Tag Archives: teaching

I’ve been a busy Metalsmith…

Since the layoff from the magazine in August, I have been having way too much fun in my studio creating new curriculum pieces for 2017’s upcoming classes in Tucson, for an 8-week introduction to jewelry course at a local adult school, and hopefully, for the August BeadFest in Philadelphia. I am truly lucky because so many people have called and emailed me with an eye on getting a hold of the new, free me to teach, lecture, create video content or write for their respective publications and sites that I am as busy now as I was whilst employed full time. Not. Too. Shabby. If you are interested, you can find my current workshop descriptions here, and my class rosters and signup information here. If you plan to go to Tucson, look me up and I hope to see you there!
PS: Check my Instagram feed for works in progress shots and to see what I am up to these days. I usually post there a few days per week.

On a side note, I have also been busily creating print content in the form of some short technical features, tool reviews and tips, and how-to articles for a large jewelry industry magazine. It’s fun writing that kind of content, and what I enjoyed most/did best in the old job, so I feel extraordinarily lucky these days for the continuity. Thanks universe, you never let me down.

Now that my plate is a little less full of all that time-consuming transitional employment and other real life stuff, I plan to be here more. Keep an eye open for news about upcoming classes, online workshops, heads-ups about magazine articles and projects I have on deck. I will be adding a few pages to this blog for up-to-date ways we can stay in touch, so check here often, because I promise this year will be a fun one. Surely we will need fun in 2017.

And to all of you who have contacted me, thanks so much for your kind words and encouragement. You really have no idea how much it means to me!


Embrace the Unexpected

When I was rather unexpectedly laid off from the day job at the magazine at the end of August, I decided to look on the upside of things — all of a sudden I have lots of time on my hands to spend in my studio without being mentally distracted by the daily demands of a job. Sure, there is anxiety associated with being unemployed, but if you treat the job hunt part of your day like a temp job and just blitz through the finding leads, sending out and following up on stuff to efficiently get it over with, all of a sudden you have hours and hours of unencumbered time at your disposal. It’s actually really awesome. I’ve been sleeping like a rock, eating so healthy it’s scary, suddenly have lots of energy, and strangely, no more acid reflux. I haven’t left the house for weeks except to take a daily walk around my local lake, or to visit the mailbox or work in my garden.

All this positive force means I’ve been making work like a fiend, sending out class proposals, applying for residencies, shaking up some freelance work and teaching workshops, organizing my paperwork, cleaning up my digital assets, mastering some code, getting the book idea that’s been dancing in my head for about 8 months committed to a worddoc, and generally investing 100% of my creative energy into ProjectHelen instead of ProjectElsewhere. Hate to sound selfish, but ProjectHelen is so rewarding because there are actually tangible rewards when you invest in yourself. I could really get used to this…

Anyway, quick word of reassurance — I promise will still be writing about Tools and Bench Tips here on a regular basis. My last formal column will run in the November 2016 issue. For the past few weeks, I gave myself permission for an essential and very healing mental break after what went down at the magazine. I just had to allow the trauma to sink in and process itself down and out of me. I am happy to say I am cool with it now, doo-doo happens and, it was a great gig while I had it. Oh, and good luck…

So. Over, next. If you follow me on FB or Instagram, you’ll see I’ve been toying with some video, taking loads of step shots, and creating some new classes for Tucson and BeadFest, plus some other places I hope to reveal soon. Keep an eye on my class descriptions for updates. And now, I can be here more often, too.

Change, they say, is as good as a rest. Um, yep!

 


Metal Stamping Your Jewelry: Part One

Metal Stamping is hugely popular these days, and I get lots of questions about it — particularly about stamping straight and spacing letters. To understand how to nicely stamp words and phrases, it’s critical to understand a little bit about typography. As a former graphics professional, typography and letter forms are near and dear to my heart, so here is an easy primer on the gentle art of typography for non-graphic designers.

First, a glossary is in order — just so we can speak the same language:
A font, or a typeface, is an alphabet of a specific design. All of the letter forms, numerals, symbols and ligatures of a particular font will be similar in appearance, match in size, weight and style, and they will work well together when combined into words, sentences, and paragraphs.
There are font families: Modern, Egyptian, Script, Roman, Gothic, etc.
There are font weights: Light, Medium, Bold, Extra Bold, etc.
There are two major types of letter forms: uppercase (capital letters; all-caps) and lowercase (non-capital letters).

Luckily, today’s metal stamp sets typically consist of one letter form, so the real complexities of typesetting are easily dealt with. Some fonts can be purchased as two individual sets: uppercase letters or lowercase letters. Either way, some essential measurements you’ll need to know about your particular letter stamps are detailed here. I know math and art make an unhappy marriage sometimes, but there are places where you’ll need it, and sorry, this is one of them.

The total height of the font includes the ascenders and descenders.

The total height of the font includes the ascenders and descenders.

In today’s blog, I will deal with just horizontal measurements. Stay tuned for Part Two: Vertical Measurements where I’ll be including samples, too.
OK, ready? Let’s start!

Capital letters of a font live in the space somewhere between the highest point of the ascenders (b, d, f, h, k, l) and the lowest point of the descenders (g, j, p, q, y). Some script fonts include flourishes and swashes that sweep into that space as well. The pink highlight in these diagrams, or, total height of the font, can usually but not always, be determined by measuring the shaft of the actual metal stamp. This measurement is critical to know if you are stamping blocks of text, but not so critical if you are stamping just one word.

Without getting too picky, there are also some special considerations for specific round letters — O, Q, G and C — which just look much better when they sit below the baseline a bit instead of on it, but I’ll save that for later.

Anyway, that baseline is the most important line you’ll need to know for well-spaced stamped lettering. It is used for lining up the bottoms of the letters, and measuring the “x-height” of your font is how you’ll find the baseline. See the green highlighted x in my diagrams? Those lines that mark the top and the bottom of the x are the font’s x-height. The bottom line is the baseline. This is true even if you choose an all-caps font. For a lowercase font, it’s obvious. So, take a scrap of metal, whack your x stamp and then measure the stamped x with dividers — so you know what that measurement is for the particular font you have decided to stamp with.
Here’s a diagram with a closer look…

The X height is the most-needed measurement of any typeface -- be it upper or lower case.

The x-height is the most-needed measurement of any typeface — be it upper or lower case.

So, once you know the total depth of the font and the x-height, you are ready to layout your horizontal guidelines, or grid. This is especially important for blocks of text, and again, not too important for single words. But, I suggest always working on an actual-size piece of tissue paper first, and hand lettering the layout for spacing, and then making a test run of your phrase on scrap metal. with the actual stamps you intend to use. Only then should you commit to your piece. In my mind, it’s worth taking the time to test things, because a poorly stamped text block can really ruin your day, not to mention your metal, so don’t go there.
To create the guidelines on your tracing paper, tape it to the table, and use a T-Square to draw parallel lines at all of these points: the top line, the base line, the bottom line, and the space between each line of stamping.
Here is a closer look at that…

Spacing guidelines for metal stamping must include these measurements.

The horizontal spacing guidelines, or “grid” for metal stamping must include each of these measurements.

I like to use the x-height as my line spacing, but you can also use more or less, depending on the style, size and complexity of your font. Again, making a test run (or several of them) is a good idea, especially with complex blocks of text. You did want people to be able to read it, right?
Next blog, I’ll address the vertical guidelines, so get yourself some letter stamps, a scrap of metal and write out a phrase to practice with. I have lots of tips to share with you, so hang tight… I will be back soon.

Pssst: Thank you, you intrepid souls who are following me on Instagram! It’s super-fun playing I Spy with you.

If this is a mystery to you, click on the photo under the photo of my book at upper right of this blog, join Instagram, and play along. And, if you have patience, wait. I’ll be producing a limited-edition instructional kit of the mystery project I’ve been making on Instagram for sale, in my soon-to-open Etsy Store… In the meantime, follow me here:

Twitter: @fabricationista
Instagram: HDriggs_Fabricationista
Facebook: Helen Driggs


There’s always room for vise

Traveling to teach is not without drama.

Recently, my best pal and I met in her town and road-tripped to another state
(that’s a BIG state, not a little one) to tag team teach at Bead Fest Santa Fe. Now, you have to understand: teaching metals classes isn’t easy. You have to move tool steel, kits, torches and tanks for a dozen or more students per class. And, you want to bring extra stuff for your students to try and possibly buy. And, you have to rely on a sequence of events falling into place in a particular timeframe so everybody’s needs are met.

Don’t get me wrong — teaching is very rewarding. It’s just the logistics that aren’t. And, something always goes wrong. No matter how well you planned. It’s just a part of the thrill.

Like the vise. It’s heavy. You can’t fly with it, but you need it. Do you buy one when you get there and pray somebody in the class buys it? Do you ship yours? Do you borrow one and pray a student does not destroy it? Or, do you order one with your tool shipment and hope it gets to the hotel in time? And then, how do you get the thing 5 blocks over to the Convention Center, along with the 300 pounds of kits and tools for your classes? Oh, and stubbing that vise with your big toe in the middle of the night in the hotel room is really fun too.

Here I am teaching my Getting Started in Metals class, and totally delighted with my students and their progress.

We love teaching at away games. Really. But, when I said vise, I meant vice. Like cold adult beverages and good old fattening food with friends. And sweets after dinner every night. Because, when you meet up with fellow teachers you haven’t seen for a while, survive 4 days of teaching and assistant teaching in a strange town — without the shop equipment you are used to having nearby to teach well, vice is what you really need to get through it all. That, a sense of humor, and a sense of adventure will help you remember why teaching is fun. But, you’ll still need to leave room in the shipping box for the vise to go home once you wake up from the vice part of the trip the next morning.

Today’s tip: I saved my son’s toddler socks to cover my hammer heads when I travel. The little socks are the perfect size to protect the textured faces of my student hammers, and they remind me of my little guy when I am far from home.