When Allyn was attending collage,
he received an assignment to create an educational video.
Allyn had been helping me in my shop off and on since he was 11 years old,
so he knows the process quite well.
One evening he burst into my home with a borrowed Video camera
and told me of his assignment.
Toasting the Moon Amulet
Within minutes
I found myself the subject of a class project,
first sketching a design
and then under the glare of a lens
and I carved the piece.
We were letting the investment set up
when we noticed it was 3am.
The following day Allyn was at it again,
this time balancing precariously in the rafters of my studio
as I melted the silver and cast.
Laughing the entire time
we finished up weeks ahead of his deadline
and he was pleased with his grade!
I came across his footage and decided to clean it up a bit.
A little lute music, new titles and a logo,
a short tutorial for your pleasure.
To view it,
please visit my:
It clarifies the lost wax process
and perhaps a peek at the rhythm of this art.
The amulet itself is of a crescent moon,
a relief of a tree and under the tree is a man toasting to the Lunar Light.
Before Allyn asked me to create this piece for the video,
I was musing over the idea as a design I wanted to do.
Allyn gave me the excuse!
For many years I was on the road, attending conventions and festivals and two of the most common questions was “How do you make this?” and “How did you start out?”
I started off as a child…
My first reach into jewelry was wanting something that I could not find. When I was seven years old I had asked Santa clause to gift me two badges: I pains taking developed sketches of that I wanted and offered it to him days before Christmas. The odd thing to me at the time was the careful “handing off” of the sketches to my parents while I was “being distracted” by a very tall elf.
After not getting the badges I asked for, my suspicions grew and I though about making the pieces myself. Fortunately my parents later gifted me with a copper enameling kit. I developed a technique of enameling by mixing color and design in the powder, however in the tiny kit the control over design was a bit hap hazard.
As with all things in our childhood, the kit was “over used” and eventually when the hot plate was borrowed and burnt up, I returned to other forms of art. My Mother was a professional artist and trained me in painting, sculpture and many other forms of artistic media and technique. Coupled with music (Piano and Guitar) I began to develop a way to reproduce and interpret what I saw, felt and thought.
I cannot remember a time when I was not sculpting, yet when the opportunity to take a jewelry class, I went into fabrication: working directly in the metal rather than casting. I will always be grateful for this because the broader the education in the field.
It was not until I was going through a rough patch in my life and found myself back in my parent’s home and access to a jewelry bench again that I went to an exhibit of Lalique at the LA county art museum that I found I was on the right track. In combination with my studies in metaphysics, (focusing on the art) I decided to bend the boundaries of my work to include esoteric imagery and use of my art.
For years I had attempted to develop a Tarot Deck, however these adventures into the project kept solidifying into “logo” like pictures rather than paintings. Seeking the work of a master who bent the rules as to what was to be jewelry and what was art, I was inspired.
In order to work on the project, I started to create custom jewelry for folks, building my bench of tools and honing my skills, I began to work out of a shop: the Crystal Cave, at the time in Santa Anna, California. Karen Tate, the owner of the shop was extremely supportive and began to display my work in her cases; all the while I was driving a truck.
In 1992 I went full time into jewelry, moved to Newport News, Virginia and completed the Tarot Caster Set: the first (and only) three dimensional Tarot Deck of it’s kind. Yes, each of the Major Arcana may be used almost pharmaceutical, however when used together the set is a deck which may be dropped and read as they fall. I developed the name “Tarot Casters” because the process is much like casting a net. In some of the more esoteric writing, Tzaddii (the Hebrew letter attributed to the Star Card) is the fish hook: one drops one’s mind into the great waters of the unconscious to see what would bite. By using the entire major arcana, one is using a much broader casting for ideas, inspiration and (perhaps) answers on one’s troubles.
Within a few months of being on the East Coast, I was introduced to a more esoteric community which appreciated what I had accomplished and rewarded me with praise and commissions for more work. I began with creating jewelry for circles, covens and groves as well as Churches and other religious organizations, focusing on Serving Spirit rather a specific religious trend. The only criteria I’ve maintained is that all is focused on Good Intent.
Thanks to a commission by my land lord, I developed a Tap Handle for his private reserve, thus I returned to sculpting, one of the first steps in training in my youth. I sculpted in in pieces, then assembled them after casting – a technique used in much larger pieces, however when casting with a jewelry centrifuge you are limited in how large one can go. For several decades, I focused on tiny pieces rather than the large ones, however after working so small, the larger pieces came easy, but they required me to look to a foundry rather than relying on my tiny set up for rings and pendants.
It was when I sculpted a pair of motor cycle mirrors that I turned to a local artist for help. He (who as asked me to omit his name) taught me the gaps I had in casting larger pieces, then introduced me to his buddy who had a foundry at his disposal.
At this point, I have the ability to cast at any size: even life size (and bigger). I continue to serve those who want jewelry through my website. I do not have a “store” but rather I do show my work at the Mystic Moon in Norfolk , Virginia, should anyone wish to drop in and see it . As always, I have a full catalog for your review and a gallery of some of my work. Most of the images of the pieces made in the past are “lost” in that I have not had a digital camera the entire time, so only in the pat ten years do I have pictures worthy of display.
If you wish to have something made for you, please view my website and don’t hesitate to email me with any questions.
When Allyn was attending collage, he received an assignment to create an educational video. Allyn had been helping me in my shop off and on since he was 11 years old, so he knows the process quite well. One evening he burst into my home with a borrowed Video camera and told me of his assignment.
Toasting the Moon Amulet
Within minutes I found myself the subject of a class project, first sketching a design and then under the glare of a lens and I carved the piece. We were letting the investment set up when we noticed it was 3am.
The following day Allyn was at it again, this time balancing precariously in the rafters of my studio as I melted the silver and cast. Laughing the entire time we finished up weeks ahead of his deadline and he was pleased with his grade!
I came across his footage and decided to clean it up a bit. A little lute music, new titles and a logo, a short tutorial for your pleasure. To view it, please visit my:
It clarifies the lost wax process and perhaps a peek at the rhythm of this art.
The amulet itself is of a crescent moon, a relief of a tree and under the tree is a man toasting to the Lunar Light. Before Allyn asked me to create this piece for the video, I was musing over the idea as a design I wanted to do. Allyn gave me the excuse!
For many years I was on the road, attending conventions and festivals and two of the most common questions was “How do you make this?” and “How did you start out?”
I started off as a child…
My first reach into jewelry was wanting something that I could not find. When I was seven years old I had asked Santa clause to gift me two badges: I pains taking developed sketches of that I wanted and offered it to him days before Christmas. The odd thing to me at the time was the careful “handing off” of the sketches to my parents while I was “being distracted” by a very tall elf.
After not getting the badges I asked for, my suspicions grew and I though about making the pieces myself. Fortunately my parents later gifted me with a copper enameling kit. I developed a technique of enameling by mixing color and design in the powder, however in the tiny kit the control over design was a bit hap hazard.
As with all things in our childhood, the kit was “over used” and eventually when the hot plate was borrowed and burnt up, I returned to other forms of art. My Mother was a professional artist and trained me in painting, sculpture and many other forms of artistic media and technique. Coupled with music (Piano and Guitar) I began to develop a way to reproduce and interpret what I saw, felt and thought.
I cannot remember a time when I was not sculpting, yet when the opportunity to take a jewelry class, I went into fabrication: working directly in the metal rather than casting. I will always be grateful for this because the broader the education in the field.
It was not until I was going through a rough patch in my life and found myself back in my parent’s home and access to a jewelry bench again that I went to an exhibit of Lalique at the LA county art museum that I found I was on the right track. In combination with my studies in metaphysics, (focusing on the art) I decided to bend the boundaries of my work to include esoteric imagery and use of my art.
For years I had attempted to develop a Tarot Deck, however these adventures into the project kept solidifying into “logo” like pictures rather than paintings. Seeking the work of a master who bent the rules as to what was to be jewelry and what was art, I was inspired.
In order to work on the project, I started to create custom jewelry for folks, building my bench of tools and honing my skills, I began to work out of a shop: the Crystal Cave, at the time in Santa Anna, California. Karen, the owner of the shop was extremely supportive and began to display my work in her cases; all the while I was driving a truck.
In 1992 I went full time into jewelry, moved to Newport News, Virginia and completed the Tarot Caster Set: the first (and only) three dimensional Tarot Deck of it’s kind. Yes, each of the Major Arcana may be used almost pharmaceutical, however when used together the set is a deck which may be dropped and read as they fall. I developed the name “Tarot Casters” because the process is much like casting a net. In some of the more esoteric writing, Tzaddii (the Hebrew letter attributed to the Star Card) is the fish hook: one drops one’s mind into the great waters of the unconscious to see what would bite. By using the entire major arcana, one is using a much broader casting for ideas, inspiration and (perhaps) answers on one’s troubles.
Within a few months of being on the East Coast, I was introduced to a more esoteric community which appreciated what I had accomplished and rewarded me with praise and commissions for more work. I began with creating jewelry for circles, covens and groves as well as Churches and other religious organizations, focusing on Serving Spirit rather a specific religious trend. The only criteria I’ve maintained is that all is focused on Good Intent.
Thanks to a commission by my land lord, I developed a Tap Handle for his private reserve, thus I returned to sculpting, one of the first steps in training in my youth. I sculpted in in pieces, then assembled them after casting – a technique used in much larger pieces, however when casting with a jewelry centrifuge you are limited in how large one can go. For several decades, I focused on tiny pieces rather than the large ones, however after working so small, the larger pieces came easy, but they required me to look to a foundry rather than relying on my tiny set up for rings and pendants.
It was when I sculpted a pair of motor cycle mirrors that I turned to a local artist for help. He (who as asked me to omit his name0 taught me the gaps I had in casting larger pieces, then introduced me to his buddy who had a foundry at his disposal.
At this point, I have the ability to cast at any size: even life size (and bigger). I continue to serve those who want jewelry through my website. I do not have a “store” but rather I do show my work at the Mystic Moon in Norfolk , Virginia, should anyone wish to drop in and see it . As always, I have a full catalog for your review and a gallery of some of my work. Most of the images of the pieces made in the past are “lost” in that I have not had a digital camera the entire time, so only in the pat ten years do I have pictures worthy of display.
If you wish to have something made for you, please view my website and don’t hesitate to email me with any questions.