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Health & Fitness

Scalpels and Goggles and Masks, Oh My!

Mastering the fine art of metal clay.

I looked at the full page List of Tools for the Best Bead Shop Introduction to Metal Clay class handout, and wondered if I was in over my head.

Most of the items seemed harmless – stainless steel bowl, spray bottle of distilled water; others were, well, questionable. Report cover? Spray bottle of olive oil? Still others sounded sinister – goggles? Protective mask? Scalpel? I hadn't prepared myself to be wielding surgical implements.

What was I getting myself into?

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I've enjoyed crafting since early childhood when Captain Kangaroo guided me through the assembly of a multitude of nifty projects, using little more than an old shoebox, a sheet of construction paper and a couple strips of Scotch tape.

I discovered jewelry making a few years ago, and even started selling my designs at Berry Patch in downtown Pleasanton. So I'm no stranger to the variety of classes offered at bead shops throughout the greater bay area.

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When I saw the advertisement for the class offered at the San Ramon bead shop, promising techniques for molding copper and bronze clay into pendants and earrings, I couldn't wait to reserve a spot. I imagined creating unique works of art to add to my collection on sale at the Pleasanton gift shop.

But after perusing the lengthy tools list in the handout prepared by instructor, Lucy Romijn, I began to question my decision to sign up. My heart pounding, I resisted the urge to bolt for the exit, and decided to stick it out for the four three-hour sessions.

My pulse rate returned to normal as soon as Lucy started explaining each tool, even pointing out which were optional for beginners. 

She showed us the pieces she had made, on display at the shop, then proceeded to take us through the steps for creating our own designs. 

We started by shaking the tube of brown metal clay powder supplied to each student, to be sure the binder was thoroughly mixed.  Then we poured a little into the stainless steel bowl, gave it a spritz from the spray bottle of distilled water, and started to mix it, much like mixing cookie dough.

Lucy checked each of our mixtures to be sure we had achieved the proper consistency, then we moved on to the roll out.

She explained that we would be rolling the clay between the front and back covers of the plastic report cover she had provided. A spritz of olive oil on each surface prevents the clay from sticking when rolling it out.  We also doused our fingers with the slippery substance.

Next we sandwiched the lump of clay between the front and back of the report cover, then used the small rolling pins Lucy supplied to flatten the lump.

I learned later that the scalpel would be used to cut shapes out of the clay.  Nothing sinister there.

We pressed designs into the clay by applying one of the multitude of stamps and textures from Lucy's vast collection to our base copper clay shape.  And, yes, we had to oil the stamps, too. A heating surface is used to dry the clay after it has been cut and embellished.

Lucy described the use of an extruder to adorn our piece with a narrow strip of bronze clay, adding a striking pattern to our copper base shape. Fellow students, Carol and Linda curled elegant bronze ribbons into lovely delicate designs.  Mine resembled the serpent of Garden of Eden fame, and not in a good way.

And the goggles and mask? Pretty tame, too, as it turned out. Lucy explained that it's advisable to cover our eyes and nose when we're sanding and polishing after the pieces are fired in the kiln to prevent the dust from invading our sinuses.  We would learn that step at the second of the four-session course.

Each week Lucy guided us through more challenging techniques for manipulating and embellishing the clay. A patient, supportive instructor, she is also a talented artist. I encourage you to stop by the shop and view Lucy's designs, or look up her Facebook page.

Perhaps the most important lesson we learned was that metal clay work is not an exact science. Each piece is unique.  Every imperfection adds character and a more handmade look.  Also, when describing the details of your work, using the word "organic" sounds way better than, "Yeah, I screwed it up a little there."

By the end of the course, I was proud of the four "organic" pendants I had created - well, at least three.  I can't say the serpent will be among those I'll be showing off to friends.

Working with metal clay takes patience and practice. Whether I'll ever create pieces worthy of sale at Berry Patch remains to be seen. But I can say with certainty that this class was one of the most interesting and enjoyable that I've taken since those long ago mornings sitting cross-legged in front of the black and white TV watching the Captain and Mr. Greenjeans.

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