During the coldest months of winter, the Seattle Metals Guild produces and hosts a series of four lectures. Typically held the second Thursday of the month on the campus of Seattle Pacific University, these lectures are free to SMG members and open to the public with a suggested donation of $5. The Lecture Series organizers attempt to present a diverse selection of presenters, from a broad mix of metal artists to business owners who can offer a unique perspective in the field. Presenters have included jewelers, sculptors, world travelers, collectors, welders, sign makers, knife-makers, cad-cam specialists, craft show organizers, and even a man who makes armor for the movies! It is a great opportunity to learn and socialize. After each lecture there will be a metals mixer just down the street at the Nickerson St. Saloon, 318 Nickerson Street, Seattle, WA 98109.
The Lecture Series is held at:
Seattle Pacific University (SPU)
Otto Miller Hall Room #109
Doors open at 6:30. The front door will remain locked, but an SMG member will be there to open the door and direct guests to the lecture hall. In case you are late, the SPU security phone number for building access is 206-281-2911.
Lectures begin at 7:00.
Guild Members: Free
Non-Members: $5 Suggested Donation
Need more information? Please send an email to email@example.com.
2018 Lecture Series
Nadine Kariya: The Hammer and The Peony
January 11th, 2018 at 7 pm, Otto Miller Hall, Room 109, SPU
The Peony Part: My parents were born in Oregon. My dad was a sergeant in the 442nd Infantry, and fought in Italy and France. My mom was imprisoned in Minidoka in Idaho. They were married in 1946. I was born in 1947 and we were sent to occupy post-war Japan and stayed for four and a half years. As a child in Japan, I was surrounded by examples of the beauty and perfection of Japanese art, which became the standard by which I judged all art.
The Hammer Part: I began making narrative jewelry when Karen Lorene of Facèré Jewelry Art Gallery invited me to participate in a show celebrating her 70th birthday. She asked artists to each select one year to make a piece about – I picked 2009. Narrative jewelry had interested me prior to this, as I was inspired by Ramona Solberg, an early artist from the Northwest working in this style. I carved my first bird, emulating a hawk made by an unknown Japanese-American relocation camp internee of World War II.
Bio: At the UW, after studying painting for three and a half years, Nadine discovered enameling and earned a BFA in metal design. She shared the shop of Reinhold Eichhorn, master engraver and commercial jeweler, for 7 years, in exchange for sweeping the floor. This enabled his wife Dorothy, whose dad had owned Spring Rings, to go home. Eichhorn’s father was an enamelist from Germany, and he learned engraving at Mayer Brothers, which once employed 400 jewelers for the Alaska souvenir business. He suddenly retired after 64 years in the trade, and Nadine took over his repair and manufacturing shop. Regal Manufacturing, est. 1916, was in the Joshua Green Building on Fourth and Pike. She had the business for about 18 years, always doing jewelry art on the side. In 2006, she resumed jewelry art full time.
Nanz Aalund: A Jeweler’s Guide to Apprenticeships
February 8th, 2018 at 7pm, Otto Miller Hall, Room 109, SPU
MJSA and many other industry experts have called attention to the statistic that fewer new bench jewelers are coming into the jewelry field than will be retiring within the next decade. In order to insure the health and creative continuance of jewelry manufacture in the U.S., new and traditional training methods of apprenticeship need to be re-imagined and reapplied in our industry. Utilizing the most current information from Adult Technical Education and applying research from apprenticeship programs in other countries and other fields, the author will present the challenges in finding effective pathways to establishing rewarding apprenticeship programs for jewelry businesses and students.
Bio: Nanz Aalund is an educator and award-winning jewelry artist. She has taught jewelry and metals classes at the University of Washington (under Mary Lee Hu) and at the Art Institute of Seattle; served as a designer and consultant for Nordstrom, Rudolf Erdel, Neiman Marcus, and Tiffany & Co.; and was associate editor for Art Jewelry magazine.
David Tuthill: Diversity as a Means of Survival
March 8th, 2018 at 7pm, Otto Miller Hall, Room 109, SPU
David will talk about the varied nature of his work, and why it has played an essential role in his ability to keep going as a small business / maker. From jewelry, to furniture, architectural work, and blade smithing, he can’t ever seem to find enough time to do everything that he wants to do.
Bio: David has been working with metals, beginning with jewelry, since the age of fifteen. He began forging as part of a sculpture course at Santa Barbara City College in 1988. He did not begin forging full-time until 1992 when he began to do privately commissioned work. Predominantly self-taught, he has been constantly challenging himself to further his skills by taking on tasks, or designing jobs that force him to learn something new. He has been operating his business, Fire Horse Forge in the Ballard neighborhood of Seattle since 1994, where he produces architectural commissions, as well as furniture, sculpture, knifes, axes, and jewelry. Workshops are also frequently offered at his forge in Ballard.
Brittany Nicole Cox: Guilloché: It’s History and Application
April 12th, 2018 at 7pm, Otto Miller Hall, Room 109, SPU
Engine Turning or Guilloché is an age old practice with roots reaching back to the 16th century and refers to work produced on a rose engine or straight line engine. This lecture will briefly explore the history of these machines, their function, and their various uses, through examining the steps required for accomplishing district patterns and looking at some of the diverse objects that employ them.
Bio: Brittany Nicole Cox is a Guillocheuse and horological conservator-restorer in Seattle, Washington. She owns and operates Memoria Technica, and independent workshop where she teaches classes and specializes in the conservation of automata, mechanical magic, and complicated musical automata clocks and watches. She holds three international watchmaking certifications, two clockmaking certifications, and has her MA in Conservation Studies specializing in clocks and related dynamic objects from West Dean College and the University of Sussex in the UK.