Who can take part?
The Button Project is open to artists, designers, makers and craftspeople. All buttons received by the date below will be exhibited.
A highly engaging display for press and public alike
The Buttons will make a stunning display. We already have promises of over 100, ranging from fabric and thread, plastics and wood, precious metals and glass. The collective display will be to die for, and the individual buttons highly collectible. Not to mention an engaging story for press and public alike.
Want to make more?
You may submit ONE button only for the display. However, depending on your technique, some of you may find that it is more economical to make a set. You may submit up to three additional buttons as a set, to be sold separately. The price of each of these buttons must be the same as your single display button.
Deadline for receipt of expressions of interest: 4 March 2013 (but earlier if possible)
Delivery of Buttons to the Heritage Centre: 29 April - 4 May 2013
Deadline for receipt of photographs of buttons: 4 May 2013 (but don’t delay, send one as soon as you have it!)
Dates of show: 14 June – 8 August 2013
Opening event: Friday 14 June 6-9pm 2013
Collection of unsold work: 26-30 August 2013
Queen Ethelburga’s College, Thorpe Underwood Estate, York. Y026 9SS
For 2013 we are returning to Queen Ethelburga’s College near York, which some of you will remember from the 2009 conference. The college is about 6 miles east of the A 1(M) and 12 miles west of
Queen Ethelburga’s is a well equipped school with a mixture of old and modern buildings. All our bedrooms will be en-suite (shower) and are near to all other facilities. The rooms can be configured as either singles or doubles as required (but with no cost benefit for doubles). Towels and tea and coffee making facilities and fresh milk will be provided, but please bring your own toiletries, T bags, coffee etc. Hair dryers are wired in to all rooms so no need to pack them. There is ample parking at the edge of the school site and we have been assured that golf style buggies will be available to transport people and luggage from the parking to the main buildings.
The tutorials will be held in the science labs so that sinks and water will be available. Unfortunately there are no lifts to the labs, if this is a problem for any delegates we can arrange for at least one tutorial to be held on the ground floor. Please add a note about any mobility or access requirements when completing the application form. We are fortunate to have a good range of tutorial topics to choose from, thanks to the continued support of our excellent tutors.
The suppliers will be in the
I look forward to meeting as many of you as possible in April.
Jane Sheppard, Conference Secretary
Workshops at the 2013 Conference:
Experimenting on Steel with Lesley Miller
Techniques such as sgraffito, stencilling, riso, cloisonné, stamps, etc. are all possible when working on steel, but the effects can sometimes be quite different.
We will use pre-enamelled steel with either just a ground coat which is a dull grey or with a coat of white enamel over the ground coat. Tiles measuring lOOmm square or 100 x 60mm will be available and we can also experiment with thinner, white enamelled steel. This is thin enough to be cut by hand if you want.
Steel gives a more stable base than copper, but you will not get the some of effects obtained by the copper showing through or affecting the colour of the enamels. However, you will be able to obtain a range of different effects, particularly by under firing. Transparent or opaque enamels can be used, leaded or unleaded and even gold or silver foils.
Grisaille with a Twist with Bonnie Mackintosh
‘Grisaille’ is a traditional enamelling technique (from the French, meaning ‘greyish’) in which veils of white painting enamel are built up over a dark ground to emphasise highlight and shadow, often to dramatic effect.
My own method of execution is non-traditional and can employ both wet and powdered enamels, painted, splattered, stencilled, sgraffitoed, and screen printed. Added materials (the ‘twist’) might include glass millefiori, powdered lustres and firescsale.
Not being a painter, my subject matter- like my methods — is non traditional, allowing for the maximum of ‘play’.
For the Conference tutorial, I will suggest a choice of ‘theme’ around which to base the day’s experimental enamelling, but that will remain my secret for now...
Riso Screens from Image to Enamel with Dorothy Cockrell
We will cover suitable images, making and mounting screens; suitable enamels and various ways of using them; trouble shooting and how to prevent problems. I will bring a laptop, scanner and laser printer as well as the Guild Thermofax so that we can make some screens in the workshop if desired, also my own stock of existing screens. Participants can experiment with using screens on any shape of flat copper or prepared steel blank (up to 4” square).
Wireless Cloisonné on Silver with Jane Short
I was lucky enough to spend 5 days in a small cloisonné enamel factory in Japan this spring and was briefly shown a piece of wireless cloisonné work in progress. In this technique high cloisonné wires are glued onto a pre-enamelled background, a thickly laid enamel is packed around the wires, which are then deftly removed before firing. We will spend our time in the workshop experimenting with this technique on a small scale on silver to see what possibilities this might open up.
Non-traditional Mark Making for Enamelling with Jessica Turrell
During the day Jessica will discuss and demonstrate a number of non traditional mark making and patterning techniques in the context of her own practice. These will include wet-pen and stamp application, layering and abrasion plus techniques for altering the surface of the underlying metal and how this affects the subsequent layers of enamel. During the day attendees will have the opportunity to create their own samples of the techniques demonstrated.
Enamel Painting with Keith Seldon
A short demonstration on how to prepare and enamel a plate/link ready for painting and then how to put down an outline and paint something of your choice.
I will have silver links enamelled white ready for painting. If you want a different colour to paint onto I will bring blank pairs for you to use, but let me know, and this will cut down the time for painting. Or bring something of yours already prepared.
I will show you how to paint the links, or your choice of item, but please try and keep it simple, and if not, be prepared to work quickly on the day. The process takes time and patience.
Time to get all your brightest enamels out and start working on your piece for the themed exhibition at this year's conference "All the fun of the fair"
Who wants to join Joy Funnell in her weekly critter challenge for 2013?
19th January High and low firing
16th February Using all sorts of stencils
9th March Decoration media, including wire inlay, gold and silver foil and leaf
13th April Cloisonné – laying wires and wet laying enamel – suitable for working on silver
11th May Raku firing
Westhope Certificate Course starts 7th January, alternate Mondays during term time
For more information, contact the college: www.westhope.org.uk 01584 861 293
26th January Back to basics. Get to know and understand enamels better
9th February Metal forming
23rd March Cloisonne
20th April Etching
18th May Stencils