WINTER 2007 | VOL. 2, 0.4 MAKE THE PERFECT GIFT FOR JEWELRY LOVERS US.s5.99rCaN S788 | FrdsaslsoseollClean the wire if necessary by using a polishing cloth. Be careful not to twist or kink the wire while cleaning. Cut the wire into seven 12" long pieces, Hold the wires together keeping the ends even. Mark the cen- ter. Tape the wires together about 44" on each side of center mark, making sure that wires are lying flat side by side and snug together. Cut a short piece of the half round wire, about 6", for your wrap wire. When wrapping with half round wire, the flat side should be down against the square wire. Make a hook on one end using the flat nose pliers, making sure the flat side of wire is down. Leave a shart tail to hold onto when you're starting the wrap. This end can be wrapped down after you have the wrap started. Place the taped bundle in the hook, and hold it with flat or chain nose pliers, Wrap the long tail around the bundle, and gently mash the bend with the flat nose pliers each time you wrap. This assures a snug wrap to hold the wires securely in place, Continue until you have 6 complete wraps. Cut the ends. Both ends should be on same side of your bundle, as this will become the back of your work. Remove the tape, and fan the wires out in peacock tail fashian, Place a bead on each wire starting from the outside, and work in toward the center. This allows them to sit on each other in the right order.ribbon of rings bracelet Repeat this with the second flower from the new sel, and the flower to the left of it from your bracelet. Lay out the bracelet, and look at the three rows you have completed. Again, ensure that the ripple was main- tained throughout the three rows. The first and third row should be lying the same direction, with the sec- | ond row lying in the opposite direction. Throughout | the bracelet, you will have the odd rows lying one , direction, and the even rows another. Continue forming two new interlocking flower groups, and attaching them with small rings to the ‘two flowers on the end of the chain, as described. Always ensure that the ripple effect is present, with each row of flowers lying in the opposite direction of the row above it. | nee the bracelet is the desired length, attach one _ side of the clasp to the bracelet, utilizing a small ring ~ | attach the other side of the clasp to the remaining 1 5 | unattached half of the end flower, utilizing small ring. Your bracelet is now finished. Sue Ripsch grew up on a fasa ie Conteal Tinois and currently res in fanesville, Wis-Shee began her carger a a reislered nurse. Sue has always been ereative in ae eae el bandwork, but for the Inst several years, has Joon concentrating her focus on chain maille, Het husband, Steve, has learned to make many sizes anc types oF jump rings, an also awssts erin he many Meee she Leachos Houghoul Wiszonsin and in Las Vegas, Her jewel Sy ib for sal in galleries in Sedona, Ariz, Jerome, Nev 00 1 Las ogre, Sue has been seaching chatty mille at Jewetny ATS Papo and Boeat Hest. Visit Suc on her Web site al jewelrybysueontine,com. WIRE JEVUELRY WiICy UES bI Use snapset heads to create sparkling neckpiece. SKILL LEVEL DOO OO BY DALE “COUGAR” ARMSTRONG TOOLS & SUPPLIES * Flat nose pliers. + Round nose pliers * Chain nose pliers * Wire cutters = Pin vise * Quilters tape * Ruler, in’ mm and inches © Extractina-point marker Although I don't use many components in my work, the pronged snapset head is one of my personal favorites. This particular finding is a wonderful way to accent your wire jewelry creations, by adding faceted stones as small as dmm! Icy Blues was designed to feature two procedures to utilize and properly secure these little marvels, Besides learning new skills, you'll real- ly enjoy the sexy way the icicle chains tickle your neck when you adom yourself for special holiday events, Experiment by using different colored stones, replace the silver bead with Swarovski* crystals, most of all—have fun with this new design! You can find many different sizes and shapes of the prong snap set heads, (as well as the stones to fit them), at www.brandy winejewelrysupply.com—tell her “Cougar” sent you!) Before you start, please be aware that this is an advanced design. As an advanced wire jeweler, it is my personal opinion that you should be able to follow the presented pattern without individual details on how to execute the basic steps that lead to the required procedure. Precision measurements are a must; therefore an extra+t * Double bartel bal pliers, or a smal, round. mandrel * 22-gauge square half hard wire, 38° + 20-gauige half round half hard wira, 5° + 24-gauge round wire, 2° + 4mm round sapphires: 2 + 4imm round snapset fieads, 2 + 8m round spine), 1 © Bmm round snapset head, 1 ‘wie basics of STEPBYSTEPUVIRE-COM, -point marker is a necessity! 1mm round sapphire, 1 10mm round snapset head, 1 10mm teardrop briolette beads, 2 2mm round beads, 18 1 lobster claw clasp and matching ring 25"-30" small link chain Phot of finished pines by Eke! Muay all bar patos cewrienpofihe coher 31Fl ‘ 1 43 ee oS) icy blues Straighten, clean, and then cut five 4" pieces of 22- gauge wire. Twist 3 of these wires. Cut one 5" piece of 22-gauge wire, Organize these 6 wires in your hand, with one flush end. The 5" wire is on the bottom, and the twisted wires an top, forth positions; tape near either end. Find and mark the center of the bundle, measure, and mark $8" on either side of the center. Make two rolls of tape, with the sticky side out. Place ‘one on your fingertip, and one on the workbench, Place ithe stone, crown side down, onto the bench tape, and place the bottom of the snapset anto the tape on your fingertip. Center the snapset over the stone, and press down firmly until the stone literally “snaps” into the finding. Set all four stones, and set aside. Straighten and cut one 9” piece of 22-gauge wire, and twist all but 114" on either end. Using a round man- drel, or double batrel bail pliers (about 7mm across), put a smooth U shape into the center of this wire. Gut from chain two 34" lengths, and one 1" length. Thread a 2mm bead, %4" chain, 2mm bead, 1" chain, 2mm bead, 24° chain, and 2mm bead onto the U shape you just made. Carefully insert the ends of the U into the 10mm snapset, under the stone, with 2 prongs ~ between them, and under one prong before coming out the other side. Gently work the wires through, until the chains are at the bottom of the snapset Where the wires come out the top of the 10mm setting, press them toward their opposite sides, and wrap them each around the stone settling, just below the girdle, . until they each come back around to the top. Using the same process as in Step: 4, add the 8mm snapset stone to the U wires, with one prong between them, before coming out the top. Repeat securing the stone setting by wrapping each of them around the girdle. Finish by twisting these two wires together at the top of the 8mm stone setting. DO NOT cut! STE® BY STEP WIRE JEWELRY Winter 2007SKILL LEVELS © BEGINNER Someone just stating cul can complete this p Paice tes Sees @ © BEGINNER/INTERMEDIATE Someone who hes had ex cereus ee is Ce hee ees Kee Re Net eee aoa the material fe Ree Res avens2 ieee Pha 0) eee 5 erie Ocean Ape iees Le Reo Sas eC Pre enn we eae ecm Elyeainonae CeCe ici F Pum REE) Hlanse send it Atin: Step by Step Wire Jewelry. ON Wn eee nia Peron ee eu By STEP WIRE IEW! 35! 16 20 25 Wiré,, WINTER 2 35 elry © volume 2, number 4 www, stepbystepwire.com Off the Wire By Denise Perk, Editorial Mailbox Wire Wise Q & A vith Connie Fox The Wire Couture of Leigh Pennebaker by Mino Brac Links & Rings Bracelet 9 Heavy gauge wire mokes o sturdy link bras A Dottie Ano Victorian Bracelet Crystals occentuate: By frie. Jena COVER STORY Vere Donne Bracelet Wire Crochet Pearl 999 Bracelet Mullcolored paarls woven in silver By Jc. Bamerder 99999 Icy Blues u sel heads to crecte @ sporkling rec By Dale *Cougor” Aastra Wire Works A gallery of original designsYou should have three wires. Cut one outside wire i" long. Using the mark made in Step 12 as a guide, shape the other outside wire around to form a loop with the end pointing back to the last wrap. Cut this wire to meet the ‘4° wire. The center wire should be on top of the loop. Using a long piece of half round wire, starting at the end of the previous wrap, wrap these 3 wires for at least 1" or mare. Cut the center wire about 4” long, make a spiral, and fold it back on the end of the wrap. To make the hook, bend one outside wire }4" longer than where mark is. You can double check this for size by bending it around your wrist or a mandrel. Bend this wire back against itself, and continue as in Steps 13-16 When finished with the wrap, use round nose pliers to bend the end of the wire over to make a hook. Shape the bracelet into an oval to fit your weist and enjoy your new creation. @ Valerie R. Jewell is a woodworker, lamptrorker, and a PMC anel wiee artist, She has been woodworking for « Studio. She teaches wire, PMC”, ang beacting all aver soultuvest Florsda. ware basics at STEPAYS 7 ERYMIRhttp://es.groups.ya v7 Group /mostacillasyalgomas TOOLS & SUPPLIES Sah consl re Ct eu) Sars Geuaits eer veut eccrine id eee Gees is cea ee ae pia anette etyrenceeycos a) Chain nose plirs cece ‘The Links and Rings Bracelet is simple, yet elegant. It looks great with your everyday Jeans, or your evening attire. Variations of the Cee rec ete Cnet annem te ret toa Wire and plainjump rings, But I've also used half round wite and twiste ¢q julinp zings. You can make them two-toned or one solid color, ‘This design takes pattern wire and half round wire, and puts it into SUDireeeeont Sea recente Sten Mane etter) whole bracelet or collir, and halF round wire is used for bindings/wraps on your designs. 1 SP aee eg Geet eta e Seat oo ferrets RSeuers Miata ees ota ete ele ell Rye eer ett ts Rouen title) Suan eee eis RO epee ya near Seno toe ere poder ayeeehad fee cetera eee shaking the links, The size of thebracelet can beadjusted by varying the Saieaniae side Of jump tings you Use. Keep in mind that the jump ring must be eet able to fit the width of your wire in the inside diameter of your jump eee Hing. The size of the bracelet can also be adjusted by varying thesize of the clasp that you use, You may uise a toggle insiead af the lobster clasp Cee or tema seer tn ate ena you can add the jump ring, and divide the length of that component ito etait ature tustort suetararanyTtanees Ee ean tee 3a a . © flower pins ae : Working directly fram a spool of 24-gauge pink wire, curl a small circle at the end, using the tips of your round nose pliers. Place your round nose pliers approximately 1" from the end, and bend the wire back down: toward the small circle. 16° extending. Repeat this process, and continue to bend the wire into a zig-zag shape until you have approximately 7 zig-zags. Cut the wire off the ‘spool, leaving about Using a combination of your fingers and flat nose pli- ers, pull the zig-2ags- around to form a circle until the cut end of the wire meets the initial small loop created in Step 1. | Secure the two ends together by connecting the wires at the center of the petal frames. Create another identical petal frame, following Steps 4-5 using the 24-gauge green wire. 40 STEP BY STEP WIRE JEWFIRY Winter 2007Qur Time TheatreCompany, In the meantime, Wee Come went from being displayed in the window af a small jewel- windows of the renowned By fanuary 2004, Ty store in Soha, to filling 3 Boston jeweler Shueve Crump and L the wiredzresses werestriking their poses in the windows Saks Filth Avenue in New Yark City. At 27, Pennebaker has constructed 95 tabletop wire -26" in height. Five more have grown to a height of 6, dimensions that soon tok over the East Village apertment she shared with hee hus hand. However, in 204, after Simon Doonan, Creative Director of Ba ue York, commissioned 80 new pieces for their windows, she rented 2 small atelier on the 17th [loos of a building in the garment district. Pennebaker has a spectacular, unobstructed view of Manhattan from the studio where s with her medium. She cuts, ties, knots and weaves 18 sculptures eanging from 18 evs D ee sworks (irectly above: Borney's vrindow and 20-gauge industrial fencing and rebar tie-wire on her stainless steel work table, “In a way the process of making, each sculpture is like making sketch in three dimensions, 1 begin with the torso, taking individual strands of rebar ie-wine, and Iwisting, them lagether by hand lo establish the velauion- ship of the hips to the shoulders: proportions, gesture and attitude,” but | can adjust the basic pose and impulse dows to my liking, From the core trunk part of the physique, | move outward, up ta the straps of the dress and clothes hanger aswell as down through the hips and skirt, Aft framework of the dress has been worked aut, Low tio-wire form with a grid like patchwork of welded wire fencing, which is marketed for rabbil-proofing gardens: For the bodier of Juliet ar Celia’s skirt, | used a very pliable, fabriclike crafter's he said, “At this point it's a very wispy form, Ihe basic vy the the vertical stripes of teulou WUsing a measuring tape, measure your ring size. Begin folding the 50" of 26-gauge wire in an accor- dion. The wire should be folded to a length of about 18" longer than your finger size. Repeat folding the wire to this length four more times, for a total of five. Keep the wire close together, and tightly bundled. Hold the five folded pieces of wire together. These five pieces will become your ring base. Coil the remaining tail of wire neatly and tightly around the folded wires, making sure to leave a small loop exposed at the end of your ring base. When you have finished coiling, leave another loop exposed at the other end of the ring base. You will have a tail of wire remaining. Insert the end of the tail into the other loop on the ring base, creating a U shane, Leave about ‘%" of wire between the two hoops. This wire will be used as the base for your stones. On the tail, start stringing on the stones. Use just a few stanes at a time. Fold the wire over and back across the top span, anc anchor the wire onto the opposite side by wrapping it through the loop, Repeat Step 5 several times until you are satisfied with the look and size of the ring. On each row, use the length of wire to also wrap and anchor the stones to the center span of wire BP swite Leaves ot STEPAYSTEribbon of TINGS bracelet Create the flow of ribbons in chain maille, SKILL, 8.8 BY. SUE RIPSCH. http://es.groups.yahoo.com/group/mostacillasyalgomas age TOOLS & SUPPLIES ‘The Ribbon of Rings bracelet is an. original design that was inspired by those wonderful rib: bons you see in the fabric stores, lying on the count= ter in swirls and whirls of color. Tam a chain mails artist, and looked for a way to transform the flow of the fabric ribbon into a sterling bracelet. This bracelet gives the visual image of a living, flowing ribbon, with the substance of # soltd sterling piece. Thope you enjoy making the beacclet as much as T have enjoyed creating it. This piece of jewelry transforms its individual parts into a substantial Ribbon of Rings bracelet that will last a lifetime. +16 gue, Gh Inv lames tar (1D) starting rings, 100 + te-gaage i ID steog tis, $8 + Tapa sp + Ghani nose wets + Ral nose pers Pos ttt i ys aay a pba eacy Be oleSS ; | Prepare the base wire by mounting a coat hanger ina Wee : ‘| vise, and cutting to length (6" or 7") with a hacksaw. . ult Sand the ends smooth with 80-grit wet-dry sandpa- | per, or a belt sander. ' Measure the colored wrapping wite to be at least 5 times the length of your base wire. With wire strippers, remove 1" of the plastic coating of the wire ends to be soldered into the clip. Place the stripped ends and the base wire inside the alligator clip Solder the wires (2 colored and one base) into the alli- gator clip on a fireproof surface. | trap the wires together by holding them down with the soldering tip. Precaution: Always work in a weil ventilated area, open a window and use a fan if necessary! Make sure that your iron touches the base wire and the clip. Heating these to soldering temperature will take approximately 3 minutes or more. Be patient. Wait until the solder flows freely when touching it to the iron, before using at least 6" of the solder to fill in the gaps between the clip and the base wire. Run the iron down the clip about 14" to get it to flow inside. Important tip: When removing the iron from the soldered joint, wait until the lead solder hardens before moving. The luster of the solder changes from shiny to dull, that is how you know the solder has { cooled and hardened. This is crucial to the strength | ‘of the connection! wite basics of STEPBYSTEPWiRL. COM a7Slide one big bead over all the wires UP. to the clip. Begin winding one colored wire around the base wire for about 1”. Place 7-9 small beads onto the other col- ored wire, and twist around the wrapped section. Begin wrapping around the base for another 1" section. Continue to alternate beading and wrapping, but be sure to leave enough space at the end of the base wire equal to half the length of your end bead. This makes the end more stable and secure. Slide the end bead over the wires and hot glue it onto the base wire. Cut the ends to about 6". Bead about 2'-3" of the end wires, and coll the ends with flat nose pliers. Use a wire tie to hold open the jaws of the clip, and dip it into rubber tool coating. Hang it to dry. Precaution: Ventilation is very important when working with any tool coating product. This will protect fine metals like gold and silver from being marred by the steel jaws af the clip! & Fran Kohlbrenner Having learned TIG welding and silver soldering a a trade, Fran wished to be able to use her oxy-acely= ene tovch and metal shop proxuction experience an snore creative en hers, ors, A mother of tw ca in for beads. The history of je ily cla jewelry that surp: enjoys custom work and the ‘Ai gaugente too wiinpy fe me—l break them. Just experiment 50 you know what gauge: ‘works best far you—mate little swatches to find fut what feels ed) and is sturdy éhouph for the fension thatyou create, "Wen yousdeterosine hich gatage wire you will use for your projest be fe to purchase your wire ona spool for case of ses ‘One last thooght on wire: 1 (ised ‘sterling, sire for Ihis project, but rot wir fa gual option, expestlly wth all the different colored wine to choose from!) jal “This project asstimes haste knowledge of ereehet. 1 sic ladies ed STE PORGIERW RE COM,WIRE BASICS @— A £[tl4k ke = = — | E tp: rp://e5.groups.yahoo.co /gro p/mostacillasya goma (2 :Slide the second pearl into place, and coil the wire 7 times around the frame. Continue adding pearls, working on both earrings, until you have slic the last pearls into place. As you com- plete each coiled section, gently press it and the bead downward; the beads should touch each other, and the wires through the beads should be parallel with the base of the frame. Finish with four coils on the outside. Trim the end in the back so it is hidden behind the frame wire. Smooth it, and press it into place. With your flat nose pliers, bend the short leg of the frame inward at 90° so it lies straight across the top of the earring. It doesn’t matter whether the short wire crosses in front of the longer one, or behind it. On the longer wire, mark the point where the two wires cross. Mark the short wire at the center of the top of the earring. Place the edge of your flat nose pliers just beside this mark, and make another 90° bend, so that the wire extends straight up, parallel with the longer frame wire. This will become the earring post. Still working with your flat nose pliers, bend the longer frame wire inward at the mark, in front of the shorter wire, 1a almost 90°. You want the long wire to lie direct- ly across the bend at the base of the shorter wire. (13Loop the wire again. Pull the wire through the twa loops on the crochet hook {one completed single crochet with bead placement). Note that the bead is on the back side of your wire, Insert the hook into the next single crochet on the pre- vious row, and repeat Steps 9-13. Repeat this three | more times to crochet a total of five beads. Chain 1, and turn. Single crochet in each single crochet in the previous row, for a total of 5 single crochets. Chain 1, and turn.victorian bracelet TOOLS & SUPPLIES: Seeder cet d soft a ar A a Lee Crystals accentuate a stunning wire cuff. RUMP GEIR Med CAUSE Can Cute od BY VALERIE R. JEWELL Catania Dict e tes) ni Cicer haciidonndL talaASP Deh Jommait hes returned te Leach vou Row to make “hot yomised in our fall issue, metalsmith in tructar jnvisted” wire jewelry And, her timing couldn't be better teaches: these methods s students can quickly create inespensive, yet Right hefore the holidays, Deb routinel lovely With a minimal amount of wire, and a few oynipped la put smiles on the faces tools, you s¥ill be we of your inends. Wha twisted” «the difference between “cold twisted” and “hot wire? The “cold twisted” method presented in usually uses [wo oF mone wires and bwists 19 the “hot twisted” method only ong sire and can alternate the direction of the bist sur last bs s direchan, whil When working hot, you need wire that has edges: Square, Ie, or rectangle wire And, you probably guessed by “at you have 10 have a torch, Use an acetylene-air triad torch with a #9 tip. If you don’t have one, a trip to your Purchase a used! for plumbing projects (please ad and follow all enclosed instructions). In addition ta a torch and wire, you will need these supplies: home improvement store is all you need * Bench vise «Vise grins © Wire cutters © Hammer and anvil © Permanent ink pen «Pickle (alternative: Lemonade Koal-Aid™® without sugar) © #400 wetedry sand paper + #OCOd steel woo! * Raw * Bracelet mandrel + Jewoler’s saw frame and blades hide hammer Instructions for a cuff are presented in this article, hough there are many creative uses for the “hot Lwvist- Whai need? Sterling silver, copper, or red-brass, and here ave od” wie method type and size of wire do you sume ideal sizes Square wire: Triangle wire Rectangular wire: 6-gauge through 14-gauge- No. 2-No. 6 don (width}-18.8mm After selecting your wire, determine whal length cult you want, and add 3°. Two inches are reserved for the end of the wire secured to the bench vise: this prevents the bench vise from acting as a heat sink, ‘The shorter allowance will be held in vise grips. Cut, and straighten the wire by hand (it does not have to be perfectly straight). Before securing the wire in your vises, you have the optian of forging {attening) the wire to give i further lo indicale whal areas you will forge and then later bwist mension, Mark your wie in sections As you mark off sections, keep in mind that areas that are NOT twisted provide a [ot of interest too. Also, den‘t for- get that you have 2" extra on one side and 1" on the other, These ends will later be cut olf Accurate measuring is important especially if you want a symevtr Alter the wire has been forged (and before twisting) clean the wire with #400 wet-dry sandpaper Ifyou have opted Lo not forge the Wire, Mark areas you want to tevist wilh a permanent ink pen. Secure the wire in the bench vise and in-your vise grips, There should be 112" borween the bench vise and where your cuff will end Where do you start yo clowest lo your vise grips. In a well-ventilated area, light heating and bwisting? In the area your Lorel. Use thw middle part of your flame to heat the Surrounding area of the sectinn yeu want to twist Gradtially move your torch to the area to be twisted and with a hight, turning pressure of your vise grips twist the t ion of the flame, and make as many! gevolutions as vou desire. saris Lo twist at the foe: wire. Once Awist quickh Remove the loreh, and repeat the process until you have10 The Wi Leigh Pennebaker Ww tions displayed in the window le many artists may dream af secing their collee- of Saks Fifth Av vam, Uni Leigh Pennebaker is living her wo desig wha cul, stileh and sew fabric inte fashien, Pennebaker spins rebar wire inte the graceful wire dresses she calls Wire Coefire, All of the collection’ 100 dresses are mace by weaving and knotting hard wire into a flowing, wire web, imprinted with the curves of the female form that seems to have just stepped out of them. I by current and p fascinated with feminine archetypes like the div pions and am amy ins the southern belle, the seductress ancl the ingenue,” she seid. ’Style is about so much more than fabric or fashion. It's about how something is worn, and mare importantly, why: With es female form and gest tions of actual booty par | allude to ire dress, Texplose the presence af the re without sculpting represen “Instead cal bearing, spirit, al unique namie relating to the dis theelress. No two are alike in att inct pe ide or styld ata spirit & activating it; these are never justJimp garments drooping from clothes har Th Co pe dynamic, three-dimensional gers are achive, The front explesils the t ure Col cr of line to cree ion sketches, Ev ing clrisae is lo capture the re Couture of spiritend drama af haute couture.” Vennebaker's childhood figure drawing classes first nto pay olf in college, where her skill asa caricature artist helped pay her tuition. While in college, she explored wire’s polential as a sculptural medium, She cumbinod fencing wire, naked plastic dolls, and shattered mixed media er exploration mirror fragments into an awartl-wianin: piece, Datliinnse marked the heginning af ail the themes that have remained constant in her werk, namely the elichetomy between female pawer and abjec~ tification in fashion. “Daittinnse had a very dark éeel, Since that time ancl the almost violent flavor of that pivee, | have gravitated making sculpture that relubrates the beauty and wer of clathing.” Pennebaker explained. “For me, each toward piece of Wire Counae acts as a talisman of beauty or a little erotic leon. The dark bist comes with the jagged, abrasive matorials Fuse, and the fact that despite all their glamour and beauty, cach dress is essentially a little cage." In 2001, Pennebaker moved from Star, Miss,, leaving two of her life-sized wire dresses an exhibition atthe Mississippi Muscurmay Art She hit Manhattan armed with a degree in fing art, and a passion to explor her filelung: faseinatinn with fashion, women, art and beauty. Pennchaker worked al Screaming Mimi's, the cily’s legendary vintage clothing shop, until she hecame Resident Costume Designer of the Celia Eugenie STEP BY. STEP. WIRE JEWELRY Commo ‘Winles 2007wire crochet pearl bracelet For this bracelet, | laid out the pattern—rows 1-4 twice—to get a good visual on my pattern. P = purple W = white G= green Row 1: P Ww G W P Row 2: W G Ww P Ww Row 3: G Ww P WwW G Row 4: W BE Ww G w Row 1: P Ww G Ww P Row 2: W G Ww FF w Row 3: G Ww B Ww G Row 4: W P Ww G w Once you have your pattern, string the beads onto your wire, right.on the spool. Start with row 1 going left to right so the first bead on the wire is purple, then white, then green, etc. String row 2, and follow your pattern across through row 4. At the end of row 4, start over with row 1. Repeat rows 1-4 five times. You will end up with quite a long string of beads, but it’s better to string too many, than too few. Make a slip knot on the end of your wire, and slip your crochet hook into it. Leave a tail of at least 3". This will be woven into your piece in a later step. + Chain 6. STEP BY STEP WIRE JEWELRY. Winter 2007© victorian bracelet Gently pull and shape the wires around the beads until they are back together at the: end of the bead cenler point. It is sametimes helpful to tape the wires closer te an end, and work back toward the beads. When the wires are back flat together, make another wrap as before, in Steps 3-4. Cut the outer wires on each side so they are 7 16" long. Coil these wires in a jelly roll fashion by making a tiny loop at end of the wire. This loop should turn toward the center of the bracelet. Hoid the loop in the lower part of pliers jaws, ‘with the loop pointing toward the tip of pliers, and the wire at fight angles to pliers. Take the wire and push it up against the pliers. remove, reposition and repeat until the wire forms into a spiral. Shape this spiral into place, lapping it slightly over last wrap section. Repeat with other side of the wire. Repeat Steps 5-10 using the remaining 5 wires. Work the other end of the wires to create a mirror image. Shape the bracelet around your wrist or a mandrel to check the size. Mark the spot on each side where they cross. This is where the clasp and hook will be. and should be centered between the last wraps on each end “TEP WIREAt the top of the snapset component you just created, twist, and trim the shorter of the top wires to 54" long. Place the rosette on top of the 8mm stone setting. Remembering that the longer wire is the bottom of the necklace bundle, place the stone component onto the center of the bundle, and use the longer top wire remaining to make an X formation, securing the stones to the necklace. Trim. On either side of the center stones/wraps, using the bottom, longest wire, make a shallow L-shaped plat- form by raising it 90° toward the front. Place the chain nose pliers onto the base of this wire, and bend it over the pliers tips with your finger, back toward the bracelet bundle. Using a piece of 24-gauge round wire, make double eye charms from each of the 10mm briolettes. Cut the chain into two 1", two 34", four 54", and four 34" lengths. Thread them onto the platform in the fol- lowing order: 2mm bead, 1" chain, 2mm bead, 9" chain, 2mm bead, 56" chain, and briolette charm with 2mm bead in the center of its eyes, 2mm bead, 36" chain, 2mm bead, %" chain, 2mm bead, 44" chain, and 2mm bead. Use chain nose pliers to return the platform wire back into the main necklace bundle, and retape. Repeat the procedure on the opposite side of the center. Straighten and cut one piece of 20-gauge half round, half hard wire, 5" long. Using this wire, bind 5 times to show, starting immediately after the platform wire goes back into the main bundle, and wrapping toward the end on each side. wire basics of STEPBYSTEPWVIRE.C Ona, 33© links & rings bracelet Straighten, clean, and cut 8 pieces of 8-gauge half round wire, to a size of 194" each, Place one edge of the wire in the center section of yout three step pliers, and curl the end of the wire toward the center of the 144" wire. Turn the wire around, and place the flat end of the 194" into the center section of your three step pliers. Curl that end of the wire toward the other finished loop. If you have difficulty forming the loops for the links, you can also use two sets of pliers. (Three-step and ‘the chain nose.) This is helpful if you do not have the hand strength to maneuver the wire with the three step pliers, Make 8 of the links using the technique in Steps 2-4. ‘Open one of the jump rings with the bent nose pliers. Put one of the link loaps into the jump ring. STEP BY STEP WIRE JEWELRY Winter 2007©) rosette watchband Repeat Steps 1-5 on the opposite side of the watch. ‘Add 10 jump rings, in a single link chain, to the end of one side of the watchband. The clasp will go on the opposite side. Take the 3" piece of dead soft wire, hold it in one hand, and firmly grasp one end with your round nose pliers. Turn the pliers away from your body to form a loop. Continue turning this loop until. a small half spiral begins to form. Place the wire on the widest point of your round nose pliers, near the base, and bend the wire in the oppo- site direction of the spiral you just created, Use flush cutters to trim the excess wire so it’s just below the half spiral. Using your chain nose pliers, bend about Vi" at the end slightly away from the half spiral, and file away any rough edges. Hammer the clasp using the round end of your ball peen hammer on a steel bench block, until it's almost flattened, and has a nice textured appearance. STEP BY STEP WIRE JEWVFLEY Winter 2007SSeS ee rosette watchband TOOLS & SUPPLIES Ser eens ue lnya Tae mconens ere eerie ius aes Sven) Serene tenia ice Senses Bees Par sul Berean Baton Re eer Cee ortSok's window wire mesh, which | hend and mold around the rebar tie. wire understructure, The nexi part of the process involves clipping small clanks of the mesh and allaching them to the existing wite dress form by beisting and hooking the ends, After the wire is assembled to my sat~ isfaction, I sign and daie the piece with a Dremel -like etching tool. The final step is a spray of glossy black enamel paint.” Pennebaker draws with wire. She uses a theow-away material as a tool to eveate line and sale, which blossom into three-dimensional sculptures. She employs wire’s sharp, linear quality to create fashion that is elegant and whimsical butalso has a raw and edgy undercurrent. Itis her virtuosity in wire transforming hard sire inte flow- ing graceful lines that enables her to weave illusion and artas well. Gemma is an extraordinary wire dress. Standing 20.5" tall, a cascade of bustles flow from the dress’s cinched waist down to a frothy hem. It is hard te believe that this dramatic piece got under Pennebaker’s skin, But while working on if in summer 2006 for an exhibition, its many incarnations forced Pennebaker to abandon it for other work, But Gemma haunted her. “On really good pieces it’s as if a moment comes after the struggle where the piece is ready to be created and the tide just turns, Suddenly everything that w. against the piece starts to allow itself to be tweaked in just such a way that it becomes so vigit and so good,” Pennebaker said. “That is a really fun and magical moment as working, ofereation and not something that can fully explain. After Gennic Was complete, it became the standout piece of my whole show and lots of people geavitated lo it “Although {Lis a bit unorthodox for an artist te show their work so often in store windows, | am flattered to have my sng, I don’t think these commercial venues diminish the work or fake away from the artistic statements I'm making. If anything, dis- playing my werk in higl-profile store windows has intro- dduced it toa much larger audience. standing fascination with the spectacle and artistyy of top-notch windew displays. Legendary places like Bergdarf's, Barne artwork used ag window cLres [have had a long: ., and Saks employ armadas of people to orchestrate their windows and the amount of talent, me, and effort that goes into creating these visions dehind glass is just astounding. In a world where so many things are mass produced and created for the low- est common denominator of mass consumption, f think there is something really beautiful and precious about the best kinds of windew displays.” Wire Crnare is in private collections in the United States, Europe and South Africa, The small pivees range from $330 tu $950; life-sized ones are $1,500 and up. @ Nina Grac wriles about the inspirations abd techniques that brings jewelry into the world. She lives in Toromte, Canadas, but has been spai- ted weighing and burtering for silver in remote desert villagescompleted all of the twisted sections, Three samples of hnt twisted patterns are seen in the image below. Quench the wire in cold water, and place it in pickle to remove firescale. Use #0000 steel wool under water to provide a satin finish to the wire. Re-measure the wire starting from the center tw the ends. Cut the ends to the length you had determined; # you are using heavy wine, use a jeweler’s saw. File the ends, or if you prefer, for thom flat and then file. Both the ends and the front sec- tion f the cuff in this image have been forged, Use a bracelet mandrel and a rawhide mallet to shape your cuff, Curve the ends of the cutf before shaping the central sectian of the bracelet. a The piece can be tumbled for a shiny finish, It is possible to buff the piece with white dia- mond cumpound o1 the flex shatt or on a polishing wheel, If you would like further information about using twisted wire in your designs, you can visil Deb's Web site atwwwalebjemmott.cam, Other Options: Use 20-gauge square wire ta make carrings, Eric Johnson’s gold hoop earrings shown fn the image require Knowing how to make a hinge 2. Solder the ends to form a bangle. 3. Branch out into a whale new world, and consider making tableware. Connie Fox hhas been makings ow: w teaches classes in her San Diego studio, and at majar jewelry and bead events Including Jewelry Arts Expo and Bead Fust. She is also a frequent 2 Lupidary dowrnal and Swep by Sup tients. Visit hor contributer store al wiwev.coniyielos cctn, on. wirewOrk that is itching to be | ip you'd like to share with others, please let ean’ respond to each question individually but wire bosies of STEPBYSTEPWIRE COM 9Immediately after the binding you just made, bring the bottorn/longest wire toward the front at a 90° angle, using the same procedure as in Step 7. Make a plat- form with this wire, over the top of the necklace bun= die. Insert a dmm snapset stone onto this wire, wrap- ping the wire entirely around the stone after coming out the opposite side, and ending up back at the top. Use the remaining wire length to secure the setting to the necklace bundle. Repeat on the opposite side. Immediately after the attached stone setting, bend the top, twisted wire up at a 90° angle to the top of the bundle, trim it to %s" and place a rosette dewn on top of necklace bundle, above the stone setting. Repeat on the opposite side. Repeat the same procedure on each side of the bundle, using the very bottom wire, placing rosettes under the stone setting, Bring down the next twisted, bottom wire at a 90° angle; use the remaining two, untwisted wires to make the connection hook for the neck chain. Trim them to 4s", and use round nose pliers to roll them forward toward the front of the necklace, until their ends meet the necklace base. Insert the neck chain length of your choice, usually 7"~8" on each side, Use the remaining, bottom twisted wire to wrap these eye connections into the main bundle, Add the clasp of your choice to the ends of the neck chains. @ eon Dale “Cougar” Armstrong Dale “Cougar Armstinng is a diehard rockhound, lapiclary, and a full-time wire artist and instructor She can be contacted via ber Web site: Wwurwicongarscreations.cesm TEP WIRE IFWWEIRY Aner Orr 34» wire crochet pearl bracelet Weave abaut half of the tail throughout your piece. Push the end of the tail through a space on your cro- | cheted piece, and gently pull the end of the wire with chain nose pliers to ensure that you pull the wire all the way through, Do this several times. I like to work my way down the bracelet and into the middle of a row. | Before cutting your wire, weave the wire as close to a | bead, or in between beads if you can, and weave the wire around the same spot two or three times. Cut the wire leaving about 14" tail. Using the smallest portion of the round nose pliers, make a loop in your wire and continue looping it until it is up against your piece. This will prevent the wire from pulling through to the back side of your bracelet. | NOTE: If you cut it on the opposite side, the wire may poke or scratch you. Weave the tail on the other end of your bracelet as above. Place your clasp alongside your bracelet to determine where to put your jump rings and attach your clasp, keeping it centered in the width of your bracelet, This was easy on this particular bracelet—it is 5 single cro- chets. The toggle is for a 3-strand bracelet, so simple deduction is to attach it to the middle 3 single cro- chets, leaving 1 single crochet on each side. Wear it with a smile—enjoy the compliments you will get! @ Jodi L, Bombardier Jodi is a self-taught jewelry designer of 4% years, who discovered wire wrapping abaut 1! years ago, and has found her niche, Her jewelry is currently sold in stores in Arizona, Wyoming, andl Utah, [odi’s business, Jewels By Jules, is named after her dauigh- ter, Jules, Please visit her Web site at www Jewels-By- Jules.com tosee more of her jewelry, or to contact her, STEP BY STEP. WIRE JEWELRY Winter 2007Cot ae ice tL Pe hh ts “Bracelet Buddy.” Prana see ee BY FRAN KOHLBRENNE Pere ence acme seu nos Beem earre inet cunnlol aaa Peer eve ons trac calaL dag Rene eericonc ancy aaiies Rete neseo roca ea Me etes innum nme sren et ae iw ete els rome Bee eanice errer tr nuce oslo tessa ROR en HR thee urinnent or acne See oe rm nema eta alas enero Nar aoc Penner Veat enue ecOussec eel Pee a ene ceca a nas Pere nanterre ilar Cancer nal make a great gift Peeeaihees Senmieia op uc iane ag most popular pieces and it w everything! This. project is for anyone who has some Pere ager re cece nrecer wine ie oar G a aes Praline ron Mi ci eeno ats Amc iessa cco) Peirsol Reenter eieerialteute the base ¥ riences Soldering iron and solder with flux core Glue gun eae Ror ics nace "+ 2 pieces of color coated copner wie -(22-gauge andfor 24-gauge) 5X longer ee ; a ira (avallabo at craft st0125) gauge oF larger) Sr cet) Prec Waar eo i ert) : Fn geese ucts Seo Cen Se Schoo Eman ores hoes g ies) ny ONT es Beau - Rao Dia ae eee ate eter ue ncoMn Lu Biel Se Cy} roe eeu Pee pierce a bere SSO ieee eye peeve vavvTT -] an) catV cil biSkip the first chain, and single crochet in the remain- ing 5 chain stitches across. Ghain 1, and turn. Insert the hook in the first single crochet on the previous row. Slide your first bead down to your hook. Loop the wire onto the hook. ne wire through the insertion point of Step 8.@) vere donne bracelet If you like an antique appearance, use liver of sulfur ‘on your bracelet. | have chosen to not add a patina to the Vere Donne bracelet. And, just a little word of cau- tion: Don't put the piece in a tumbler as you will remove the nacre from the pearls. 9 Connie Fox has been making wire jewelry since 1996, She teach- es classes in ber studio in San Diego and at major jewelry and bead events including Jewelry Arts Expo and Bead Fest, She is also a frequent contributor to Lupiders Journat and Step by Step Beads. Connie learned jewelry making skills from Lynne Merchant ind Deb Jemmot, Over a three-year period, Connie transitioned from being a full-time psychotherapist to working solely as a wire instructor and operating her Internet jewel- ry supplies store, www.conniefox.com Reece eee eet bead stringing wire. www.beadalon.com (Beadalon:) ANT veut eR Alaa Cea Ey 24 STEP BY STEP WARE JEVWEL@Y -Vvintee 2007Straighten the 21-gauge wire and cut two pieces, each 314° (9em) long. Mark the center of each piece, and place a second mark ‘42" (5mm) to one side of the center mark. This measurement determines the width of the earring frame. If your beads are more (or less) than 4mm across, adjust this measurement accordingly, The frame should be roughly 1mm wider than the beads Tip #1: If your ruler is not marked in ‘62 increments, just measure 372 16ths, Place the edge of your flat nose pliers against one of the marks, and make a right angle bend (90°). Make another bend at the other mark, so the wire forms a square-bottomed U shape. Check to be sure that the wires are straight and parallel, and that they lie in the same plane. One leg will be longer than the other. Tip #2: Placing your pliers beside the mark instead of directly on it, ensures that the wire will bend in the fight place. Cut and straighten two 9" (22cm) pieces of the 22- gauge wire. Using the tip of your chain nose or round nose pliers, make a U-shaped bend about \" from one end of each of the wires. Hook the 24-gauge wire over the longer leg of one frame, so that the tails of the thin wire stick out to the left, and the short tail is in the back, away from you. Using the short tail as a handle, bring the long tail around the frame wire above the short tail, wrapping the thin wire tightly around the frame wire once. Tip #3: As you wrap, keep the wires Close together, 80 you get a nice, tight even coil, and not a loose spi- ral; if necessary, press the wires together with your Hai nose pliers. at STEPBYSTESWIRE. COM,Close 60 of your jump rings, and keep them in a sep- arate pile from the rest of your rings (which will be referred to as raw jump rings). This will make the watchband much easier to assemble than if you close them during the weaving process. Open 1 raw jump ring, and pass it through the outer hole on one side of the watch face. Place 1 clesed jump ring onto each side of the open jump ring, and close. Lay the piece flat on your work surface and make sure that the pre-closed rings are always facing in the same direction. Open another raw jump ring, and pass it through the last 2 jump rings you just added, Add 1 closed jump ring to either side of the open jump ring, and close. You may wish to lay the piece flat again to make sure the rings are facing the same direction. Repeat until you have added a total of 15 sets of closed jump rings. Add one open ring to the last pair of closed jump rings, and close. You now have a section of European 4-in-1 chain maille that you will modify into the rosette pattern. Lay the piece flat on your work surface. Take ane raw jump ring, open it, pass it through the first 3 rings on one side of the chain maille piece, and close. Repeat Step 4 to the end, adding a single jump ring on each subsequent three rings. You will see the rosette pattern take shape. Repeat down the other side. wwe: basics of STEPBYSTEPLVIRE. COM, 4aWire gaye A opie style done vith crystals and ; pearls. i | — SKILLEVEL 4 : i j BY CHRISTINE HAYNES ‘| Twould like to say T created this wire wrap ring project all by myself, but alas, I did not Let me explain. Being mostly self taught, this ring project was a product of several techniques T picked up here and there, and tweaked fo suit my own needs. Being self-taught has its benefits because you don’t get stuck in this way of doing things strictly by the book. I threw out the book, and this is what I came up with, This project is so easy that once” you makeone ring, you will want to make a ring for every finger, every oultit, and every toe. With this technique, you can pile yout stones mile-high and make a big bold focal plece sure to impress. ‘Trust me, you ate going to love thist& beaded are earrings 2 With your non-daminant hand, gently but firmly hold the earring frame in your chain nese pliers, so that it keeps its shape, With your other hand, use your flat nose pliers to pull the long wire snugly around the shorter one, wrapping 1! times, and ending in the back. Be careful not to pull too hard—you don't want to distort the frame as you do this. Trim the end, smooth it, and press it into place. Mark the post wire 98" (1om} from the top of the wraps, and cut it off square. Smooth the tip of the wire well so it won't scratch going through your ear. Place the tip of your round nose pliers about '40" Grom the end of the wire, and squeeze gently several times, rotating the earring, to make a small dent all the ‘way around the post. This will help keep the ear nut from slipping off. Place the back side of the earring against the ring mandral at size 5, or against an object of similar size, such as a %° dowel. Curve the earring by pressing gently with your fingers. Note: If you are using crystal beads, it is better not to use the mandrel, and to shape the curve using only your fingers in order to avoid cracking the beads. Bend the past te the back of the earring at roughly 90°. Slide on the ear nuts. Clean, polish and enjoy your new post-style earrings! ___, Variation: Change the look of this design by using a double row of beads. Simply cut the wires slightly longer, 4" for the frame and 10" for the wrapping wire, and follow the same instructions, making ihe base of the frame 9mm wide instead of Smm. Stephanie Everett Stephanie Everett grew upon the const ol Maine, and heme in the Annapolis, MD area. She now mabes bier iar popults Incal jevvelry instructor and a prizes: ang chain maille designer When she isn't making or aga research scientist for teaching, jewelry. she works the US Navy, You ean contact Stephanie through het + SRE WIRE JFYELRY Winter 2© beaded arc earrings Continue coiling the fine wire around the frame, until you have made four coils, or until you have four wires ‘on the outside of the frame. End with the short tail pointing outward, away from the frame, and the long tail crossing through the frame and sticking out in front of the right wire. Trim the short tail so the cut end is hidden behind the frame wire. Smooth the end with your file or emery board to remove anything sharp, and press it into place with your chain nose pliers. Tip #4: | often have trouble counting the coils by eye, so! run my fingernail across them slowly, anc! count the bumps. Slide the first pearl onto the thin wire, until it rests between the two wires of the frame. Take the second piece of 22-gauge wire and the other frame. Hold this [tame so the long leg is.on the right, and hook the thin wire onto it So that the ends stick out to the right, with the short tail in the back. Repeat | Steps 4-7 with this frame, keeping the long leg of the frame on the right, This will ensure that your earrings come out ag mirror images of each other. Check to see that the thin wire with the pearl is cross- ing through the frame wires, and that the pearl is sit- ting parallel with the base of the frame, Wrap the tall of the wire once around the frame. Adjust this first wrap so that it is down next to the pearl, sitting right on top of the other wire. Tip 46: Take care that you don't pull too tightly and distort the frame. The wires need to stay straight and pparalfel, so that all the pearis will fit into it properly Continue coiling the wire around the snort leg of the frame, keeping the coils snugly together, until you have 7 wires on the outside of the frame, End with the wire crossing through the frame as you did before. Repeat Steps 7-10 on the second earring. Tip #6: Whenever you are making earrings, doing each step on both earrings, rather than finishing one earring and then starting the other helps make the earrings match better. Pay STEP WIRE IEAWLIRY WWinke: 2007Push a tie or lapel pin through the back of the flower. Secure it in place by wrapping the cut ends of the extended wire around the top, to ensure that the pin cannot slide out. Finally, place the cap onto the base of the pin, and it's ready to wear as a lapel brooch, or hat pin! & Linda Jones Having studied jewelry making 14 years age in London, Linda Jones completed a City & Guilds in Jewelry Design, specializiny in enameling, She bezan making nvelal jeweley tor friends frum her studio, and displayed work at various shows and eventually began selling her work, In 1998, she reccived a grant from her local arts cauncil to sel up wire and bead workshops. As well as teaching and demonstrating wire techniques, sho makes a range of bespoke wedding jewelry, which meludes ta hheadcleesees, necklaces, and eartings. Visit hor Web site eww. wirejew cllery.co.uk, packed with informaton on how te get started i making, wire jewelry andl workshop information. é i ~ as CHASE CENTER ON THE RIVERFRONT WILMINGTON, DELAWARE JULY 20-22, 2007 Pum sae aaa DEVOTED TO WIRE JEWELRY MAKING!OFF THE WIRE Wire is a particularly schizophrenic medium. Consequently, wire jewelry has a lot of different personalities, which is why it’s particu larly challenging to fill the pages of each issue, There are such dis linctive and varying looks that range from architectural and industri- al to fine and fenunine. And there are readers for whom both looks and readers who strongly prefer one over the other, [ like to hear our readers’ preferences, Good or bad—comments from our readers help me forge the path foreach sub sequent issue, Do you generally profer one style over anuther? Do you want to see more gallery pages with design ideas? Do you enjoy the artist profiles? Would you like to see more projects, or more features? One subject Fhear a Tot about is the skill els of the projects, Many have written to say there are not enough advanced projects, But others have felt that the Step by Step moniker implies accessibility for beginners, ry to inelude projects of all skill levels, so that there is something to challenge everyone. Something that T feel strongly about is providing inspiration. When I pick up craft magazines, even if [don’t ever make the exact projects outlined, | am getting ideas and techniques | may nol have thought of myself. That's why 1 like to include arlist profiles and the readers’ palllery pages. The other seemingly waive ¢ for infor- al desire among readers mation on how to sell their jewelry. We all knaw how that goes! What started out as an innocent hobby has overtaken the house, and ie. onder to support our habit, we have to start selling off some of the stock! In our next issue, our marketing director, David Weiman will discuss his now e-book on just that tapie. David has written several books on the subject, as well as a column in the pages uf our other magazines, Step by Slep Beads and. Lapicary Journal. He's always full af good ideas. Please continue te let me know what you would like to see in this magazine. After all, we're here because all of you wire jewelry artists wanted a resource. Let's make it the best it can be! nin LAB Denise Peck, Fditor in Chief dpeck@interweave.con ©) DID YOU KNOW ‘One of the best ways to get a wonderfully soft, darkened patina on ‘your finished sterling wire jewelry is to dip your raw wire into liverof | ‘sulfur before you start making your piece. As you work with the wire, some of the patina will rub away, from the friction of your hands and tools. What you're left with is a finished piece that looks weathered, worn, and well-loved! A glowing, warm patina that looks as if you've owned it for years Ba aware that the black will come off on your hands as you work. But it washes off with a mild, abrasive cleanser, P By SI Fenen we ste TE velry EDITORIAL al ok Pk re Nee se Aesaede inte Sees ri fe Je usa Lili te Lean Sam Saha Conte li tem fn Ie Tels test Dose le he sate ry BUSINESS. each ik aera L nde aed aan ts Sn toca a ies sh a chs nko Wen lg fs exon Lae ADVERTISING aie Deo gh 1a1e) S70, fe 3820 ha pedCsowne se te tals ae bo ire ah arlene a Wie Clon sy Hse Se Sepak Prk age Se vie Ooh hh sy elt ip Est BP INTERWEAVE PRESS. ls ISL EAEIOSE “gs, na Yes Misia i For questions wngard: ‘call 979) 64 Monday Fidoy Subseriplions: Order Line/Customer Service: (868) 46.7885, slepbyslepwitejenelrypaimcoastd.com, Callers Gutside of ‘he US. cal 3) 246-534, ASPERE MEDIAFor this row, you will crochet five beads again, as you did previously. From here en, you will crochet a row of five single crochets, chain 1, turn your piece. Crochet five beads, chain 1, turn your piece. You will do this until you reach the desired length of your bracelet. In order to have your beads on the same side, you always need to have ane row of single crochet with no beads. LAST ROW: Your last raw must b¢ a row of single crochets—same as your first row —§ single crochets—no beads! Measure the length or width of your clasp as you would when making any bracelet. Your clasp will be joined to your bracelet with jump rings so add in the measurement of your jump rings, too. | want the final length of my bracelet to be 714". My slide toggle plus jump rings on both sides measures 3%" so | am going to crochet until my bracelet is about 614" long. When you have reached the desired length of your bracelet, cut your wire leaving a 3" tail. Pull the tail through the last loop. With chain nose pliers, pull the wire snugly which knots the loop down. Be sure to grasp your cracheted piece with one hand, while you pull with the pliers. Do. not pull too hard and misshape your crocheting. ~wire basies ot STEPBYSTEPWIRE CON,43 48 52 58! éll 62l ADVERTISING SECTIONS 64) Classifieds Brecelet Wand 99 | canicd ful edestation Brat 4y By Fan Kobivenner Flower Pins 99 Colored wire makes o festive favorite, y Lind ones Ribbon of Rings Bracelet 99 Create the flow of rik By Sve sch Rosette Watchband 999 th the times with a in chain maille. By Raby Rosen pesued Arc Earrings Wrap erystals er pearls inte ean nhanio Evexett Cluster Wire Ring 9 ular style done saith enyst dp By Chastine Haynes Wire Basics Book Reviews earls 66] Advertisers’ Index Tind this complete project on-our Web sile weew.stepbystepwire.com Siver and Suckle Braet 8 Donna Krenlup/mostacillasyalgomas bracelet Tam intrigued by human qualities that on thesurface seer tobeatodds with eachother. You know, the miser who is despised by the community but leaves his fortune to feed the poor, Or, the enviably brainy individual who can’t figure out how lo operate a toaster, Yes, contradictions fasei- nate me, and out of this personal oddity the bracelet for this proj ect emerged, It is titled *Vere Donne,” or “Real Woman” in Italian. The glitz. and glam of the pearlsand crystalsare contrasted! with hammered, work-hardened sheet metal. Like our lives, the metal has been subjected to blows, reshaping, and toughen- ing. Yet this process coexists eas: ily with refined delicacy and fragility, Real women carcy their hhard knocks with dignity, Real women never shy away from revealing their beauty. This project is ideal for the Pearls and crystals contrast with metal. wire artist who wants to start incorporating sheet metal into SKILL LEVEL 99D her or his designs. As an adjunct to these instructions, you can BY CONNIE FOX follow a step by step sheet metal tutorial on my Web site. Enjoy! TOOLS & SUPPLIES + 88mm (a amt) jure i Se ‘ -oauge round: dad: soll sterling sire A es - ty 1229, 000, A mary son * Oril.and ring clamp * Gately olasses ” “+ Bting machine, snaltulfantex pr polishing | cath Diamond metals = Texturing tools + Dapning set (optional) + Slleone burr (optional) Thiet dln y 8 ay lt! hs oe Be TEP BY STER WIRE JEWELRY. Winer 2007,