A Primer in 3-D Enameling


A Primer in 3-D Enameling

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Class Days: Please make a selection aboveSunday

Class Time: Please make a selection above10am-4pm (6 total hours)

Age Group: Ages 16+

Class Code: Please make a selection above7ENL06H21-A

Entry Level Class (No prerequisite required) in Enameling

Price: $230.00

Member Price: $217.00

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Description

Explore the art of 3-D metal forms with Judy Stone in this introductory one-day workshop. We will work with soft copper sheet, mesh, and copper wire. Students learn to plan for adding enamel to forms and how to fire forms. Spray equipment, industrial enameling materials, and traditional jewelry enamels are used.

All students must review and adhere to all of The Crucible's Health and Safety Guidelines to best protect our students and staff during this public health crisis. Proof of vaccination or a recent negative COVID-19 test is required for all students. Starting January 1, vaccinations are required for everyone age 12+. If your class is cancelled by The Crucible due to updated county guidance, we are pleased to offer you a refund for a class or session that cannot run.
For adult classes, youth ages 12+ are welcome to take any adult class for ages 16+, if the parent/guardian is registered in the same class with them. The only exception is for classes in the Glass Blowing Department, where youth must be 14+ to register with their parent/guardian. Adult classes marked 18+ are only for adults over the age of 18. For youth classes, the age requirements stated on the class are generally non-negotiable, unless a student has taken multiple prior classes with us and gets approval from Crucible staff and the class instructor for an exception.
Students who withdraw at least seven days prior to the first scheduled session of a class will receive a full refund, minus the non-refundable $50 registration fee. No portion of tuition will be refunded or transferred if a withdrawal is made less than seven days before the class start date. Classes are subject to cancellation; and in the event that The Crucible cancels a class, students receive information about refund, credit, or transfer. If you are interested in taking a class, register early so we know you're interested! There are no make-up classes. No exceptions. While it is infrequent, instructors are subject to change. See all of The Crucible's Policies and Resources.
At The Crucible, you must dress safely and appropriately. Arrive for class in all-natural fiber clothing, long pants, and closed-toe, closed-heel shoes with socks that protect up to the ankle. Long hair must be tied back. Nylon, polyester, spandex, or other synthetics are not allowed around machines, equipment, or processes that can produce hot fragments, sparks, or flames. Layers are encouraged as the studio can be very cold or very hot. Additional protective gear will be provided as needed. The CDC has a guide to acceptable cloth masks that help prevent the spread of infection. Bandannas will not be accepted inside The Crucible.
The Crucible is conveniently located at 1260 7th Street, Oakland, CA, just two blocks east of the West Oakland BART station. There is a student parking lot with spaces available on a first-come, first-served basis. The lot fills up quickly, and we encourage students to bike or take public transit to class. For weekend or weeklong classes, there are great places to grab food around the area, including at 7th West and Mandela Grocery Cooperative, as well as a microwave on-site at The Crucible for students who wish to warm up packed lunches.

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Judy Stone

Judy Stone, founder of the Crucible enamel department and co-department head along with Katy Joksch, is a hidden treasure among all the illustrious Crucible faculty members. Her worldwide reputation among enamelists as a teacher, mentor, and artist is unprecedented and has earned her the moniker of “the enamel doctor.” During the 50+ years, Stone has been enameling she undertook the task of learning the scientific underpinnings that she could use to solve technical problems she was encountering. As a result of her research, she developed a unique approach to teaching enameling which other enamel instructors have wholeheartedly embraced.

Majoring in German language and literature, Stone received her bachelor of arts degree from Miami University in Oxford, Ohio in 1966 and her master of arts from the Indiana University in 1968. She first encountered enameling in 1968 while studying on a Fulbright fellowship in Germany. She later recalled, “One day I saw a piece coming out of a kiln. It was molten red and as it cooled I could see brilliant color emerging. It was the alchemy of that transformation that piqued my interest.” After returning to the United States in 1969 and settling in the San Francisco Bay area in 1972 she taught herself to enamel while also enrolling in workshops with some of the leading figures in the enamels field. “I took workshops with Margarete Seeler and Bill Harper in the mid to late 1970s, with Jamie Bennett in the early 1980s, and with Bill Helwig in the 1990s.” But it was Fred Ball’s book on experimental enameling that had the most profound influence, encouraging her to explore non-traditional approaches in her work.

Like her Bay Area friend and mentor June Schwarcz, Stone rethinks venerable vessel-making traditions as she creates open forms in glass and metal, abstract sculptures which, while referring to tradition, defy the fundamental notions of containment, enclosure, and functionality so long associated with the vessel. However, unlike Schwarcz, whose enamel and metal sculptures are created, for the most part, through an electroforming process, Stone works with spun or hand-raised copper forms. She then cuts into and rips open these pristine vessels and re-stitches them with metal wire.

The principles of destruction and renewal or “healing” are central to Stone’s work. Her process involves tearing open a form to reveal what lies within and then reassembling it to construct a new reality. As she states, “These ‘destructed vessels’ challenge me to heal what has been destroyed, making it more beautiful and more balanced.” However she is also mindful of the unique properties and capabilities of enamel: “I want the satin finishes, the exterior of the piece, to be handled and caressed. I paint with light and want light to play on and through the piece.”

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