similar in appearance, match in size, weight and style, and they will work well together when combined into words, sentences, and paragraphs.
There are font families: Modern, Egyptian, Script, Roman, Gothic, etc.
There are font weights: Light, Medium, Bold, Extra Bold, etc.
There are two major types of letterforms: uppercase (capital letters; all-caps) and lowercase (non-capital letters).

Luckily, today's metal stamp sets typically consist of one letter form, so the real complexities of typesetting are easily dealt with. Some fonts can be purchased as two individual sets: uppercase letters or lowercase letters. Either way, some essential measurements you'll need to know about your particular letter stamps are detailed here. I know math and art make an unhappy marriage sometimes, but there are places where you'll need it, and sorry, this is one of them.

In today's blog, I will deal with just horizontal measurements. Stay tuned for Part Two: Vertical Measurements where I'll be including samples, too.
OK, ready? Let's start!

Capital letters of a font live in the space somewhere between the highest point of the ascenders (b, d, f, h, k, l) and the lowest point of the descenders (g, j, p, q, y). Some script fonts include flourishes and swashes that sweep into that space as well. The pink highlight in these diagrams, or, total height of the font, can usually but not always, be determined by measuring the shaft of the actual metal stamp. This measurement is critical to know if you are stamping blocks of text, but not so critical if you are stamping just one word.

Without getting too picky, there are also some special considerations for specific round letters -- O, Q, G and C -- which just look much better when they sit below the baseline a bit instead of on it, but I'll save that for later.

Anyway, that baseline is the most important line you'll need to know for well-spaced stamped lettering. It is used for lining up the bottoms of the letters, and measuring the "x-height" of your font is how you'll find the baseline. See the green highlighted x in my diagrams? Those lines that mark the top and the bottom of the x are the font's x-height. The bottom line is the baseline. This is true even if you choose an all-caps font. For a lowercase font, it's obvious. So, take a scrap of metal, whack your x stamp and then measure the stamped x with dividers -- so you know what that measurement is for the particular font you have decided to stamp with.
Here's a diagram with a closer look...

It’s all about the X

And no, I don’t mean the social media site formerly known as Twitter (which was way better back then, IMHO)
But, I digress. The x-height is the most-needed measurement of any typeface -- be it upper or lower case.

So, once you know the total depth of the font and the x-height, you are ready to layout your horizontal guidelines, or grid. This is especially important for blocks of text, and again, not too important for single words. But, I suggest always working on an actual-size piece of tissue paper first, and hand lettering the layout for spacing, and then making a test run of your phrase on scrap metal. with the actual stamps you intend to use. Only then should you commit to your piece. In my mind, it's worth taking the time to test things, because a poorly stamped text block can really ruin your day, not to mention your metal, so don't go there.
To create the guidelines on your tracing paper, tape it to the table, and use a T-Square to draw parallel lines at all of these points: the top line, the base line, the bottom line, and the space between each line of stamping.
Here is a closer look at that...

Multiple lines of stamped text need to be planned out in advance.

Don’t just grab a hammer and wing it, especially on fine metal. I told you so.

Your horizontal spacing guidelines, or "grid" for metal stamping must include each of these measurements:

I like to use the x-height as my line spacing, but you can also use more or less, depending on the style, size and complexity of your font. Again, making a test run (or several of them) is a good idea, especially with complex blocks of text. You did want people to be able to read it, right?
In my next blog, I'll address the vertical guidelines, so get yourself some letter stamps, a scrap of metal and write out a phrase to practice with. I have lots of tips to share with you, so hang tight... I will be back soon.

Tips for Tucson: the Helen Driggs survival guide – 2014 version

Go to Tucson for the treasures,
stay for the tamales

Yes, that's a $45K aquamarine specimen. Uncut. Just the way nature intended.

Originally Published 7-14-2014

One of my students is headed to Tucson for the first time this winter, so she asked me for some advice. What a loaded question. Tucson (otherwise known as the annual Tucson Gem, Mineral, Bead, Jewelry, etc. Shows) is such a vast topic, it's really hard to explain the concept to the uninitiated.
That said, here is a feeble start if you don't know about it at all:

Every year, beginning around the last week of January, the city of Tucson in Arizona becomes the epicenter for anything and everything that is directly or even remotely connected in some way to minerals, gemstones, jewelry, jewelry making, embellished or decorated apparel, and accessories. For about three and a half weeks, you'll find retail and wholesale beads, cut stones, tools, supplies, materials, stone, objects, finished goods, findings, display, ephemera, vintage stock, precious and non-precious material and new, unusual, and unexpected objects of delight in the hotels, public spaces, convention center, and seemingly every vacant lot capable of hosting one of those big, white, totally epic tents they put up for temporary outdoor events. In short, Tucson is heaven on earth for the jewelry minded. On the downside, it can also be exhausting, expensive and confusing if you haven't got a plan. I've been there for 7 years running, and consider myself pretty efficient on navigation concerning Tucson, so here are my top ten tips for going:

Need a bracelet?

There are thousands of tables just like this all over the city. Every show you attend will present a sensory overload of tempting treasure for every interest under the sun.

1.

Set a strict daily budget and adhere to it. It's easy to blow the bankroll there, because there is so much good stuff. Self control is critical -- unless of course, you are on an unlimited budget, in which case, call me and I will be willing to be your companion personal shopper for a mere 2% commission. All kidding aside, I discipline myself with a cash economy when I am there. Each day, I make an ATM withdraw of my daily budget and tuck the cash in the wallet. The plastic remains in the hotel safe to avoid temptation. When the cash is gone, I am done for the day.

2.

Determine need vs. want -- before you leave home. Make sure you get what you need first, then spend the rest of your cash on what you want. It's easy to get swept away by the great deals and seduction of cool stuff, however if you miss getting what you went for, you'll hate yourself when you get home.

3.

Travel light. You will need room in your suitcase. I choose a color scheme and bring clothes I can layer, mix, and match. The temperature can fluctuate 30 degrees from morning to night, and the city is ringed with mountains -- you never know what the desert will do. Comfy shoes are a must. Pro tip: there are stores in Tucson if you forget something.

4.

Don't forget to drink water and eat regular meals. Ditto on the desert here. Dehydration can really ruin your day. And lack of food will give you stupid-head and make you susceptible to overspending. Been there, done that.

5.

Flat Rate Priority Mail. I bring one medium box for each day of my trip and two rolls of reinforced packing tape, some bubble wrap and a thick black sharpie. Don't rely on the post office to have these things, because every other person going to Tucson will be wanting to ship stuff home too, so bring them to be sure. Each evening, I put all the catalogs, cards, notes and purchases into the boxes, pad it with dirty socks in plastic bags, and take it to the all-night self-service post office. Insure it, track it, stick on the label and drop it in the bin. You sure don't want the weight in your suitcase going home.

One of my favorite gemstone materials in the entire world, and sadly it’s all gone now…

I adore the mustard yellow Ocean Jasper. If you know color, you'll realize how useful this hue is...

6.

Register in advance for credentialed shows. Visit the Tucson Show Guide website to figure out what you'll see when. If a show is Wholesale only, see if you can fill out the Buyer's Badge credential form online.
Then you can usually jump the line at the show and hit "Will Call" to pick up your badge, saving 20-40 minutes of line waiting. But bring your wholesale credentials (and several photocopies) with you, because you'll need them constantly in the wholesale shows as you purchase.

7.

Plan your attack before you leave home. I look at the date range for my selected shows, and try to visit them in logical order. I do the most critical things first, while I am sharp, awake, and still have money. The first thing I always conquer is my student kit needs for the coming teaching season. Then, I conquer replenishing my personal stash. After that, I am open to seduction. I always carry my credentials, business cards, shopping list, notebook and pen and camera to take notes. If you have time, scout first, make notes, then go back to buy after you've comparison-shopped.

If it’s Tucson, there’s turquoise!

Bucket loads of turquoise rough from every locality. Yum.

8.

Try one show per promoter to get a feel for what you like. There are several different big gem show promoters showing at several locations each. Many of the vendors set up a set of identical tables in each location their promoter has, so you'll find the same stuff at different places. That's a time-waster if you don't have much time to spare, so pick one location per promoter and commit. You'll never see everything anyway, so accept it before you go, stop whining and move along.

9.

Collect business cards and booth numbers if you plan on continuing to do business with a particular vendor. I usually use my cell phone camera to record info I want to get back to -- I will shoot the show banner at the start of the day, then as I find stuff I am intrigued by, I shoot booth numbers/names and then the actual stuff I am interested in. That evening, while it's fresh in my head, I look at the photos, write out some notes in the notebook and tape the business card next to the notes to refresh the overloaded, old gray matter when I get home.

10.

Have some fun. It's so easy to get sucked into the exhausting feeding-frenzy of consumption and spending when you get to Tucson, but remember to look up and out once in a while. The city is beautiful, and if like me, you are coming from somewhere cold, gray, and dreary, it will be a delight to stand in the golden sunshine and look at the rosy sunset every evening. Especially if you are holding a cold Margarita and eating al fresca at the same time.

So, that's it. In case you are interested, my must-hit shows are Tucson Electric Park (at the Kino Sports complex), The Pueblo Show, The African Art Village, The 22nd Street Show, Gem Mall, and the "Strip" along I-10. Every year, I try to add a "Wildcard" and see something I have never been to. I typically buy cutting rough, tools, things for my students, some finished goods and vintage components, particularly the old, dusty or unusual.

As for other human needs, I always try to eat at the Tucson Tamale Company, The Old Pueblo Grille and Sushi Cho. Lunch is typically a grab and go affair, so I make it a point to sit down for a meal and unwind at the end of the day with friends. Margaritas are, of course, a given.

Pssst: To those intrepid souls who really looked and are following me on Instagram, thanks! It's super-fun playing with you.
Here is the weekly recap: Welcome. To. My. Studio. Are. You. Ready. To See. What.

Problem solving at the bench

Emails from students are always a pleasure to answer

Here’s Brooke's bracelet after patination but before finishing. See below for her question…

Originally published 9-7-2014

Recently, I got an email from Brooke Graybill, a former student who took my Flex Shafts Only! class at Bead Fest Spring. She's been busy working on some interesting etched bracelets, and wanted to experiment with patination, but hit a wall.
Of course, she emailed me just as I was packing for Bead Fest Philly, so it has taken me some time to answer her here. Luckily, Brooke was tenacious, and hunted me down there, so we did catch up with each other, I told her what I came up with to help her (I hope) and I also hope she is moving forward on that bracelet now.

In any case, my mind has continued to work on solving her problem since the day she emailed, and as soon as I clear a half finished project from my bench, I plan to do some scientific research -- to see if I can solve her problem without doubt. In the meantime, what I have here are the several suggestions I came up with. But first, here's her email:

Hi Helen,
I recently took a Flex Shaft course from you, however, my question is about patina, I hope you can help me. I etched some copper for a bracelets. My plan was to use liver of sulfur and darken the etched copper as dark as possible and then buff off the patina on the raised areas.
The one picture I've included shows my problem . . . I had trouble removing the dark patina only on the raised areas . . . hence I had to remove all of it.  Is there something I could have put on the raised areas to resist the liver of sulfur?  I would appreciate any suggestions you may have. Thanks – Brooke Graybill

I love the challenge of solving problems, and in doing so, I first analyze Pros and Cons of the situation. In this particular case, all the pros are about the metal Brooke chose: copper. She got a deep and clear etch, copper forms easily, and there isn't a more patina-friendly metal. Sadly, some of the cons are also about the metal: the copper will continue to darken over time (unless it is sealed) and eventually obscure the stark contrast between the red metal raised areas and the black patinated recesses. The other con has to do with the design she etched -- those raised areas are little isolated copper islands in an ocean of black. This isn't bad design, mind you, it's just difficult to deal with technically -- as Brooke discovered.

So here's what I came up with. To help you wrap your brain around it, I will call the raised areas of the design the "islands" and the etched out areas the "ocean".

Option 1: The hand finishing method. If Brooke had left the bracelet flat after patination and then very carefully used a scotch stone, burnisher, triangle scraper, or a bit of steel wool or abrasive paper to very patiently remove the patina from the surfaces of the islands, she would have had more control and been able to preserve the black ocean. Then she could have very carefully formed the bracelet around the mandrel with a clean rawhide mallet while protecting the delicate surface with a piece of cloth, chamois or leather.

Option 2: The patient patinatation method. This option is also best for a flat cuff, and I would use a weak liver of sulfur liquid solution or the gel for this process. Get a fine-tipped sable watercolor brush -- not a cheap, crappy, 50-cent dime store brush that flops around when its wet -- and carefully paint the patina into the oceans. You can only do this with a decent brush. Since you want black, black, black, work on a paper towel and let the patina solution evaporate off the metal. Then, form as above.

The Islands or the oceans?

Use a chopstick, dowel or round toothpick and some 28 ga. wire to attach the steel wool. Then polish with your cool tool just where you want to.

Either of these options requires patience and an unformed bracelet. In Brooke's case, the bracelet is already formed. So, if it were me, I would throw it in the pickle to remove all traces of former patina, rinse and dry it, and then blacken it again. Then I would make a steel wool Q-tip (photo at left) and very patiently burnish that patina off the islands. After I have what I want, I'd seal that copper with wax, matte varnish or Krylon immediately! Because copper is so patina-friendly, it will turn chocolate brown on you almost immediately, especially here on the uber-humid eastern seaboard.

So, Good Luck Brooke! I hope these suggestions help, and I will do some experimenting myself soon to see if I can  come up with another solution.

Pssst: It might possibly be entertaining and interesting in the very near future for you readers and subscribers to start following my Instagram/Facebook feeds soon ... Just sayin'..

Instagram: HDriggs_Fabricationista
Facebook: Helen Driggs

Life is good – when you get to run it

Taking a workshop with a hero of mine is always a treat!

Bob Ebendorf has used every imaginable material in his work. I have never seen such an inventive use of tabs and cold connections. He is an amazing educator and I have tremendous respect for him.

Originally Published 8-26- 2014

I truly love metalsmithing and I'm reminded of that pure and simple fact every time I get away from the daily grind and into a group of like-minded friends. Despite what it may appear to be, very often a job can be a job, and once you discover its the things you make time and space to do on your own clock that feed your mind and your heart, life becomes so much more rewarding.

Such is the case for me now, and I have gotten to a place where I truly understand how the "important stuff" happens when you get to run it. This year, I made a pact with artist Helen to go to the annual CoMA Conference on my own time and my own dime. If you love metalsmithing and you've never been, I heartily recommend it -- so, mark your calendar now for the third weekend of July and join.

The last time I attended CoMA was a few years ago, and I was distracted by exterior unpleasantries, the job and the duties -- and as a result I was unable to experience it on my own terms as artist Helen. This time, I had to run it, because I needed this one like a desert needs rain. When you are running on empty, you've just got to add fuel to the tank. And even with my excellent planning, I wound up being in recovery during the conference from a somewhat unexpected major surgery, and just a bit worried about being far from home. However, courage is essential when you decide to run it, so I trusted Doc, packed my meds and braved the pain and the flight. It was so, so worth it.

Pin swaps are the best!

Here are my 20 pin swap pins ready to trade. Wire fibulas were about all I could produce while laying on the couch drugged and in pain as I recovered from surgery.

Headliners this year were Andy Cooperman, Barbara Heinrich, Ford + Forlano, Ted Gall, and one of my "jewelry heroes" the incredible educator/artist Bob Ebendorf. Every presenter demonstrated a signature technique, and there were additional demos, including using Delft Clay by Alex Boyd, images and videos galore, the pin swap, lunches with friends, dinners with more friends, the silent auction (I scored a sweet strand of chunky, awesome stone beads for a song), the Arkansas River kayakers, "S" Mountain, Big blue sky, Culture Clash Gallery, cold adult beverages, a fantastic and like-minded roommate, glorious sunsets, tales of rocks and cutting rough, the vendor room, and a sweet, singing canary in the breakfast room of my hotel. I also took a two-day workshop with Bob Ebendorf after the conference which totally blew off my doors.

I came home energized and excited about making work again, which is a feeling I haven't experienced in a while because my gauge was on empty. I have been very busy and life's been full, but I have been making and doing lots of stuff for the job, plus curriculum pieces and demos for teaching. Important, yes. But, I remembered that its also  important to make space and time for the pure and simple work you make just for the love of making it. It is essential to do that to remain whole, and CoMA helped me remember. I was also very lucky to have an excellent drive featuring a very good mentor/student exchange with Bob Ebendorf all the way to the airport. Having an exchange with someone like Bob is a blessing. Wisdom is everything. And I know now it is critical to keep my sanity by establishing crystal clear boundaries between my own personal time and artwork and the time I have sold to others.

The more I spend time doing what I love on my own time and dime, the more I remember how important it is to me and how much I love metalsmithing. It makes me strong to have those boundaries in play because they protect artist Helen from the big time and energy drains that can suck the life from you.

The takeaway is this: here are five things I am going to try this summer as a result of what I observed at CoMA. These were my "Ah Ha" moments and I'll do a show and tell later on as I progress. And, I am still working on the movie in a blog thing, guys/gals, so don't give up on me yet. I am just busy, but I will deliver, I promise. So anyway, check this:

1. Weld sterling to sterling with sterling wire, instead of using solder -- courtesy of Andy Cooperman

2.  Roll print my dried oak leaf hydrangea blossoms between 2 sheets of annealed gold -- Courtesy of Barbara Heinrich

3. Make a hand fabricated chain out of iron tie wire or recycled coat hangers -- Courtesy of Bob Ebendorf

4. Cast something using Delft Clay -- Courtesy of Alex Boyd

5. Revisit polymer clay as a jewelry medium, but wearing a 'barrier film' on my hands to prevent a recurrence of serious allergic dermatitis -- Courtesy of Steven Ford of Ford + Forlano.

So, that's all folks. I have a busy remainder of the summer to go, and I'll see you at BeadFest Philadelphia if you are there.  There are some spots open in some of my classes, so check out my Teaching Dates above if you are free.

Ciao! And, enjoy the rest of the photos...

The Metalsmith chronicles: Part Two

Cold Connections on the road…

Teaching at Rio's Winter Workshops was an awesome experience, my students were a fun group, and we got SO MUCH done -- it was Rivet-O-Rama!

Originally Published 5-25 2014

Despite the fact that I am (always!) seriously overscheduled, here is Part Two of what's been happening on the metals front in my world. I've been traveling a lot doing some teaching, a bit of learning, and lots of working as a video producer (my other day job for Interweave, lol!). It's been a busy winter, but really fun.

Since I have taken TONS of photos along the way, I will let them tell the tale for you -- enjoy! And if you are interested in purchasing any of the videos mentioned in the captions below, check out the Interweave Store... some titles are already out, some are soon to be released, all of them are most excellent.

Many thanks to the staff at Rio Grande, Michael David Sturlin, Michael Boyd, Joe Korth, Richard Sweetman, and Susan Lenart Kazmer, for spending time with me, talking about art, making great work, and making my job so much fun!