In the archives, there is an article originally printed by LJ about
a technique used by Deb Karash that utilizes Prismacolor colored
pencils with textured, patinated copper. The article touches on this
technique, but claims that Deb Karash uses a 30-step process to
color and seal with a fixative. I’m very interested in this
technique, does anyone have more about the process? I’d
like to know more about the other 28 steps. Here’s a link to the
article on Ganoksin:
Have you seen the book, “Color on Metal” by Tim McCreight and Nicole
Bsullak? There are some fabulous ways of colouring metal presented
although no work from Deb Karash. There is however a section on the
work of Helen Shirk who also uses Prismacolor, Page 107-108.
Cheers, Jenny.
Jenny Gore Enamels
Adelaide, South Australia
Color on Metal: 50 Artists Share Insights and Techniques
By Tim McCreight , Nicole Bsullak
Price: $18.90
Media: Hardcover
Manufacturer: Guild Publishing
Release data: 01 April, 2001
While wandering through the archives I found the email from James in
SoFL.
In the archives, there is an article originally printed by LJ
about a technique used by Deb Karash that utilizes Prismacolor
colored Pencils with textured, patinated copper. The article
touches on this Technique, but claims that Deb Karash uses a
30-step process to Color and seal with a fixative. I'm very
interested in this Technique, does anyone have more information
about the process? I'd Like to know more about the other 28 steps.
Here's a link to the Article on Ganoksin:
http://www.ganoksin.com/borisat/nenam/coloring-for-metalsmiths.htm
Did anyone find out what the other 28 steps are? I have been wanting
to do this since I saw Helen Shirk’s work several years ago. I asked
a meta ls Instructor about the book by Tim McCreight and was told
that some steps w ere incomplete. I find that hard to believe since I
have used McCreight’s books for over 15 years and metal-working
people are usually glad to share their experiences. Maybe I should
just go to trial and error.
There is also an article in the June 2007 Lapidary Journal. They
recommend using turpentine in between the coloring layers.
I just finished teaching a class on this for our metals group. This
is what we did:
Patina the copper (I used horse-urine soaked sawdust).
Clean the metal up with soap and water and let it dry thoroughly.
Apply the colored pencil using the well-patinated areas of the
copper.
Using a cotton ball, dab turpentine onto the colored area. Let dry
completely.
Continue coloring./turps until you are “happy” with the result.
Spray with a matte sealer (we used Krylon) and set.
We did NOT get the kind of color density that you see in the Deb
Karash material but we did OK. Drawing and blending colors (and
shading) worked well. I made a piece copying some prehistoric cave
art and it came out well with the details noticeable.
If memory serves (and how often I wish it still did!), I believe
there was a section describing some color techniqes in The Penland
Book of Jewelry: Master Classes in Jewelry Techniques (Hardcover) by
Lark Books.
The book “The Penland Book of Jewelry” does go into detail about use
of colored pencil on metal. It is a quite involved process that
includes applying liver of sulpher first, than gesso, than the
pencil and finally a coating. There are variables too e.g. making
sure the gesso is set, making sure the metal has some tooth before
applying. I would reccommend buying or borrowing this book. Besides
giving a great step by step procedure with instructions and pictures
to this procedure it also details alot of other useful procedures
needed in the making of metals.