I had some questions about a few of the projects, and Tim McCrieght was generous enough to take some time to answer them. With this new clarification, I'm going to go through my own stash of existing work to see if any will fulfill the requirements. Here are my questions, and Tim's answers:
LH - A4: Do you specifically want a 4 sided box, or can we add more panels? [ I was specifically thinking of Gordon Uyehara's Dinosour box when I asked this.]
TMc - Any number of panels is ok.
LH - A6: A 'box' is usually thought of as square or round. May we make any shape as long as it has a friction lid? [Friction means that the tension of the lid holds itself inside the box with no other mechanical mechanism. Although the guidelines say that the box may be any depth and size, I was wondering more about the shape of the box - as in a vessel form.]
TMc - Any shape is ok.
LH - A9: Must the chain be soldered, or is fusing ok? The description online references sterling first, but then both fine and sterling is suggested. Do you prefer one over the other? Could we use copper?
TMc - The primary goal of this project is controlled soldering. Fusing would be okay, but since a fused chain is actually more difficult, I don't know why anyone would go there. Copper or brass could be used, but because chains are time intensive and material light, I think most people would choose to use a precious metal like sterling. Fine silver is ok, though as a metalsmith I'd point out that a sterling chain will last longer.
LH - B1: Should we use only a gemstone cabochon or would a flat bottomed, found object (such as a shell or button) be ok as long as it's fully bezel set?
TMc -This should be restricted to a gem in order to keep the evaluation process uniform. Of course there are thousands of gem options, but if we deviate from that it becomes difficult to compare among objects. [Drat! That leaves out many of my existing pieces.]
LH - B2: Must the faceted stones be fired in place or is setting after firing ok?
TMc - Either.
LH - B8: Is there really anything other than colored pencil that would fulfill this project? 'Blend Colors' makes me think that the other materials I've thought of are out.
TMc - You're right that colored pencils are the most common solution, but it is possible to buy paint powders, and for all I know, brightly colored spices might work when combined with a vehicle such as wax. Just wanted to leave the door open for something we might not have considered.
LH - B9: Do patina samples have to be made on metal clay? Is sheet metal ok? What about more than one variety, such as fuming on bronze along with a resist technique on silver for example?
TMc - Yes, working on sheets of copper and brass alloys is probably the best way to go. You'll notice that base metals offer a lot of possibilities, while those people who confined themselves to metal clay didn't get wide results.
LH - D5, 6, 7, 8: With all the base clays available, do you specifically want silver metal clay and sheet base metals, or can we use base metal clays with base sheet metal? I'm assuming the idea is to use sheet, milled, or found object metal of some kind with clay?
TMc - This is a bit of a quandry. You are correct that the projects predate these base metal clays. The idea was to expose participants to various metals so they would understand the benefits and drawbacks of each. Personally I think the inherent qualities of the metals are more obvious in sheet metal and wire so I would recommend that form, but I could accept metal clay versions.
LH - E5: Should we use 30 grams of a single clay body (all silver for example) or may we use more than one type (one silver piece, one copper, one bronze) as long as the weight totals 30 grams?
TMc - I think everyone so far has interpreted the project in a single metal, perhaps because it's easy to start with a 30 gram lump and work from there, but I see no reason why this couldn't be made of various clays.
LH - E9: May we implant an existing nut and screw in a design, or is the point to make a metal clay connector?
TMc - The idea is to make a threaded closure from scratch, examples of which you can find at the website. There are other projects where a manufactured threaded unit might be included. [D9 for example]
LH - Because the online guidelines were written before the development of all these different clay bodies, I wondered if the references to silver clay in many of the project descriptions meant that silver was the only material we could use. This is Tim's reply:
TMc - All types and brands of metal clay are accepted. The only exceptions are D1, D2, D3, and D4, all of which require gold in one form or another. Two of these projects require Aura 22 or a similar liquid coating, and I am not aware of this being applied successfully to anything other than silver, so that is de facto required there.
D8 Combine Metal Clay with a Found Object - this used to be a 'Found Metal Object'. Does it still have to be a metal object?
TMc - No. It can be metal, but it could also be plastic, shell, paper, and so on. The challenge, in my opinion, is to use the intimacy of jewelry to allow us to see an object in a different way. This could focus on color, shape, or content -- or all three elements!
On the 51st project:
Some time ago, Lesley and Julia had some correspondence with Tim regarding the master piece. This is what his view was at that time - "when it comes to the concluding Master Piece, this must be a superior work in concept, design, and execution. Perhaps this will involve drawings, or seeing that the work is exhibited, or some other situation. Rather than set a fixed list of expectations, I'm inclined to provide flexibility. I can imagine, for instance, someone submitting a work done on commission such as an award trophy or a corporate gift. This would involve some sort of public event and it would be important to include that documentation in the final piece. That's just one example and we could dream up many more." Food for thought!
From FB: Comments [from candidates on specific projects] are always read carefully and are often helpful. It is important that the comments augment rather than "explain" the features of a piece. For instance, it is one thing to say (for instance), "This piece is a narrative work in reaction to the current refugee crisis and the scars on the metal relate to the lives of the victims." and another to say, "It's intentionally rough because I like it that way." The former demonstrates intention while the latter, while perhaps honest, does not indicate a deliberate design process.
I had some questions about C5 - Forging - so I wrote a note to Tim and this is his explanation.
Me: Just for future reference, Does hand die forming and/or fold forming count as forging? All use hammers to move metal and change the shape, and I’m assuming that’s the point of C5.
Tim: There is a difference between “forming” and “forging” and in fact that is at the heart of this project. Broadly speaking, forming typically starts with a sheet and the thickness of that sheet is only slightly altered. In forging (which generally starts with a bar or rod), the metal is significantly transformed. Forging is about the most transforming way of working metal and a process I find quite satisfying. I was moved to make an instructional video about it partly because I think people do not appreciate the dramatic results that are possible.
Here are a number of videos that demonstrate forging (I doubt the evaluators will expect work that is as proficient as in these videos):
And one on forging steel because I think it's interesting. There are many more videos on YouTube.
Mr McCreight is a very busy man with many projects and commitments on his plate, and I'm very grateful that he was able to take the time to share his insight. Hope this helps you in your Master's Registry journey too.