Diane's Story

"I have taken lots of classes and am a collector of technique and information.  I take a class, get excited, go home and then I get stalled.  As long as I have an “assignment” and apply the technique I have learned, I am moving forward.  My problem has been to be able to create the project or assignment once I get home.  Every once in awhile I can see the finished project (assignment) in my head and I know what steps to take to achieve the result.  When that happens, I have defined that as magic.  These moments are few and far between.  Meanwhile I sit in idle really not knowing how to move forward.  
 
So, I began this class with the same anticipation of learning more about enameling technique.  What I came away with was the realization that my frustration at not being able to move forward, to feel I was always in idle, and only occasionally feel that “magic” was because of my approach to creating art, to involving myself in the work.  I viewed the process of creation as an algorithm to be applied to achieve an end result.  Of course one needs technique, but to have to come up with an assignment in totality was something that always eluded me, except occasionally. I felt uninspired and was sitting at the red light in idle, waiting for that moment to happen.  In other words, I would take a class, get excited, but when I went home I didn’t know what to do as there was no assignment for me to complete, so I just waited.  
 
Ricky opened that gate for me by presenting me with a new approach to the creative process and invited me to walk through that gate."

Candie's Story

"I wanted to share with you my successes and struggles with that class and how your teaching method was transformative for me as both an enamel technician and an artist.

It wasn't always easy, or even pleasant to keep up with this class. I was a beginning enamelist with only a week-long class to my credit. I had a barely functioning studio; my setup was not optimal for hitting the ground running. I don't generally enjoy online classes and am sometimes baffled by Zoom and Skype yet charge forward tapping keys until I'm either linked in or shot into space. I also find it too easy to hide in quiet non-participation. At this point, you're probably curious about what I actually managed to get out of this class.

I thought I was out of my league about a week into the class and considered dropping out. Yet I kept going, struggling through concepts that made my head ache. Finally, I felt comfortable after week three. Now I look back at old lessons and see we all received what we needed at the time. Each artist from beginner to advanced came out better than when they started. The interaction of all of us was magical and I learned something from each participant. It brings to mind the Japanese concept of “Ichi go, ichi e.”

Yet, despite all of that, the class brought me forward beyond anything I could have anticipated. Yes, I learned dozens of enameling tips and tricks that I didn't know before. More importantly, I did not make anything that looked like anyone else's work. I expressed myself in enamel and enjoyed seeing the work of others, while learning from their tutorials, or getting inspired to do something new myself.

The practice of asking so many questions was often frustrating. Perhaps that's the part I liked the least and needed most. Questioning why I did this or that, or what if I did this and not that, eventually led me to be more expressive. All that digging; talking to myself through each seemingly insignificant part of the process got me primed to make those tutorials. Instead of liking or not liking something, I was pushed into exploring with no answers except what I could devise. Now, looking back, I see the skilled directing you provided for each completed project, each answer you gave us in the form of a question. Maddening, absolutely, but necessary to get us so far so fast.

The freedom to experiment gave me the biggest push. Finally I wasn't stymied by the fear of not making something I liked. I was allowed not to like it at all; just practice and learn. And so I learned…week by week until I loved turning the kiln on and looked forward to playing, actually playing, with my colors. Me, who is so often afraid to begin because I know I will fail, was day after day, turning on the kiln, and just having fun, observing, adjusting, smiling, and creating. I was able to make my own tutorials. That assignment was one of the biggest breakthroughs. I experimented with something and shared that with other, more accomplished artists, and felt they had benefited too. What a marvelous feeling.

Shapes – what do I see – asking and asking that repeatedly, felt like I was staring into a Dali painting trying for an alternate image to appear. Looking for smaller and smaller pieces, by breaking it all down in bite-sized chunks, then putting it all together again to build a group of small parts into a whole. Another brain cracker, another way to move forward faster, if I just humored you and kept an open mind long enough. Sweating in front of the kiln in a studio/garage without AC, continuing to put in time there until it all became muscle memory. Fun Fact: There's the trick to getting the most from this course – just let go by giving up old formulas, likes, and dislikes. If you break open your self-imposed internal cage, you may just find a freedom of expression, along with the technical abilities you need, to create things that you want/need to express, and probably never knew you wanted to express, and ultimately find great joy in that expression!

Now you join the list of a wonderful group of great, generous, teachers I've had in my life – and I've been fortunate to have many. Thank you for the most wonderful artistic journey. I wish you joy, health, and many talented students who “get” and embrace what you give."

Trish's Story

I got involved in enameling because of Ricky Frank.  First, it was his beautiful work that drew me in.  Then it was his YouTube videos.  I gulped them down and then replayed them bit by bit so I could take notes.  Then I was lucky enough to be included in a Beta of his first online class.  Then I traveled to Albuquerque to attend a 3-day cloisonne class.  Now I've signed up for 2 longer ones.  

What's different about Ricky is not just that he's a remarkable artist, craftsman and teacher.  It's his generous openness and willingness  to share his knowledge, his tricks, his discoveries, his sources, his insights, himself.  He doesn't hold back.  He gives.  He demonstrates and while he's doing it he points out things that are subtle, like "Notice how I'm holding my hands.  That's so that...".  Then he talks about variations on the idea/skill.  Then he talks about not about "being there," but how to get there.  He talks about the process of learning, the process of mastery, the process of letting the artist inside you "emerge."  He's a mentor of the best kind.  He teaches, but isn't pedantic about it.  His approach is  "Here's what I know, what I do and how I do it, but it was a process for me and it'll be a process for you."  He teaches you how to answer your own questions.  Every lesson isn't just instructional, it's inspiring, liberating and empowering.  

I'm an engineer, not an artist, and, being me, I started out looking for answers, knowledge, details, details, how-to, how-to.  Ricky has given me mountains of that, but probably the most valuable thing I've gained is that now when I sit down at my bench I'm not worried about producing something "good," or the value of my time or the value of my materials or whether I'm meeting some goal.  I can zone in on the process, the miraculous properties of water, the beauty of light, the way colors work together.  I'm OK.  I'm free.  Whether I start out to make something specific or try something new, at the end of the session, I sit back and smile and I recall what I've learned from it, how my muscle memory is improving, how much pleasure it's given me.  I signed up for 2 more classes not because I expect each one to be different, but because I'm in the process of becoming an enamelist and Ricky brilliantly enables that process.

A SUBHEADING GOES HERE
Dani's Story

First let me say thank you for sharing your wealth of knowledge with the world. What you have given us is such a gift! I have only been a member of your channel since October but I have learned so much from you.

I watched the Last zoom call about the changes you are making to the channel. As a newbie to your platform I thought I would share my thoughts, since I sensed you were looking for feedback.

When I first signed into the channel I found it very confusing. I started with your "Start here" page but quickly got lost after that. As someone who has watched a ton of YouTube videos I was expecting more of the "so what color are you using so I could do it" classes, which of course, your classes are not! (Thank goodness)

After listening to a few of your videos I finally got what you were trying to get us to do...be our own artist and find our own voice. Although I was still lost on the platform (what was that last video I was watching?)I began to understand that your teaching wasn't a "workshop" but more of an "art school" and I really appreciated it. Each one of your sections is like a complete "art class". So one of my "questions" is "what class do I want to take this semester!"

I learned, Ricky, and I learned a lot and there is so much more to learn. You make us think for ourselves.

The recent new changes made to the Channel's organization has totally helped me find what I need, what classes I have taken, where I have left off in my "studies". It's awesome! I love it! Well done!

I have spent the last 15 years as a potter. Each kiln load would take, at a minimum, a month to see the end results. I started playing with enamels for a fun, instant gratification, colorful medium with no idea what to do with it. I wasn't intending to fall in love with it and I SURE wasn't intending to fall in love with Cloisonné but I did....because of you! I have pretty much pushed all my pottery stuff to the side and am concentrating on learning and working in enamels.

I still don't have a jewelry kiln so I appreciate that much of your classes use a torch. That's so important to beginners like me.

So to round it all up.....

Thank you for all the work you have put into passing this amazing art form along and for teaching us how to do things on our own and not just copy you! Everytime I go to layer my enamels I hear your voice "salt and pepper".

It's working....I am asking myself questions!

Dani Montoya