3D Printed Jewelry

It seems like everyday there is another article on how 3D printing is changing global industries, from food that can be printed on long space journeys (hello replicator?) to medical miracles printing human organs and now to the fashion world where last fall Justin LeBlanc's 3D printed accessories for the finale on Project Runway were nothing short of poetic.  A simple 3D printer is now even cheap enough to purchase for home use.  The future is quite literally here, but where does that leave those of us trained using much more traditional tools? Or those of us who work as artisan jewelers at an "old fashioned" bench?  Well it left me feeling like it was time to learn a little more.  I have visited a few studios to see demos, but admittedly often lost interest when it came time to designing on the computer.  Though I have been exposed to both Rhino and Google Sketch-up (which is free) and agree that they are both easy enough to learn with a little bit of commitment.  Now, though, I knew it was time to start exposing my own students to where many of their design paths may lead them.  I made arrangements for one of my advanced jewelry classes to visit a CAD (computer aided drafting) class where they were exploring 3D printing.

Our first challenge was to rethink how we designed our pieces.  We were paired with students in the CAD class who would walk us through transforming our very simple designs into 3D printed rings.  Rather than sketching out the final form, we needed to focus on the profile view.  Once we decided on that "slice" of the ring, we were walked through drawing that simple profile on the computer.  I will say the interface was user friendly and if you are comfortable using Photoshop or Illustrator, you will likely be comfortable here.  Since we were all doing rings and this was a quick demo, the measurements/proportions had been determined and pre-set to save us some time.  Once we had the flat profile outlined, we simply "revolved" the image and it went from a "slice" of the ring to the entire 3D form.  We could revolve it and check it our from any angle.  Last we scaled the proportions so that they fit our own fingers and sent the file to the printer.

If you have not seen a 3D printer in action (or even just in pictures), MakerBot makes a line of 3D printers and scanners that can be viewed here.  It looks like a large empty box with an arm in it.  The arm begins to move back and forth and spits out two different liquids in the pattern of your design that soon turn to solids.  One is the actual object and one is any hollow areas that will later need to be removed.  Once the printing is finished, the objects are removed and put in a bath that eats out the hollow areas.  We made these very simple rings with hollow interiors, but these printers can handle everything from complex whistles to moveable chains.  Walking us novices through the design process and sending our file to the printer was maybe an hour.  It then took several hours to print and soak the centers out.

Some of my students will go on to design programs where they never sit at a bench again, but design on their tablets and send their work to printers.  This is no less authentic than the digital revolution that photography has experienced over the last two decades.  For myself, my intuition will always lead me back to my bench and my tools, but 3D printing opens up far more possibilities for the accessibility of my work.  While these rings above were printed in a nylon like material, we can now 3D print in everything from ceramic to wax to 14k gold.  I can create prototypes of pieces using traditional techniques and materials that will be 3D scanned to create a CAD file and then sent to any number of companies (such as Shapeways) to be printed in the material of my buyer's choice whether it is silver, bronze or platinum.  There is much potential to reduce the risk and financial investment of having an entire line cast when pieces can then be printed as purchased.  For me, 3D printing goes beyond simply a new digital technique and has much potential to empower artists in a new business model if they are brave enough to explore it.

Delicate Blossoms

     Inspired by the "Charms Challenge" that my local Guild took on last winter, I began exploring more subtle forms.  I began preserving delicate blossoms in fine silver to keep a tiny piece of nature close to the heart.  These  dried blossoms held up well to the thinned pasting technique I had been using with my larger lace forms and served as a great place to start.  These open forms kept their outer surface textures and created interesting shadows on their interior.  Delicate pieces demand delicate presentation, so I have moved away from my usual heavier snake chains and to these fine looped chains to maintain visual balance.  With nowhere to  directly stamp these fine silver forms, a tag with both my logo and the metal quality was attached to the chain.  Come view them in person next weekend at the open event for Inspired Objects: Metalworking through the Ages at the Windsor Historical Society.

Inspired Objects

This week in the studio has been spent getting ready for the big show!  Hope to see you there!

Secret Garden

Secret Garden, 2014

Marjorie Renno

Fine silver pendant with almandine garnets & glass on a sterling silver chain

This piece was created for the upcoming "Inspired Objects"show at the Windsor Historical Society opening June 13th.  My work has always drawn inspiration from my local environment, so it seems fitting I was drawn to the silver flask embossed with flowers (see below) for this exhibition.  I am intrigued by the intricate textures of organic forms and look to capture the essence of the places they come from.  For me the flask, an object often hidden, was especially interesting because of its detailed floral design – something that might only have been seen by the owner. 

The pendant takes its horse-shoe like shape from the floral arc that curves along the bottom half of the flask.  Many of my walks, along my own hidden paths, are not necessarily lined with flowers but growth such as mushrooms and ferns.  The pendant was created using a metal clay pasting technique over an actual mushroom and leaves to achieve the deep grooved texture (see below).  Green glass beads made in the kiln and red garnets are pressure set across the surface.  Three leaves poke out from the edges to mimic the leaves jutting out from the flask design.  The piece was finished with a surface green tinted patina and set on a sterling silver figure-8 chain with a toggle clasp.

“Inspired Objects: Metalworking through the Ages”

Windsor Historical Society

Opening Reception and Sale

June 13, 2014       7PM to 9PM

Day of Demos and Sale

June 14, 2014       11AM to 4PM

Come view and purchase the work of members of the Metal Clay Artisan Guild in Connecticut who have created new works specifically in response to objects in the Windsor Historical Society's collection.  Learn about metalworking through the ages, meet the artisans, and enjoy light refreshments. The Metal Clay Artisan Guild in Connecticut is an association of metal clay artists who are pushing the boundaries of metal clay artistry through work that is varied and unique. The exhibit will remain on view until August 8^th. Cost: FREE. For more information, contact the Society at 860-688-3813 or online at www.metalclayguildct.org.

Etched Copper Cuffs

Last summer I wrote a series of posts on metal etching to go with the demonstration I was leading at the Metal Clay Artisan Guild in CT's July meeting.  Part 1:  The Resist, Part 2: The "Salt" Etch, and Part 3:  DIY Texture Plates covered the step by step process I use to etch.  These posts were geared towards creating texture plates for printing on metal clay.  

This past month my advanced jewelry students used this same technique to create these awesome etched copper cuff bracelets.  After piercing and etching the copper sheet they used liver of sulfur to create a patina to really bring their etched surfaces out.  Finally, the bracelets were finished with a clear coat of Rust-oleum Automotive Clear Coat to seal the surfaces they had created.  This is generally what I have students seal their work with when using base metals in jewelry class.  It is inexpensive, covers smoothly and maintains the surface they have worked so hard to achieve.  It also seems to help protect the skin on those who seem to have some sensitivity to base metals.  

1000 beads

Really excited to receive my copy of 1000 beads in the mail this week and even more excited to be included in it!  This is one of my favorite pieces and while it has since sold, I had the good sense to have a great friend photograph it before it left the studio.   The making of it was featured in one of my early blog posts, which can be viewed here.  Lark Crafts publishes quality jewelry books that serve as inspiration to my students. The caliber of work in this volume is no exception, making it a truly humbling experience to have been selected by juror Kristina Logan to be included.

Winter's Work

I have a wonderful and warm studio to work in, but it can still be tough during the long winter months to stay motivated.  This is often a time I turn to pieces that have been abandoned during the year and try to problem solve them to resolution.  This little hollow pod had much potential, but I was struggling with how to resolve a large hole torn in the bottom.  A CZ rolling around my bench served as the perfect inspiration!  I even enclosed a few on the inside so that it jingles when you shake it.