This large copper sculpture titled Father Sky is Watching Us attracted a lot of attention

Copper artist Charles Bellofatto comes by his art and passion for creating from a personal frame of reference but he also feels his ancestral Cherokee roots have influenced his direction in life. His mother was part Cherokee and he explained, “I learned those ways as a young man until my family converted to Christianity, but I never forgot who I was. Native Americans have a long history of working with copper, and many of the Southeastern tribes did a lot of copper smithing. Typically medicine men and chiefs were the only ones to wear copper on their body but other adornments were worn as well such as wrist and arm cuffs and beads. They wore gorgets, or breast plates, very similar to those worn by European soldiers. These soldiers used copper to identify themselves or their units, like dog tags, but they were also decorative,” he explained.

In the photo of Bellofatto, posing with one of his sun sculptures titled “Thoughtful Sun”, he is wearing a gorget that he created from copper sheeting. The gorget speaks of his heritage as well as his love of copper. His business card states his work and his passion in one term, Surrealistic Artist. “Because of the nature of surrealism, I’m more of a traditional surrealist and don’t care for today’s Nuevo surrealists. Surrealism appeals to be because it gives the idea that our perception, dreams and any number of emotions can be experienced in being one with the art,” he said.

Bellofatto has been a painter as well as a sculptor. “I’m an individualist. I started out studying sculpting and mixed medium, converting objects into art. I was in a junkyard, looking for pieces to work with and discovered a roll of copper in a trailer they called their ‘collectables’ trailer. I thought about copper for a long time and was strongly drawn to it and intrigued by it. I went back and bought that roll. It had been used in roofing work and was in pretty rough shape, but I was able to work with it. Now copper is my main medium,” he said.

“When I first started considering copper I saw that a lot of people were using it but their work was very repetitive and boring. I spent a lot of time studying copper smith techniques. From my experience working in a machine shop I learned what it takes to mold, form and bend metal and how to bond it together with a torch. I considered making jewelry also, but people don’t care for their skin being green so I decided on metal sculpture. It has been an evolutionary journey,” he said.

Charles Bellofatto poses with a large sun sculpted from copper sheeting, wearing his gorget.

Special requests are often unusual, such as the recently request from a European couple that were getting married. They wanted a spider to use in their wedding ceremony. According to Bellofatto, spiders are sacred symbols in Indian spirituality so he was happy to accommodate their request and the two pieces were used predominantly in their wedding ceremony.

For a piece titled simply “Lizard”, he experimented with several coloring techniques to create the brightly colored piece. He prefers to chemically alter the copper rather than coating it with paint. For this particular piece he used vinegar and 10-10-10 fertilizer to achieve the coloration but noted the fertilizer left a crusty texture. He also prefers using sulfur for achieving a black color. The lizard is 18” in length.

At the Ybor City Art in the Park event recently, just east of downtown Tampa, FL. Bellofatto’s large piece title “Father Sky is Watching Us” attracted a lot of attention but it was “Mother Earth Takes a Respite” that caught the judge’s eye. The judge was so taken with this work he awarded Best of Show for the sculpture and a check for $1,000 in recognition for his exceptional work. While his work has been featured in several galleries in the Tampa Bay area, but the best way to have an original Bellofatto copper sculpture in your home or office would be to call him at 1-813-935-1276.

For a great price on copper sheeting, contact QuickShipMetals.com.

Copper can be applied with a variety of glues and you can even find glue with copper flake that dries to create an embossed finish.

One of the best ways to add color, texture and variety to a scrapbook is by using copper foil, copper sheeting, copper wire, specialty copper ornaments and embellishments created for this popular hobby. If copper isn’t the color you’re looking for, QuickShipMetals.com carries brass foil and aluminum foil and just added stainless steel foil for a more modern techno kind of look.

Memories are the greatest gift you can give, especially to parents or grandparents, but friends and even children love them as well. The best way to preserve and share memories is with a beautiful scrapbook filled with photos and memorabilia that record the important moments in a life well lived. Scrapbooks are a very popular hobby now because it’s fun and it creates a treasure that will become a family heirloom as time goes by.

These colorful and artfully decorated collections may seem daunting at first, but there are many web pages and whole sites dedicated to helping you find that creative artist that is yearning to escape. Here are some suggestions I’ve found inspirational.

The key to pulling off a successful scrapbook project begins with sorting photos you want to use and putting them in an appropriate order for the story you want to tell. It may be chronological for a grandparent or perhaps just a fun book celebrating a child’s birthday. Once you’ve got the images you want to use in the order, the next step is to decide on a theme or color scheme that enhances the story or concept you want to tell.

Copper, brass or aluminum foil can be used to add a metallic frame around a photo, and razzle-dazzle to any page.

One way to tackle this important step is to look for things that trigger an emotional response or personal connection. Stores like Hobby Lobby and others carry huge sections set aside for scrapbooking and it won’t take long for you to find items that work perfectly for your personal design.

You’ll be looking for background colors as well as embellishments for the pages that augment the story or simply add a decorative color or texture. Something as simple as taking a piece of copper wire and bending it into the letters you want to words you want to spell out can really enhance a page.

Framing a photo with copper foil can really make an image stand out, but it also creates an emphasis on the page that is quite dramatic. Little things like copper brads, beads, and sheeting are ideal for creating eye-popping pages your loved ones will treasure for a lifetime.

Copper foil and copper sheeting is easy to work with, adds beautiful color and texture.

Using a piece of thin copper sheeting, you can create a wreath effect for framing an image that is quite dramatic. All it requires is a blunt metal stylus or even a pencil will work if it is sufficiently rounded on the point. Working from the back side with the copper on a soft surface such as a stack of newspaper pages, draw on the metal slowly and carefully to create the wreath pattern.  Once the wreath pattern is complete, and the photo attached, you can add colorful flowers to complete the garland effect.

The key to pulling off a stunning scrapbook is to let your imagination run wild and most importantly to have fun.  One thing I’ve found to be true with any project I’ve tackled is starting early is critical to enjoying it from beginning to end. If you wait until a week before it is due you’ll create a lot of anxiety and feel so much pressure that you’ll not enjoy yourself and take shortcuts that are disappointing in the end. Plan on doing only one page at a time and you’ll find they stack up quickly.

One tip for layout is to position a photo on a page so the people in the shot are looking onto the page and not off. If the person in the photo is looking directly at the camera it is not as critical, but if they are looking to one side or the other, your page will look more balanced if you position the photo on the page so they are looking onto it and not out of the book’s page.

For all of your scrapbooking projects that call for copper foil, brass foil, aluminum foil, stainless steel foil or copper sheeting, you’ll find the best selection and the best prices and fastest shipping at QuickShipMetals.com. If you’ve never worked with copper or other types of foils in the manner, you might want to get a feel for the various thicknesses that are available. QSM offers a sample pack of copper foil, and a number of different decorative patterns are available in a decorative copper sample pack as well. Since you’re starting your scrapbook project early, you’ve got plenty of time to experiment!

For other ornamental copper items such as beads, letters and brads, go to your local hobby shop or simple do a Google search for scrapbooking with copper!

Robert Trout works with a sheet of hot metal, manuvering it into position carefully.

“In 1980, my wife came home with a book by Alex Bealer, called The Art of Blacksmithing. I read that book and looked around the shop. I had an anvil and a torch, so I thought, hey let’s start playing with this, it looks like fun! That started a lifelong pursuit of what I call a parallel path. I had a job working with metal that paid the bills and working with metal was my hobby. As a welder and tin knocker for over 32 years, I worked with sheet steel making duct work and stainless steel /aluminum and lead sheet and lead coated copper for roof flashing. I recently retired and now I work for joy,” he said.

Robert’s foundation in metal art began with steel, and he is a member of the Artists Blacksmith’s Association of North America (ABANA). However, in his early days of smithing he discovered there were about 5,000 blacksmiths nationwide and very few were working in copper. Since he knew that copper was king in the arts and crafts world as far as demand, he started ‘playing around with copper” about 15 years ago.

“There was some copper in the shop, and it’s kind of interesting, so I started working with it. Now the majority of my work is done in copper. When it is in an annealed state it responds to the hammer and is fun to work with. At first it was a puzzle to find how to best work with it, but after a while it became easy to work with and once the color was applied it became a work of art with a higher retail price,” he explained.

About 10 or 11 years ago he made the decision to become juried as a Roycroft renaissance artisan. Their headquarters is located near his home and his wife was raised in the village Roycroft restored. He took his wife out for lunch and they attended an art show there, where he saw a pair of strap candle sticks that caught his eye and captured his imagination. He went back to his studio and started working first with steel, and then when he was sure what how he wanted to tackle the entire project he brought out the copper and started work. In the Roycroft guild there are currently five artisans working in copper. Three are located in New York, one in Chicago and another in Alabama. Robert was admitted to the Roycroft Renaissance Guild in 1998 and was elevated to Master Artisan in metal in 2001.

Robert considers this ceremonial baptismal bowl to be his most significant work to date.

Robert is deeply committed to the Asbury United Methodist Church he attends, and he feels strongly that he and his work are guided by a higher source. So, it was perhaps appropriate that through this relationship he created what he considers to be his best work to date. The piece, a ceremonial baptismal bowl is another creation in 14 gauge copper; but careful and close examination of the detail work reveals a complicated series of patterns in multiple series of three, symbolic of the trinity that holds a particular significance to his faith. The bowl measures 24”, featuring three distinctly different hammered patterns. The stand that supports it has three legs and each leg is designed with three separate and distinctive patterns that continue the trinity theme. Making one leg with a bend is easy, but making three exactly alike is more of a challenge, so he created a custom jig to make the bend in the legs.

The stand has the same intricate detail as the bowl, with multiple repititions of the trinity theme.

Besides his love of working with metal, Robert has a real passion for sharing the knowledge he has garnered over the years. “About six or seven years ago I was asked to become an instructor at the John Campbell Folk School in North Carolina. In fact, I’m getting ready to leave in a few days to teach my annual class down there. They’re trying to get me to commit to two classes a year because the one class fills up every year,” he said.

The American master blacksmith, Samuel Yellin, had a profound influence on Robert’s work, and he offers this statement of Yellin’s from the 1930s to summarize his life’s work.

By hammer and hand thou craft does stand alone.

I love metal. It is the stuff of which the frame of the earth is made.
And you can make anything you WILL.
It eloquently responds to the Hand at the bidding of the imagination.
When I go to rest at night, I can hardly sleep because my mind is a swarm with visions of all the wonderful metal that I can create by hammer and hand.

From Yellin’s statement, Robert has created his own.

John 1: 9 – The true light ,which enlightens every one.

When I dine with my family at holiday dinner we use all candle at the table and on the walls, where much Joy, good food and wine are used for the celebration for the event of the day. I think much about this verse and what it means to me and how I live my life.

So in closing I hope this helps you understand me a little more.
My craft is a time honored craft that I work at every day, to make fine metal in the arts and craft style and mentor new crafts people along their journey of metal craft. As we remember the time honored statement;
“O the craft so long to learn, the life so short.”

This pair of strap candlesticks was created from an inspiration visit to Roycroft studios.

Not many people in life have been blessed with the position that Robert now enjoys. He loves his work, his family, his church and the life he has crafted from his love of metal work. Now he has people who are eager for him to teach the techniques he has mastered. “Life is good,” he said.

To learn more about Robert’s classes and work, visit this link: http://www.artsandcraftscollector.com.

Use a roller or mallet to smooth the edges before you begin this project.

Typically tin was used because it was inexpensive and readily available. While tin is still commonly used for reproductions, these simple adornments are now applied to copper for a more striking appearance and used in a variety of home décor items.

The techniques are simple and even young children are capable of creating their own works of art. The main qualification is a desire to work with your hands and a few simple tools. Patterns are available at most craft stores, or if you’re inclined and able, you could create your own patterns.

If necessary, adjust the size of the pattern to fit the piece of copper you're using and cut the pattern out so it can be attached to prevent movement.

My second daughter, Olivia, loves to make things and is very enthusiastic about doing anything with a hammer, so when she asked if she could do a metal punching project it occurred to me that this was a great learning opportunity. We home school, and everything we do throughout the day is used as an educational enhancement. Making a cake turns into a math lesson in fractions. Besides being fun, this project opens up several avenues of study from history to science and the practical uses of metal in our daily lives.

To begin, you only need a few simple tools and the techniques are readily learned for even young children. Olivia is 8, but she’s been doing crafts like this for several years. If you’re interested in doing a metal punching project yourself, or involving a youngster, one thing to keep in mind is that it doesn’t have to be perfect the first time. I gathered up the items needed for this project and then let Olivia do her own thing. It took her several hours, mainly because she worked slowly and carefully, taking a few breaks when her hand and hammer arm got tired.

Here’s the list of items you’ll need.

• Hammer or mallet
• Metal punches or nails of various sizes
• Punching pad (a piece of plywood and newspaper)
• Tin snips or heavy-duty scissors
• Duct tape
• Fine steel wool
• Roller or some round object such as a bottle
• Cotton work gloves
• Pattern
• Copper sheeting, medium weight

Work carefully and take your time. Holes punched in copper are permanent and immovable.

As I mentioned before, patterns are available at most hobby or craft stores. You’ll also find them on the Internet, but keep in mind that patterns are all around you, both in your home as well as the world around you. Even if you only have the most rudimentary skills in drawing, punching patterns are basically an outline of dots, and how difficult is that to do? If you can’t find exactly what you’re looking for, try your own hand at creating a pattern.

Once you’ve got a pattern you’re happy with, you’ll want a piece of copper that is a little larger than the pattern, so you can tape the pattern onto the metal and secure both to the surface of your punching board to ensure that neither moves until you’re done. To adapt the pattern Olivia chose, to the 4”x6” piece of copper we had to work with, I reduced it to 75% of the original size using our home copier.

To reduce noise, and protect the work surface, put several sheets of newspaper under the punching board. We used a scrap piece of ¾” plywood but thinner sheets will work. This particular sea shell pattern required two different size holes and we ended up using two sizes of finishing nails instead of the larger metal punches I had, simply because they made holes that were too large for the size of this pattern.

I’d recommend that you use a scrap piece of metal, the same thickness as you are going to use for your work, so you can experiment with punches of different sizes and also get a feel for how much force it takes to make a hole of the desired size.

Olivia shows off her finished project, framed and ready to display.

Typically the edges of sheet metal are distorted a bit from the process of shearing it to size, so you can use a rubber mallet and tap the edges down or use a roller, which works really well. If you don’t have a roller, you can use a bottle or other firm, round object. You should wear protective gloves when working with metal that has sharp edges that are exposed. Once you’ve got them taped down, it’s not necessary.

Take your time punching the holes, this isn’t a race and once you’ve put a hole in the metal that’s where it will stay.

When you’re finished punching, you need to put those gloves back on because the back side of the metal will have many sharp edges. If the back of the metal is going to be exposed, you’ll need to use a block of wood and metal sandpaper to sand them down smooth. A Dremel tool with a grinding wheel is also handy for removing the burrs. Use a fine grade of steel wool to buff the surface and remove any oils or tape residue that may have accumulated from handling and working the metal. A spray coating of Storm Copper Coat will keep the copper from developing a patina.

Olivia decided to frame her work to display in her room, and she enjoyed copper punching so much, now she wants to do another. Actually, she has several patterns she wants to do, so I better order several sheets or maybe even a small roll . . . .

QuickShipMetals.com has a great selection of copper for any craft project. Give them a call on the toll-free line at 1-888-334-2177 or log onto the “Live Chat” function of the website.

Jesse Lupo stands beside his latest distilling marvel made of stainless steel and copper. This 40-gallon still is designed to distill any type of alcohol except Vodka.

Jesse Lupo has been ginning up the heat on welding rods for another still in his shop in Maine and this one is a real beauty, wrapped in a sheet of decorative Georgia style embossed copper. While this particularly distinctive style of copper sheeting is very striking to the eye, it also caused some head scratching at Trident Welding.

Jesse ordered a full size sheet of the Georgia style copper sheeting, which is normally 96” long. When he started measuring to make the cuts for the outer surface of his latest still, he noticed that the copper sheeting was 1-1/4” shorter than expected. Since he has always been pleased with the quality and service from QuickShipMetals.com he called to see why this sheet did not meet his expectations.

What he learned caused him to have one of those “Ah” moments, that we’ve all experienced when the unconsidered obvious is explained. This style of copper sheeting starts out a full 96” in length, but because the Georgia Style pattern is embossed, the surface is raised and that increased height comes at the expense of length and width which are drawn up by the embossing process.

“When it was explained to me it made perfect sense. I just hadn’t considered it before. It’s a beautiful pattern and really gives a dramatic look to this 40-gallon steam jacketed still,” he said.

The copper in this particular design is used to dress up the exterior and conceal the insulation layer on the outside of the steam jacket. The steam is used to heat up the mixture and create the alcohol. Once he is finished with the actual construction of a still, the task of polishing has to be done. For the copper on his stills, Jesse uses Top Brite®, a product similar to Brasso®, but he feels it works much faster and produces a better, longer lasting shine.

For the discoloration that welding creates in stainless steel, he says that a wire brush and a lot of elbow grease is the solution. Another professional trick he shared is to use a vibrator sander and a Scotch-Brite® pad. Once he’s through with the polishing work, he washes the stainless steel with isopropyl alcohol to remove any impurities.

If you’ve got a project that would be improved by a piece of decorative copper, QuickShipMetals.com has an excellent selection that includes Hammered Connecticut , Hammered New York, Hammered New Hampshire, Hammered New Jersey, Hammered Georgia, in addition to the Hammered Georgia pattern.

Log onto the Live Chat link from the website, or call the toll-free number 888-334-2177 and make something happen!

For more information on stills and Jesse’s Trident projects, see the previous article Big Things Brewing at Trident Welding.

Celestial Ouranios, an 18" x 24" patina on brass was created by controlling the application of patina solution with paper strips.

While some may consider a patina to be a gratuitous closure to a work that is already finished, copper artist Stefan Alexandres has turned the patina into an art form of its own. Two pieces that serve as an example of this are “Divine”, and “Celestial Ouranios,” two 18”x24” patinas on brass that he created by using a common technique with a subtle twist he developed on his own.

To create these two pieces Alexandres used strips of paper to mask parts of the metal’s surface to control where he wanted the patina is formed. He simply applies the strips of paper and dampens them so they will stick. No glue or adhesive is used. Once the patina has been applied and left to dry the paper comes off easily to reveal the results of this masking technique.

Alexandres advises, “There are many ways to finish copper. Sometimes I leave a piece of sculpture or repoussé unfinished and live with it for a while to consider what type of treatment I will give it.”

One option that he sometimes uses involves paint.

Suspicious Circumstances is a 28x" 28" x 3.5" repousse on copper.

“Metal can be painted. Often I will use a clear base such as varnish, after cleaning the metal’s surface. After the base has dried I use oil paint and wash it out with a damp cloth to leave the paint in the indentations.”

While this technique can add variety to the options for coloration, Alexandres cautions that paint is not permanent. “Paints are made of pigments, and any pigment exposed to light will fade in time. Patinas are created from minerals and therefore the affect created by minerals will last over time.”

Another technique Alexandres uses to add variations and interest to a patina involves rubbing and removing areas to create highlights and subtle changes in the colors or patterns. This can be accomplished by using a scotch bright pad, steel wool or a wire brush on an electric wheel, but he cautions anyone wanting to use this technique to use a protective mask to prevent inhaling the dust created by this process, which can be laden with caustic chemicals that can damage the lungs.

Alexandres stresses the importance of developing your own style and experimenting with both the affects of various formulas as well as the way they’re applied. “What I’m doing with patinas works for me. Maybe some other artists are doing it differently,” he said.

"Man from Poetry" is a 28" x 28" repousse on copper with a patina created by heating the metal with a torch. Note the intricate detail in the two faces at the bottom of the shell.

He also recommends metal artists consider the options of applying patinas, stressing that “Patina’s can be applied either cold or hot, and the results can be very different.”

He also notes that patinas can be created from simple sources. “The water in Florida is very rich in sulfur. On a hot summer day if you coat a piece of copper with water that is rich in sulfur and leave it in the sun, you will see an incredible patina form.”

Alexandres also uses commercially prepared patinas that he purchases from ronyoungpatina.com. After he applies these formulas he uses a solution of baking soda diluted in water to neutralize the action and stop the development of the patina. Take a container of water sufficient to cover the area you are working with and add baking soda while stirring until the crystals no longer dissolve, then apply it to the metal’s surface, wash with clear water and let dry.

Patinas are an ancient technique, but how you use them does not have to be governed by tradition, previous methods or rules that limit creativity. Another great thing about patinas is they not immutable. If you don’t like the results, you can always start over or alter the results by removing parts or adding other minerals to change the affect. The important thing to remember is that a creative work that is rattling around in your head needs to come out. Buy some copper sheeting or brass sheeting and create a piece of metal art today.

QuickShipMetals.com has a great selection of copper sheeting and copper foil, as well as brass sheeting that will please even the most demanding creative spirit.

Stefan Alexandres looks over the elaborate copper work he created on two medieval themed doors.

I met Stefan Alexandres at a medieval-themed Orlando restaurant, complete with a museum that included a forge for working with iron and copper.  Just inside the shop’s entrance, surrounded by displays of various mechanical torture devices, I was taken with two huge doors covered with stunning works of copper art. The artwork featured very ornate designs and dragons typical of the period.

I inquired about the doors, and the man who rose to respond was Alexandres. I soon learned he is the copper artist in residence at the museum when he is not teaching one of his classes at the Crealdé School of Art in Winter Park, Florida.

The doors, which were his creation, had been removed to repair damage that had occurred from misuse. The technique used to create the elaborate metal work was repoussé, a love of his since childhood.

Repoussé is a technique that dates back to antiquity, and perhaps that’s where copper artist Stefan Alexandres was first exposed to the love of his life that is second only to his wife and daughter.  Not that he is that old, but Alexandres, a native of Greece began his professional life at the tender age of 12 when he became an apprentice for the traditional metal arts in Athens where he worked from 1964 to 1972. His training was based in the instrumental Byzantine Art for ritual tradition of Greek Orthodox Church. He was also involved with museum reproductions for archaic designs. After spending 2-1/2 years in the army he opened his own studio, and then traveled to Europe, Africa and Asia, before immigrating to America in 1989 with his wife and daughter.

Alexandres begins a piece with the chasing technique, following lines of the sketch he has drawn upon the metal's front surface.

Repoussé and its companion technique chasing are two processes that go hand in hand. Repoussé is a French word that describes the process of working a malleable metal from the reverse side to form an ornamental design. Chasing is a term which refers to a groove or channel that is formed by pressing down with tools from the front side of a piece of metal. A work of metal art is begun by first chasing the design from the front, and then embossing (repoussé) from the backside. These steps are alternated as many times as necessary until the work is completed to the satisfaction of the artist.

Alexandres looks at several full-sized drawings created for other projects.

This time consuming art form is not for everyone. Alexander explains that many of his students begin a project and then give up because this process doesn’t lend well to instant gratification. The process requires patience and perseverance to slowly expand and shape the thin sheets of copper without breaking through.

But before any work can begin, there has to be a plan. Alexandres was good enough to illustrate the process.

“I start all of my projects with a scale drawing on a small piece of paper to make sure I have the correct idea. It is easier to make corrections on paper than copper. When I feel I have what I want, I expand the drawing to a full-size and then transfer that to the copper sheeting. I make my own drawings based on my imagination. I draw inspiration from history, mythologies, folktales and real life. Preliminary drawings are my means of exploring the potential of an idea by saturating it with many visual possibilities. These drawings are overlaid and combined together to create a new assemblage that captures the original inspiration. The final piece is often the culmination of these new visual ideas integrated with visions I had documented years ago in small sketches,” he said.

A box of half-finished copper hearts sits on a bench in Alexandres' studio.

Alexandres says he always recommends students make a heart for their first repoussé project because the process is a quick introduction that teaches the basics of creating a design, and then they can expand on the basic shape that by adding other features such as words or flowers. In his St Cloud, Florida studio a box of copper hearts stand as a testimony to those numerous and varied heart projects. Copper artwork in various stages of completion hangs from every available rafter and wall of his studio and each has a story behind it.

“Over the years I’ve done a lot of trees because they give you a freedom to let the work take on its own direction. With a horse, for example, you have to worry about proportions, but trees grow as they wish and proportions are not a critical issue, within reason,” he said.

That said, Alexandres trees are not just simple trees. Looking more closely, in the detail of the tree bark, faces peer out from within the trunk, adding additional points of interest. This 32” x 28” piece is titled “Devotion.” He explains the faces by saying, “In some cultures, humans regard plant forms as spirit beings, separate from him but sharing in life and respected as such, here is that modern man must respect nature as a life form.”

This 32” x 28” piece is titled “Devotion.” He explains the faces by saying, “In some cultures, humans regard plant forms as spirit beings, separate from him but sharing in life and respected as such, here is that modern man must respect nature as a life form.”

Enamel on copper is another passion of his, and jewelry of a different sort is his latest direction. “The things I’m doing are not like anything you’ll find anywhere. I’m working on a series of titanium rings that are quite unusual. No other artist is doing what I’m going. If there is one, I want to meet them,” he said smiling.

When working on a small flat piece of copper Alexander sets his work in a container of German pitch to anchor it in place, allowing for detailed work without movement.  For larger pieces he uses common roofing tar because of the cost. German pitch, he cautions, is very expensive. As he moves his torch over the roofing tar to soften it beneath his work, the acrid smell rises to fill his studio. Once the pitch has been softened, the copper can be worked carefully until the pitch begins to harden again, then the torch must be reapplied to maintain the desired resistance beneath the metal. Once the work has been completed from the back side, the metal must be heated for removal, cleaned of the pitch and repositioned for chasing work on the front side.

To achieve the various thicknesses and intricate detail he desires, creating the tools to create the art is the first challenge. Alexandres hefts his tool bin and moves it across the studio, setting it down with a pronounced thud. From its many pockets tools protrude a plethora of steel tools of various shapes and sizes. He also has a collection of hammers that would lead one to believe that he never met a hammer he didn’t like. One work bench is literally surrounded by hammers hanging from a rack. Each rack is packed with a variety of different weights and shapes designed to achieve a variety of affects.

“You can spend thousands of dollars on tools. Copper or any type of metal artwork is a limited market and the potential for sales is small, so the tools are therefore expensive. It’s not like a bicycle, where every home has at least one. So, every artist has their own inventions. I have never seen two artists use the same tools. I have developed my own, but other artists would have something similar to substitute,” he explained.

To illustrate his point Alexandres moved to the table he uses for hot work and started pulling out pieces that he has created to form various shapes, and one was the shortened handle of a baseball bat. He uses it to support his work when forming a large curving shape such as a metal mask.

For the most part, Alexandres' selection of tools were created for specific techniques.

Alexandres works with all types of copper, silver and gold but the bulk of his work is based in copper. Although the bulk of his work is done on the middle weights of copper sheeting, he has worked with all thicknesses of copper from foil to the heavier gauges, selecting the appropriate thickness that matches the ultimate ambition of that day’s vision.

To complete a piece of copper artwork, Alexandres uses a variety of color effects are created by a combination of several methods and techniques. Special paints, metal stains, traditional patinas and gold or silver leaf create more dramatic effects. In the end, bees wax or clear varnish protects and retains the finish. In my next article, we will delve into the techniques Alexandres uses to color or patina his artwork.

In the meantime, you can explore more images of his work at his website, http://stefanalexandres.com/Art/Home.html. If you are inclined to study the techniques of chasing and repoussé, perhaps you would be interested in one of his classes at Crealdé School of Art.

Should you have the urge to jump right in and start a project of your own right away, QuickShipMetals.com has just the right piece of copper waiting for a creative imagination.

Like many home improvement projects, the beginning of this attractive copper-accented planter was rooted in an unsightly, outdated object that needed to be removed. An ugly lamppost in front of Christina Galvan’s home needed to be removed, but it was mounted in a large mass of concrete. For Christina, a structural engineer, a block of concrete was an opportunity, not an obstacle.

With a few concrete blocks, some mortar and stones she created a planter that also served as a place to mount her house number. After further analysis, Christina felt the house numbers didn’t show up well against the dark stones, especially at night. “I looked at several options, but the commercially available products were pretty expensive compared to the raw materials. I did some research on the Internet and found QuickShipMetals.com. The pricing was very reasonable so I ordered a piece of copper sheeting cut to size. I had never worked with metal before, but the copper was very easy to work with and the holes were easy to drill,” she said.

“The numbers were mounted to the planter with screws and the only challenge was making sure the holes lined up properly so they could be reattached in the same location. I used a piece of cardboard to make a template and checked the alignment to make sure before I started drilling,” she said.

“I think the planter looks fantastic. The copper is starting to weather now and it looks very organic. In fact, I like the look so much I’m thinking that I need to do a copper sculpture or create a water piece with copper in my backyard. The area I live in is noted for copper, so it is a natural fit and I love the look,” she added.

If you have a project that could be complemented with the natural beauty of copper, give our customer service staff a call on our toll-free line. Copper might be the solution you’re looking for. 1-888-334-2177.

The most common places for damaging water leaks in residential construction occur where roof flashing is installed, and poor installation is most often the cause of failure.

Flashings are the critical material that forms the barrier between the primary roofing material (asphalt shingles, ceramic tiles, etc.) and objects that don’t get covered by that material. Regardless of the roofing material, the critical areas with the highest potential for leaks are these transitional areas.

Pliable metal flashing is used to direct water away from valleys or dormers created by changes in the roofline, plumbing or fan vents, a chimney, or a skylight installation. Copper is the preferred material, though there are other cheaper materials being used today and is practically leak proof when installed properly. Poor installation of non-copper metals that depend on caulks or roofing cement to seal out moisture are certain to leak over time as constant exposure to the elements slowly destroys the adhesive and elastic qualities of these chemical sealants.

Depending on the material used, the lifespan of a roof can range dramatically, and this means that the flashing in these critical areas of exposure must meet or exceed the life span of the roofing material. When flashing metals are used it is critical that they must be easily shaped and soldered, brazed or welded readily. And while some installations can be done using crimps, a permanent seal is the most secure option.

Soldered joints will stand the extreme temperature swings and the resulting expansion and contraction that a roof is exposed to. The most troublesome areas are where flashing must be formed around a corner such as a chimney or dormer, or where two pieces must be spliced together. Traditional flashing metals include copper, tin coated steel, lead and galvanized steel.

Copper flashing is the preferred metal because it performs far better than other metals in all areas of concern. It is malleable and easily formed, easily soldered and is very durable. Copper sheeting used for roof flashing is also known as 16-ounce copper because the .0216” thickness required for this application weighs about 16 ounces per 12” x 12” sheet. Tin coated steel and galvanized steel will eventually rust and corrode. While it is possible to paint tin and galvanized metals, it is very difficult to get paint to adhere properly due to oils on the surface from the manufacturing process. Cleaning the surface is required, special primers and several coats of the finish paint are best but seldom used, so peeling or flaking paint will eventually give way to rust and flashing failure. Aluminum cannot be soldered, and if it is used to flash around a chimney or a brick wall, it will corrode rapidly. The chemical composition of the mortar will attack and destroy the aluminum!

Valley flashings are generally divided into two categorize, open and closed. As implied by the name, open valleys are visible when completed and closed valleys are not. When open valleys are installed, long sheets of 16 oz. (minimum) copper are cleated to the sheathing and underlayment before any shingles are applied. Adjacent sheets of copper are overlapped a minimum of 8″. The sheets are nailed only at the top and copper or bronze nails are used.
Closed valleys are constructed as the shingles are installed by inserting copper flashing squares between successive layers of shingles. These flashing squares are folded on the diagonal.

When slate or tile is used for the primary roofing material, 20 oz. plain or lead coated copper is recommended for use in valley flashing. But keep in mind that building codes vary widely across the U.S., so you should check with your local codes before beginning any project.

Once you’re ready to start, remember that QuickShipMetals.com has an extensive stock of copper sheeting in all sizes and thicknesses that are appropriate for roofing flashing. Give our friendly customer service staff a call for a price quote that won’t send you through the roof!

Call toll-free: 1-888-334-2177

This beautiful piece of embossed copper art was created by Sheri and Ralph Meldrum. It was embossed then painted in oils, and is available at their Web site: http://www.sherimeldrum.com/new.html

By Frank Ross

Tooling is a process used to create designs in thin sheets of relatively soft metals such as copper. This can be done by several methods including embossing, pressing or stamping objects into the metal, transferring by overlaying and rubbing, and using various tools to dent, pierce or and hammer a design or shape.

Since the Bronze Age, copper has been a popular metal because it is soft and easily stretched and molded. Copper has similar tooling properties to gold and silver, but it’s far less expensive. The thickness most often used for this is 36-gauge, which is several times thicker and stronger than aluminum foil found in any home kitchen. Thicker copper sheeting can also be tooled, but they require greater force and are more challenging to cut. Foils are thin and conform to shaping and embossing with little force. Copper and brass foil can be readily cut to the desired size with a pair of household scissors or a utility knife.

A metal’s relative softness or stiffness is due to its temper. Tempering is a heat treatment designed to make metal more durable. Metal with a harder temper will feel thicker even though it measures the same as a softer metal. Metals with a higher temper will also be more resistant to tooling and shaping.

Copper foil is shipped in a roll while sheeting is shipped flat. Ripples or folds resulting from rough handling can be flattened by rolling the foil with a smooth rolling pin or piece of PVC pipe on a completely smooth surface such as a countertop or glass table.

To make an impression in the copper foil, place the metal on a soft surface such as a piece of foam, several thickness of soft cotton towels or a soft rubber matt. A stack of newspapers will also work, but not as well because it just doesn’t give as well when trying to create deep impressions. Metal art created in this manner are often referred to as a “copper relief.”

You can either tape a paper sketch onto the copper for a pattern, or make a rough sketch of your intended work with a soft-tip erasable marker. This will be the backside of your work. If you sketch your pattern, rub some wax paper lightly across the backside of the metal to be tooled. This will make your tools glide more smoothly when working the surface. Be sure not to get wax on the front side of your work because that will affect the patina of the copper. Following your outline, press down firmly with a blunt tool or ‘stylus’ to indent the metal and check to see if the desired embossed effect has been achieved on the reverse side. If you desire a higher relief, carefully repeat the process until the correct height is achieved. Blunt tools or styli are used to avoid accidentally poking a hole in the metal.

Your finished copper relief can be easily colored or darkened with prepared patinas. Also, by brushing paint or stain over the metal a similar effect can be obtained, but those are subject to being fragmented or chipped off with rough handling.

Another treatment consisting of buffing of the high lights with an abrasive pad gives an antique appearance.

As a piece of copper or brass is worked it will become stiffer. For high relief pieces that may be easily dented you’ll want to consider filled them with plaster from the back so they will not become damaged by handling. Another option for shallow relief pieces is to use hot glue, candle wax or paraffin will work if the finished work will not be placed in the sun or a hot environment.

Stamping, punching and piercing are very similar techniques that involve striking a tool against the metal with a mallet or hammer. Stamping leaves only an impression while punching and piercing produce a hole in the metal. You may be familiar with the most commonly available stamps for creating impress in metal; punches or stamps for numbers and letters. Without much effort, you should be able to obtain a variety of tools that create many different shapes and designs from commercial sources as well as improvised objects around your home or work area. In the early years of our nation’s history lanterns, boxes and pie safes were created with intricate stamped and pierced designs using only a screw driver, an awl or similar tool. Experimentation is always the key to innovation.

Create your own drawing and use that to emboss your copper foil or sheeting.

Rub-transfers are another excellent option for creating intriguing designs by tooling metal. Designs and textures can be rubbed from many ready available things. Any raised surface with a design, from a coin to a piece of embossed jewelry can be placed under the copper sheet and transferred by rubbing or burnishing the metal over the object of choice with a rounded tool. Be creative in your thinking. The bark of a tree, a rubber stamp in your office desk, plant leaves, natural or any object with an irregular surface has the potential to add interest to a copper relief. The amount of pressure required to obtain a successful transfer will depend on the intricate detail of the object or texture that you have chosen to transfer.

Hammering a metal surface is also known as Repousse (pronounced rep-o-zay). By repeatedly pinging the metal with a dome shaped or balled peen hammer from the reverse side you can create a high relief shape in the obverse. Hammering can be used on thinner metal but care must be taken because working the metal too much makes it hard, brittle and therefore more likely to tear. By hammering metal repeatedly, you create a pebble-like texture that can be burnished out by rubbing it forcefully with a round, hard object. A wooden ball works well. For larger pieces, thicker metal is used so it can withstand much more hammering. However, there is always a trade off. Once the thicker metal becomes brittle it must be heated to a red hot temperature and quenched in a process known as annealing.

Brass is another option for tooling. It is a more tarnish resistant alloy of copper and zinc with an attractive gold-like color. It has similar properties for tooling compared to copper, although it is a bit stiffer to work with.

The best way to learn about working with metal is to do it, and there is no time like the present for starting a project. Quick Ship Metals has all the copper and brass foil and sheeting you’ll need.

For all your copper or brass foil or sheeting needs, shop QuickShipMetals.com online or give them a toll-free call at 1-800-334-2177.

To see more of Sheri and Ralph Meldrum’s work, it’s available online at http://www.sherimeldrum.com/new.html