Tree of Life —
A New Beginning in Glass Beads
Text and Demonstration by Rocio Bearer
As it is with most artists, repeating the same art piece over and over again quickly turns into production, which brings creativity to a rapid halt. I think artists enjoy the creative process of their art form almost as much as, if not more than, seeing the finished piece itself. When the creativity is taken away, half of what we love about what we do is gone. I think this is what pushes glass artists to keep looking for new, innovative techniques and materials to add to their art form.
Precious metal clay has been around for years in the jewelry industry. We have seen artists start to include it with small, fused glass nuggets to create fine glass jewelry that is nothing short of breathtaking. Lampworking beads is an art form that is growing in popularity. While the concept of combining precious metal clay with glass
beadmaking seemed like a logical step, the challenge of the heat required for glass versus fine silver had to be solved. This art piece, Tree of Life, was designed as a fun way to demonstrate how fine silver and glass beads can be combined into fine-art jewelry. I hope you enjoy this project and the use of fine silver with your glass art as much as I have.
Art Clay™Silver
Silver Overlay Paste
Silver Syringe
Other Materials and Tools
Steel Wire Brush Agate Silver Burnisher
Glass Bead (On a Mandrel)
Paint Brush Kiln
The bead used here was created from Italian Moretti and Rocio’s Silver Colors made in the United States. The shape was created using the 1-1/4" Lentil Tool by Cattwalk Molds. For this project, the size and shape of the bead is completely up to you. These techniques can be applied to any soft glass or borosilicate bead.
This is a unique paste that has two important properties. The first is that is cures at a lower temperature than normal paste, which allows it to be used as glue to adhere 3-D silver designs to glass. The second feature is that it is almost as thin as water, so it applies to the glass very evenly. Because of that, this type of paste can be scratched away to create intricate designs and patterns. Normal clay flakes off, and that prevents the creation of patterns that require clean lines.
The bead is painted with the overlay paste using a normal paint brush. The paste will dry over the next minute or two after it is applied. Notice in the picture that the bead only needs to be covered when the design is going to be drawn on the bead.
3. Trace the bead with a pencil onto a piece of paper.
Use this shape to draw your design. You can draw directly onto the clay-paste-covered bead, but erasing and editing your design would be difficult.
4. To copy the design onto the bead, use carbon paper and simply trace the design.
You can also draw the design onto the bead using the paper design as a reference.
5. After the design is put onto the bead, trace the lines with a toothpick.
Continue to scratch away all the areas leaving the tree and branches. (Hint: Scratch the bead over a piece of paper. The silver powder that is removed can be put back into the overlay paste jar for future use.
6. Add a three-dimensional look to the silver clay.
This is an easy process. Using the syringe, thicken the tree trunk and branches. For a more realistic-looking tree, follow the direction of the trunk and branches with the syringe.
This picture shows the dry bead ready for the kiln. The bead needs to be supported in the kiln so the heat doesn’t bend it. This is only a problem when larger beads are used where the weight of the glass will want to stretch the bead when it’s hot. One-inch-thick fiber blanket can be used for large pieces like the one used in this project. (Hint: Silver is harder than glass, so creating a design that can support the bottom of the bead will prevent the glass from picking up the texture of the fiber blanket.)
Another nice feature of the Art Clay Silver is that it can be fired in a normal annealing kiln. Program the kiln to heat up at 500°F per hour up to 1111°F and hold for 30 minutes. Then cool at 200°F per hour down to 500°F, holding for one minute and shutting off. This program works for this size bead that has thick silver elements on it. Faster heating and cooling times can be used for smaller pieces. However, the 1111°F for 30 minutes must remain in the program.
8. Check for the fired silver to look white to tell when the bead is back to room temperature.
9. Use the Agate burnisher to bring the surface of the silver to a mirror finish.
In this project, the burnisher is used to polish only the higher details in the piece. This adds a nice contrast and some sparkle to the design.
www.fineartbyrocio.com
Rocio Bearer has studied and trained in Venezuela as well as in Columbia and the United States to learn the skills she uses today. She is considered a pioneer of modern art glass in her native Venezuela and is noted for introducing a variety of new glass techniques.
Since being honored as Featured Artist at the prestigious Venezuela School of Art–Candido Milan, Rocio has lectured and taught stained glass, painting, fusing, and lampworking. She really enjoys sharing her knowledge with other artists as she teaches classes in her Cocoa, Florida, studio that she operates with husband Ron, as well as in other studios throughout the United States and South America.
Among all of the things that Rocio loves about glass, teaching is what motivates her to keep exploring new techniques. It is common to find her taking pictures of flowers and drawing out rough sketches of her next creation. Her love of nature and all of its intricate creations is a great influence and inspiration for her art.