Learn néw techniques _ © Chain Mail © Cold Connections © Coiling and Wrapping AND MORE! | ween these : -minute )¥& earrings p.2 100s of j step-by-step Usa Liddy showcases: i” ss photos hammered wire and bead ‘ocal element on a hand copper chain, p18 HOW TO Make custom clasps Design handmade ear wires Hammer, stamp, texture wireThere’ a lot to WUB! BY Zero a ae } —_—_ aan i y > * 7, yh (Tab, LC : a ie ont aa Pai Endless Design * on ee ia tie ea ee CUR aLC aL = eeeLearn HowTo Turn A Blank Like This Into Cuff Bracelets Like These G9 Si ‘woo ee And These DVD'S Fete ors rcelet Cu Bank Forming & Hammering Ferming &Hemmering 16102 Shop Online & Save 800.772.3456 510.832.0355 [Link] [Q] Otto Frei Coy ew Wns Figs ice 198 * Basic jewelers skills & tools for polishing & soldering required. See our site for a complete tool list.Inside Wirework Spring 2012 Projects 18 | Wild heart necklace DDapped wire dsks and squiggly copper vie create a bold fnish fora borosilicate heart bead. by Usa Lily 21 | Flower pendant Make alower-shaped web with multiple spas and ‘aweb-lke center weave, by Lisa nven Key 25 | Multistrand chain mail necklace Lear Full Persian weave to tum diferent size rings into an elegant colarstyie chain highlighting two diferent metals. by Saider 28 | Strip wire & Faux Bone cuffs Learn howto color and bend a net marian {se a mveting to or fast and-ensy cok connec: tone. Samped stp whe personalize aunque cut by ilasa Gabe 32 | Speedy dragonscale set Use aluminum and erameled copper jump rings to weave afeatervelght bracelet and earinge. by Theresa Abela 34 | Spiral THIS earrings Heawy wire, bras tubing, crystals, and seed beads transform a heavy spiral ho fun earings by Tray Siniy 37 | Freeform woven swirls pendant Liam fo bocéer wrap and eaplue acabochon, then shapo a lal sviring pendant embolished with woven wire by Dorm Spector 42 | Butterfly wing earrings ‘Assemble a pair of quck-and-easy chain mal csaringe that fitter wah oryeta buttery dangles. by Con Maner 44 | Loopy copper cuff ‘Shape, hammer, then add beads to a retro-styled, heavy-gauge wire cu bracelet. by Hava Tero 48 | Brilliant bracelet Shap cube 2reaia into string settings ading bol focal eemerts to an eagy onan vith Nghe end spark. by Bats Suzer ‘50 | Woven rose window pendant ‘Weave 2 four-saction focal pendant using colorful fine-gauge wire and seed beads. by Joan Babcock ‘54 | Viper basket necklace Lea a Canacian-bom weave with @ supple ‘rape and sleek mixed-metal construct, by Kathleen Bergsron 56 | Lacy butterfly lariat Try alenterochet hybrid creat ths iy, feminine st by iso Koh 62 | Queen’s link bracelet ‘Weave siver- plated, large jump rings into astinky, sinuous chain bracelet, by Diane Mer64 | Wired bead mail bracelet Beads and wire are wrapped into large closed beaded ‘ings and then assembled into a bracelet using a4-in-t ‘chain mal weave. ‘by Per Jackson 68 | Wire-woven toggle An catrng nding creates base fo a toggle that looks 70 | Wrapped & wrapped again necklace \Wrap a beachrch chain to enhance a bead pendant or ‘other avon focal pce ‘by Nora Lynn Hotes 73 | Brass flower ring Make a cockta ing extadrdnare using @ vite seting for sea glass or other found objects. bby Brandl Schweder SPECIAL FEATURES 6 | From the Editor 8 | Basics ‘Aguide 10 wirworktectniques and supplies. 12| Tooling Around: Wire: Your most important too! by isa Niven Kay 14 | Creative Minds: What's change got to 16 | Quick Ease: Spiral posts (& teardrop hoops) by Sara Maina & Samartha Sister 82/ It's a Wrap: Wire sculptures by Elizabeth Berrien enn ng 04 ole mes annyFrom the Editor While | looked over the table of contents for this issue, | couldn't help but notice the variety of wire types used in the designs. Straight from the cover, the "Wild heart necklace,” p. 18, showcases the beauty of copper, and it joined by seven more designs made primarily or exclusively with copper wire. More wire and findings have become availabe in metals other than stering siver. Wire expert Lisa Niven Kely explains in "Tooling Around,” 12, a few options you've probably seen in your local bead store or favorite supply catalog. Brenda Schweder helns you embrace change in your creative universe, p. 14, which might change more than just the type of wire used to make your next clasp. Stverlled and siver-plated jump rings give chain mail a classic look ata more affordable price. Try plated rings to make the "Queen's ink bracelet,” p. 62, of weave the Viper basket necklace,” p. 54, made with siverfiled and rose-gold rings. Combine rich bronze and playful niobium in the elegant “Multstrand chain mail necklace,” p. 25. ‘Nong with a wide variety of wire types, you'll discover a broad selection of prdiects using seed beads, crystals, gemstones, handmade glass beads or even sea glass. Choose from six different bracelet desgns, two different rings, eight pendants or necklaces, four different earrings and two styles of ear wires. Satisfy your urge to bend, hammer, weave, crochet, loop and wrap wire. Please contact me at beadswitzer@[Link] with any suggestions or input on projects or materials you would like to see in upcoming issues. And, as always, bend it ike you mean it! 8 Wirework Spring 2012 Wirework Conebutig Esto Santa Lipo Senor At restr Li A. Bergman Photographers 2 Zick en Fos ustrtr Kao gor Plater nds Kast Prosdent Gold Bootohor Execute Vice President Chane A Croft ee Proce Etats Ken Kee ee Pesce, Aavetsing Seo Stsbery ee Prose. Narang ae 7 Lance (orprate ft owacor Mure Serer Production Nongar Helene Tiss Prodition oondnator Amie Guo Cerprat Croton Dror Miche! Barbee Group Creston Menage Cater Osils Ccovaton Secale Valeri Lane (reson Coetnstr Brn Cushman Siri Copy Sale Desir Jeny Susie Group Aaartsng Manager nn E Sn averting Sass De Joston, Caw Bech ‘Lon Sonor Ae Services Moraga Sra Evers ‘a Serves aproenttve Nets Hactbatn 50012 kamenxn Rete Mh ‘psoas vous he saan a Pet Tenoodleednpenarm rou outer: Sortenpaiohe: Tne ren Vimo pn 2012 am yur Ser pr eg toata Whois Eerie) tr \Kelc) BCA VTE ae tC to the next level! dozens of other artist-designed re Meee eer Ro 5 ° ae £ ® [Link] (7464) Leena aad Se ue Rd erent etBasics TOOLBOXES Chain mail + Ad, pin, oF sotive ‘+ Bead mat or work aurfoce "= Nosale fs + Pliers @ pais: bentnose, chainnose, or fatnose ‘+ Readina/magnitying gasses ‘+ Tumbler ste! sho, burnishing ‘compound Wirework “= Banch block or and ‘+ Cup bur or wie rounder ‘Cutters: side, end, or fish ‘+ Hammer: chasing, ball peen, ‘ross peen + Malet: rawhide or plastic “* Mandrake or dowels + Nesaie fle. + Piers: cheimnose, latnose, roundnose, paral, rvion jaw + Polishing cith ‘+ Sandpeper: various gits ‘+ Tumbler, st! sho, burrishing ‘compound, WIRE TYPES, Todays home-based jewelry maker has an amazing array of materials and tools to choose from compared to days past. ‘Awide varaty of wire is avaiable in bead slores, craft and hobby shops, as well as on the Internet. One can find different metals and styles of wie, including round, half-round, square, twisted, pat- temed, and more. Listed here is 2 brial description of some of the mast popular wire types on the market. Itis generally acceptae to mix metals in your projects. One caveat — f you're seling your pieces, i's imperative that you disclose the materials you've used. ‘Aigo, you need to consider tamish rates. ‘While i's not going to harm the metals [Link] them together, they will oxidize at different rates, and a year after you've made your piece, it might not ook the same as the day you made it. 8 Wirework Spring 2012 Silver ‘tering siver's ar alloy containing 92.5% silver with the balance usually being copper or nickel. Stering tarnishes rather easly, but oxidation can be controled somewhat by keeping it stored in an airtight sealable bag, Fie-siber wire is 99,99 sliver and is softer than storing siver wire. Itis best sed for wrapping or weaving. It will iso, tarnish over time, though not as rapidly as sleting. ‘Argent siveris an alloy that Contains germanium, which gives the metal some tarnish resistance. It wil tarnish somewhat over tme, however. Gold-filled ‘The term got-ledis misleading ‘because instead of having a core of (gold, as the name suggests, it actually has a core of base metal that is covered with a layer of 10% or higher gald. Goid ‘must account for at least '/a: the weight to be called "gold-fled.” Gold-fled wire 's relatively expensive, but it maintains its color and shine without tarnishing; although, over time, the gold can wear off, especially in areas thet encounter @ lot of fiction. Copper ‘as copper wire is soid copper without any coating, Because itis relatively inexpensive and easy to find, copper is often used as practice wire before mov- ing on to precious metals. Patina can be _2dded to copper to darken i or tun it blue or green. To maintain color, seal the wire with lacquer or miccoaryetaline wax. German javey wire consists of a copper core pated with another metal, Lsualysiver or gold, and is an economi- cal option to precious metals. Athough the plating will eventually wear ofthis ‘ost ikely would take several years ‘Costes copce, 2s the name suggests, Is copper that is coated with one of num ber of possiie coatings, often a Ccolortl ving or plastic. Some coated wire is touted as “permanently colored,” but the coating could scratch off, so handle t Careful oF coat tools with tape ora ‘When you see this symbol (®), head over to [Link]/WireworkMagazine, go to the Notes tab, and you'll find links to the videos demonstrating the techniques. rubberized tool dip. Its sometimes also called craft mie or enameled wire. Some of these wires are tamish resistant and maintain their shine well over time, Aluminum. ‘Aluminum wire is a lightweight wire that usually comes anodized, or coated to briliant ary of colors. The color may scratch off, 60 handle the wie carefully or coat tools with tape or rubberized too! dio. Brass Brass wire is an aloy of copper and zinc. Diferent manufacturers offer alloys wih varying percentages of these metas. Many people tke brass as a low-cost substitute for gold because thas a similar color and luster when shiny. Brass tarnishes rathor easily but can be sealed with lacquer or microcrystaline wax. Jew ers braze is a popular brass alloy (ts, indeed, copper and zinc, not bronze, which isan alloy of copper an tn WIRE GAUGES Gauge is the measure of a wirels diame ter or thickness. There are two afferent gauge systems that are used for wire: The American Wire Gauge (AIG, also known as Brown & Sharpe) is usualy sed for nonferrous metals such as siver ‘and gold the Standard Wire Gauge {SWG, aso known as British Standard or Imperial Standard is used for base met- als, The diameters ofthe gauges are not the samo, 50 it's mportant to know ‘which system is being used to describe the wire you're using. Below is a chart showing the differences between the gauges fora sampling of wie diameters. orWIRE TECHNIQUES: Coiling ‘Wire can be wrapped around a mandrel oF other core to make @ coil, which may be decorative, functional, or both. Wire colling tools tke the Coiling Gizmo make the job fast and easy, but for small jobs or when you're coiling directly onto a Wire thet you'l use in your project, you can do it by hand, To make a coll, hold the coiing wire perpendicular to the core or man drel. Wrap the wire around the core until the coilis the desired length, Keep the wraps close to each other to prevent gans in the col. Twisting square wire Twisting square wire gives ta pretty, orate look. You can twest wire with an eectric dil or with a pin vise. You'll get the most consistent results if you twist reiatively short lengths of wire (10 in/25.5 om or less) at a time, To twist wire, insart one end into the chuck of a pin vise or electric cil. Hold ing the other end of the wire firmly with flatnose pliers, rotate the pin vise or press the trigger of the electric dill to tum it on, Continue until the twist is consistent along the length of the wire, — ul — ‘Another option is to run the wire through a pair of nylon-jaw pliers. This will also straighten the wire, so you would do this before shaping or bending it. © Forming spirals 1 Grasp the end of a wire with the tips: of apr of roundnose piers, and rotate the pers to form a smal foo. 2 Grasp across the loop with chainnose or flatnose piers, and use your fingers to guide tho wire tail around the loop. Continue rotating unt the spiralis the desired size. 3 Leaving a bit of space between the rotations will give you an open spiral (eft; leaving no ‘space will give you a tight spiral right). @® ) LOOPS AND WRAPS ® Plain loop 1 Trim the wre % in. 9.5 mm above the top bead. Meke a right-angle bend close to the bead. 2 Grab the wires tip with roundnoss pliers. Roll the wire to form a half circle, Rolease the wire, Hardening wire It you're going to use wire in @ structural way, its often beneficial to harden it There are a few ways to db this. ne option is to form the wire into the desired shave and then hammer it. It you also want to fatten it somewhat, Use a chasing hammer or a ball-peen hammer. Ifyou want to harden it without flattaning it, use a plastic or rawhide male, 3 Reposition the pliers in the loop and continue roling, forming a centered circle above the bead. A Tris isthe finished loop. © wrapped loop 1 Make sure there is at least 1% in, (82 mm] of wire above the bead. With the tip of your chainnose pliers, grasp the wire directly above the bead, Bend the Wire above the piers into a right angle. 2 Position the jaws of your roundnase plers in the bend. Brng the wire over the top jaw of the pliers. my 3 Reposition the pliers’ lower jaw snugly in the curved wire. Wrap the wire down and eround the bottom of the piers. This isthe frst half of a wrapped loop. [Link] the loop with chainnose piers. eo o 5 Wrap the wire tal ‘around the stem, covering the stem between the loop and the top bead. Tim the excess: wrapping wire, and press the end close to the wraps, Using chainnose or crimping piers.© Set of wraps above a top-drilled bead 1 Center a top-drilled bead on 3 in. (76 mm) of wire. Bend each end of the wire upnard, crossing the ends into an Xabove the bead. 2 Using chainnose pliers, make a small bbend in each wire go the ends form a right angle ) 1 2 3 Wrap the hori- zontal wire around the vertical stem as ~ in a wrapped loop. Tim the excess: wrapping wire. To attach this unit to Prepare a ver of sulfur solution according to the manufacturer's instruc: tions. Dip the metal in the solution for a {few seconds, then rinse the metal in coo! water to stop the chemical reaction. For a darker patina, continue to dip land rinse the metal. Use a brass brush with soapy water to remove or modify the patina, By using different tempera- {ures and amounts of water to make the solution, you can achieve different colors of patina; experiment to find the result you prefer. MAKING AND USING JUMP RINGS Make the coil by hand Select a wooden dowel or mandrel with 2 diameter that matches the inside diameter of the jump rings you want to make. Drill a hole through one end of the dowel. Insert the end of the wire into the hole to anchor it to the dowel. Wrap the ‘wire around the mandrel or dowel, Keep: ing the cols tight against one another. another component, make a wrapped joop with the wire stem. FINISHING © Tumble-polishing Pace steel shot into the tumbler’ barel ‘Athough you can use any shape of steel shot, a combination of shapes works best the various shapes polish crevices and contours differant, arsuring en even polish, Pour in water to cover the shot, then add a pinch of burishing compound, race your jowely in the tumbler, and seal the barrel. Turn on the tumble, and lett run for 2 hours or more. Pour the Contents of the tumbler into a sieve over snk, and rinse, Remove your jawelry, and dry it. Dy the shot before storing it © Patinate (darken metal) with liver of sulfur Posh your piece before patnating. {i'you tumble-polsh your piece after patinting, reserve the used shot for future patinted pieces; the iner of sulfur residue wil contaminate other piaoes,) Ol and dit on the piece can affect the patina; clean the metal wit degroasing soap before patinating, 10 Wirowork Spring 2012 (Cut the wire that anchors the coll I you willbe using wire cutters or a flex shatt and jump ring maker to cut the coil into jump rings, remove the col from the dowel. If you wil be using a jeweler's ‘sam, slide the coil to the opposite end ‘of the dowel or mandrel Cut jump rings using cutters Using the flush-cut edge of your cutters ata right angle to the coll, tim the straight wire tal rom each end of the coll 2 Sightly separate the first ring from the coll With your cutters ata right angle and using the fish side, cut where the wire completes the fst rng. Ifyou use diagonal wire cutters, one end ‘of your cut will bo fush and the other ‘end wil be pointed. To fush cut the pointed end, flip your cutters over to the flush-cut side, and cut again so that both ‘cuts are flush. Then, flush cut the end of the col to start the next rng. There willbe some wire waste, 60 make a few extra ‘ols to make up for the waste, © Cut jump rings using a saw ‘Secure the dowel against the Vinotch in your bench pin, and use a jewelers saw with a 2/0 blade to cut a shallow, vertical slot at the end of the dowel to guide your blade as you cut the cal Hold the coll and dowel with your nondomi- nant hand. Saw through the top of the col, feed- ingit toward the slot in the dowel. Be careful not to ‘out the jump rings in half © Make the coil and cut jump rings using a flex shaft and jump ring maker 1 If you rave a jump-ring maker or other 100), folow the manufacturer's instruc- tions to make your coil2 Folowing the manufacturer's instructions, secure the ool i the holding device. 3 Cut tho jump rings, folowing the manufacturer's instrtions. ® Opening and closing a jump ring 1 Hold the jump ring with two pairs of chainnose pila. To open the jump ring, bring one pair of plers toward you and push the other pair away from you. Do ‘not pul the jump ring open sideways. [Link] close the jump ring, reverse the direction of the pliers to bring the ends of the jump ring back together. Because jump rings, especially those used in chain mai, tond to spring back, you may find it hefful to bring the tips ofthe ring a bt past the closed positon and then bring them back together Jump ring sizes The inside ciameter of aiumo ring is measured by the size of the mandrel Used to make it. Some jump-ting manufacturers use mandrets thal are ‘measured in fractional inches (ike Yin}, while others use mandrels measured in rmilimeters, which come in quarter- rmilireter increments. When choosing jump rings to make a project, this can be confusing. For instance, if the project you're working on calls for '¥61in. jump rings and the vendor you're buying from sells them in fractional inches, you're {good to go. But what ifthe anes you're purchasing are measured in milimeters? How do you know what milimeter size rings to buy? This issue comes up primariy in cchain mail projects in which the inside diameter of the jump rings used atten makes the difference between the project working or not. So, in the materials lists of the chain mail projects in this issue, we have listed the jump rings by the size used by the artist. Hf, when you go to buy or make jump rings, you fing that the measurement system is not the same as what the project designer used, consult the folowing charts, The first chert starts with the fractional inch measurements followed by the actual milimeter equivalent. The next column shows the closest milimeter ring size that you will be able to purchase. ‘The second chart starts with millimeter measurements with decimal inch equivalents. The next colurnn shows the closest fractional inch ring size that you'll be able to purchase ‘long with the decimal inch equivalent. Sfonin. 2.4 men) ‘fein. 2mm [3.25 mm focin. (6 rmm)_[35 mm * Shain amm) | 47smm= “fin. 8mm) [6.5 mm" */ecin.(6.0mm)_ [60mm Vein 7mm) [875mm %in.05mm__ [9.5mm en. 8orm) [180mm Cen ed sie 2.5 mm (0.0064 in) | ¥6in, (0.00376 in} SmmOti6im) | Yin, 0.126in) 3.26 mmm (0.180 in} | Yin. (0.425 in} * BSmm(0.1B8in] | Yan. (0A1405in) 4Omm{(0.157 In} _| Hin, (0.15626 in) Eee OTH) SO mMO256i1 B7EmmeasM n) ssmmopsran) [in Gs76h) Sse siete ARDS “Ifthe substituted siza is smaller than the ‘exact equivalent, you might run into space Contains if the design is snug to begin with Pawacrrer| ‘ein. (084375in) (Mc tars to Scr of Sittin ety 7d bers Moja of ve Butte Scutque formar nop in eating jump-g ses) QTHER TECHNIQUE ®© crimping Use crimp beads to secure flexible beading wire. Side the crimp bead into place, and squeeze it frmiy with cchainnose plies to flatten it, For a more fished look, use crimping piers 11 Position the crimp bead in the hole that is closest to the handle of the crimping pliers 2 Holding the wires apart, squeeze the pliers to compress the crimp bead, making sure one ‘wire is on each side of the dent 3 Place the crimp bad in the front hole of the pliers, and position it so the dent is facing the tips of the plies. ‘Squaeze the pliers to fold the crimp in half. Tug on the wires to ensure that the crimp is secure, ® 1"Tooling Around his column is called, “Tooling Around,” and yes, wo usually talk about tools, These days even too! junkies are spending most of our time talking about metals, because what good are tools without the right wire to fend and shape? ‘The precious metals market has hit record highs recently, and my favorite metal, staring sive, has gotten quite expensive. For the first 12 years of my Jewelry making career, the spot price of sterling sat steady between $4 anc $7 ‘an ounce (yes, | said FOUR DOLLARS} | remember my total shock wihen it hit {$8 in 2004 and full panic when it nit $14 in 2006. The prices have continued to cimb from there. The market peaked in late April 2011 when steriing weighed in at just over $48 an ounce. Before. another panic, | began looking at other wires to replace my old favorit. 12 Wirework Spring 2012 Wire: Your most important by Lisa Niven Kelly No matter what the market does from here, it has everyone looking at metals a bit differently, The climbing spot prices and a shift in fashion and acces- sory trends has resulted in more jewelry made of not only elternative metals, but of fabric, leather and found objects, ‘You see it in magazines, on the runways and in stores; mixed-media and mixed-metal jewelry is al the rage. ‘These days, | find myself, and most of my students, working more with alter- Trative metals, especialy in wire, Mainly, [am reaching out to alternative metals out of necessity. My old standbys, ster- ling silver and goid-flled, are no longer as affordable. The rising metals market affects all businesses, including market traders, manufacturers, bead stores and designers, right down to the cus- ‘tomer. It has designers reconsidering their metals of choice. Where sterling tool and gold-filed have been the industry- leading metals for decades, designers have started reaching out, looking for alternative metals, ‘There are a lol of metals available that ‘won't break the bank but wil stil provide the look and quality you want. ‘Some appear the same as stering, others create a different look. Let's not forget our ald frends copper, brass, and bronze. Even though they have taken a backseat to their siblings sterling and gold-filed for decades, pethaps now itis their time to shine, Al three metals are easy to work with and are widely available, but they sometimes discolor the skin. Look for a non-tarnish option (often with a clear coating). Use a spray lacquer or Renaissance Wax to prevent tarnishing land skin discoloration,Try visiting your local hardware store to explore its wire choices, Steel, alumi hum, and copper wire come to mind, Some of these wie types take some getting used to, as the temper can be very hard or very soft. Get to know how they behave, and they will make a great addition to mixed-media jewelry. How about color? Why should beads have all the fun? Wire can be colorful too! There are many manufacturers of permanently colored wire. This wire is often a copper base with an enamel colored coating and itis considered dead ofl, Ihave used these wires a lot and they wrap, twist, coll, weave and even flatten amazingly well | know what you are thinking, “Yeah all these other wires are cool and all, but | Just really love sterling silver.” Well never fear, because silver-iled is here! This metal isn’t new, but it has become very popular and widely manufactured. Stverfiled has a layer of .925 sterling silver mechanically bonded to a brass core, Siver-filed sheet metal or shaped blanks typically have a copper core, Silver-filed and silver-plated are not the same thing, Silver-plated wire and findings have a very thin layer of siver. ‘The bonded layer of siver on siver-filed is hundreds of times thicker than silver: plated, typically constituting 10% of the total metals weight. Now that folks trust siver filed as much as they trust gold-filed, manufacturers are increas- ing the products available to include wire, sheet, blanks, and findings like clasps, earring wires, and jump rings. Just lke sterting sheet or wire, sive filed can be cut, formed, coiled, stamped, textured, oxidized, and polished. Itis not a good candidate for fling or soldering. Fling exposes the brass or copper core, Although the exposed second metal can result in some pratty cool design surprises, it you had something specific, shiny and silver in mind, unexpected results may be disappointing, It your customers ask about the high rice of stering or gold-fled jewelry, take the time to educate them about the matals market. Take the opportunity to introduce them to some new industry standards and trusted alterna- tive metals. ‘And remember, changing the quality of the wire you use doesn't mean sacriic- ing the craftsmanship and boauty of your jewelry, No matter what metal you ‘choose, skill and good design are the basis for all strong well-built jewelry Resources [Link] for current metal prices, historical charts, news, and data, 42Creative Minds by Brenda Schweder hat’s change got to do ‘with creativity and innova- tion? What's it got to do with you and your jewelry designs work? Further, how open are you to change? Well let me tell you! Ths issue of Wire- work is all about change. Many wire workers design in steriing siver—and for {good reason! /As wire goes, it bends ike butter and it's shiny, bright and pretty. It’s beautiful alone or as a fall for the myriad of beads and embelishments we can add to it, But today, 2s | send this column off for iting, the cost of siver is $32.18 an ‘ounce, Thal’s down from a high of more than $48 last Apri, but far higher than in the early 2000s—where the per-ounce ‘cost hovered around the $5 to $6 mark. ‘Change is sometimes thrust upon us. ‘You might say, "But | ust want to make things and sell them." And there's the rub: saliing your fished jewelry. Other creators will exclaim, “just want {to make things to feed my soul.” 'm your gi when it comes to creating for its own sake. But even the soul knows if you're in a rut. The challenge of chang- ing i up every once in awhile keeps us. vibrant and fulfled! When we quit this kind of invention, we quit ourselves. (On a bigger note, I'm going to go out on allimo and challenge your ideas of art and craft and trend. I'm going to moti- vate you to pay attention to the changes ‘around you, because innovation —or ‘creativity —cannot be achieved without 14 Wirowork Spring 2012 the addition of some thing (two words (on purpose) new. | hope to get us think- ing about how we can get a lag up on the next rung of our personel creativity ladders. Here goes: Now, I can fesl some of you getting ner- ‘vous out there, Embracing change doesn't involve adding more pressure to being creative. As a matter of fact, it seems to me that creatvity is pretty dam ‘overwhelming to many of us all by itso, sa let me explain First, creativity is defined as “the aboity {o transcend tracftional ideas, rules, pat- tems, relationships and to create mean- ingful new ideas,” Pay close attention to the words: transcend, traditional, mean- ingtul, and new, ‘Second, innovation is defined as *some- thing newly introduced." Pay attention to the word naw—disguised as newiy | submit that creativity is taking from the traditional—or at least the known—and ‘adding “your own new twist.” You've heard the adage, “There's noth- ing new under the sun?" That’s both {rue and untrue. To be original is almost Impossible, Howard Aiken famously said: “Don't worry about people stealing an idea: i it's orginal, you'll have to shove it down their throats.” We're pretty good at assessing what's ‘going on around us, and we find securi- {yin having things stay the same. So, where do we get all this new stuff to fil ‘our design bag-o'tricks? From the new ‘and novel, that's where! _ What’s change got to do with it? Creativity. Innovation. Change. Walch for developing trends. Look for (and embrace) quirky behaviors, odd fashion, fresh technology, mixed-media, and even the Pantone colors of the year. Challenge yourselt. Adapt a new wire technique. Loosen ar tighten up your style. Work in ifferent metals. Add in a new material. Or ry another craft or hobby altogether to shake things up! How about playing the acoustic guitar, learning French, or mastering the art of lace making? Wha knows where a ite ‘oping and tatting can take you? Above all get in the habit of changing it up, my frends! If this seems a litte daunting, start with something small at first and ease into territories unknown; butt you're game, bite off a big chun! Itmay make you a ite uneasy at fst, but those butterfies you fee! will turn into a futtery exhilaration that will boost you and your work skyward! What's change got to do with it? What doesn't it have to do with i? Brenda Schweder is the author of Steel Wire Jewelry (Lark Crafts), Vintage Redux and Junk to Jewelry (Kalmbach Publishing Co,). Between her jewelry designs and Fashion Forecasts, ‘Schweder has been published more than 100 times. See Brenda's Brass flower ring project on p.73 to see how she stretches her creative muscles.a make tt Qe for yOu ~ to Me medley 4Spiral posts & teardrop hoops by Samantha Slater and Sara Molina materials for spiral posts Earring post ‘ox Vie in. (11 x 8mm) + 6in,(152.0m) 22-aauge (0.8 mm) slering siver,halthard wire +25 mmsteting siber, 20-g0uge {0.8 mm) jump rings: + Storing ever earing backs tools & supplies + Wirowork toobbox 8) + Ring mandrel + Wire rounder or ne fe stepbystep Spiral posts 11 Flush cut both ends of two 3-in. (69 mm) pieces of 22-gauge (0.6 mm) wire. Using chainnase pliers, make a 90° bend ¥ in. (13 mm) from the end of the wire ¢. 2 Using roundnase piers, grasp the wire at the bend. Pul the long end of the wire around the jaw untlit is almast pointing directly down. Without removing the pliers from the loop, open the jaws, and pivot the pliers so the bottom jaw is on the top. Continue pulling the wire around the tip of the plers to complete ¢ round loop @. 3 Bend the short end of the wire at @ 90° angle to the loop (3). This wire wil be the earring post. 4 Grasp the loop using chainnose pliers 60 that the base loop is visi. Push the wire up, forming it against the bese loop (9. Continue to form a spiral, making about four or five rotations. 5 To canter the spiral on the wite, grasp the base of the spiral using chainnose plers. Pinch the spiral with your fingers. Gently push the spiral back until itis, centered on the wire. Use roundnose 16 Wirowork Spring 2012 ‘6 mm olivine crystal baroque pendant, § mm Inner dlameter (0) 20.5-gauge ump ring pliers to grasp the wire at the base of the spiral. Pull the wire down and «ground the piers unti it touches the spiral (s). Continue puling the wire until a complete loop is formed. Flush cut the wire next to the spiral 6 Place the tip of the wire rounder over the post and rotate it several times (I you don't have @ rounder, use a fle or rail board. 7 Repeat steps 1-6 to complete a second ear post. 3x5 mm fuchsia fre-polish rondelle, 14 10 mm purple Ins frepolsh teardrop bead, 2agauge sterling ster 2-0 ‘head pln with 1.5 mm ball 8 Add a dangle to the small loop or aftach a pendant bead using a jump ‘ing, Or make @ headpin dangle with beads of your chotce and altach the ‘wire wrapped loop to the ear postLearn to make original earring wires to add style to any pair A of earrings. Both pairs are versatile and the perfect way to finish your next pair of completely handmade earrings. td HHements wet: 16 sum alive enamel ‘mal sectioned get, 191mm ight mustard Bead os darko coral 4m od enameled medion crystal, 6 mm dak no crystal bien, elosed gen, 26 mm 6 mm ime erystaleube, 8mm crystal sain stramarne ue round crystal, 96mm Siam crystal ron, enamel large closed 6mm dark ree rsa pear, sear (-K000 Beads) ‘4mm sunitowe bone materials for teardrop hoops Ear hoop 1% x 1 in. (42 x 25.5 mm) © 20-gauge (0.8 mm} sterling silver, hal-hard wire, 12 in, 20.5 om) ‘Teardrop hoops 1 Bend a 6-in. (12.7 om) piece of 20-gauge (0.8 mm wire around a ring mandrel at the size 10 measurement, or round an object with a $4-in. (19 mm) diameter (1) 2 Measure 1% in. (4.4 om) from the bottom of the teardrop and bend down one side of the wire using roundnose piers @). ‘3 Measure % in, (13 mm) from the bend of the wire crested in step 8, Use chain- nose pliers to bend 2 45° ange away {rom the canter of the teardrop (3) Trim excess wite go that Yin. 6.5 mm) of Wire extends from the bend. 4 Use chainnose pliers to make @ 90° bend where the other end of the wire meets the bend made in step 9 above, 50 that the two bands sit parallel to one another (@). 5 Use roundnose pliers to bend the long Wire ond into a hook wah. Cutoff the excess wire where the end of the hook lines up with the start of the hook. The upper wire wl ft into this hook to close the i209 Gy. 6 Repeat stops 8-12 to make a second ear wire hoop. Finished earrings opti 7 Use a Gin. (15.2 cm) piece of 24-gauge (0.5 mm) wire to wrap beads along the inside of the ear wire. Side 2 1S a stack of enameled washers and spacers. onto the ear wire, See examples of both styles of finished earrings at the top of 7Wild heart necklace @ metal circles nest into a copper squiggle. A handmade link chain and matching clasp complete a necklace with heavy-duty handmade appeal. Pretty 18. Wirework Spring 2012supplies '* Copper wire, round, dead soft “in, (20.5 cm) 12-gaugo 2.1 mm 5 ft, 1.5 m) 18-gauge (1.5 mm) 4 ft. (1m) 24-gauge (0.6mm) + 40x50 mm lampworked lass heart © 2 Sen, (13 mm) etched copper disks: + 2"/rin (16 mn) etched copper ssh + 2:10mm copper jump rings + Capper toggle Tools + Wrewerk toolbox, 9.8 '* Hole punch pliers + Dsoping bio and punches stepbystep 1 Using large rouncnase piers, make a loop on one fush-cut end of 2 144i, {85.8 om) piece of 12-gauge 2.1 mm) wire (1a). Continue shaping to fit the template using your fingers and large wrap-and-tap or bail-making pers. Tim off any extra wire, if needed. Finish the her end with a simple loop (ab) 2 When satisfied with the shape, use a bench block and chasing hammer to flatten and texture the wire @, Attaching the etched disks 3 If your disks are already dapped, pro: ceed to step 4. For fat etched disks, Use a dapping block and punches to shape the circles into a cup shape @). Position the etching on the concave side of the dome. 1 [Link] @ serew-dowm hole punch or hole-punch plars, make two holes inthe disk, 180° from each other (4a). Position the ounched disks onthe focal wire to check ther location, posting the holes in the @- and 9-0'ctock postions. Ii needed, adust the shape ofthe wire squiggle to accommodate the cs (4) 5 Cut 6in, (15.2 om) of 24-gauge (0.5 mm) wire and attach one side of a ‘domed disk to the focal wire with one or ‘wo wraps through the hole and around, the squiggle. Continue wrapping around the squiggle fie or six times on either side ofthe hole, and tuck the ends into the wrapping. Repeat on the other side of the disk €). 16 Repeat step 5 for the other domed disks, attaching them into the remeining loops in a design you find pleasing (6)20 Wirework Spring 2012 n n Leave an empty curva on the squiggle where the focal bead will be attached. Make the chain ‘7 Measure and flush cut both ends of 48 pieces of TY-in, (82 mm) 16-gauge (1.3 mm) wire. Using round nose piers, make a simple round loop (Basics, p. 8) working where the plier jaws are Yin. (3 mm) in diameter (7). Using chainnose pilers, grasp the loop near the base and make a 90° bend in the wire (7). Position the wire 50 you're looking through the loop and make a second simple foap on the ather end of the wire, Using chainnose pers, make a 90° ‘bend at the base of the second loop, ‘The loops wil sit perpendicular to one another. Repeat for a total of 48 wire links, Set the links aside. Assemble the necklace 8 Using two pairs of chainnose pliers, open a 10 mm jump ring and slide it through the hole inthe focal bead and round a curve atthe bottom of the quigge. Close the jump ring (@. Tho ‘bead can be attached underneath a disk ‘on one of the bottom squiggles if you opt to fill the curves wath disks. 9 Using chainnose piirs, open the loop Con one lnk of chain and slide it to the bottom loop on the squiggle. Ciose the ling. Repeat with another chain ink on the other side of the squiggle. Continue _20ding links by opening one to0p of one Chain lnk, edcing another chainlink and losing the loop 10 Using two pairs of chainnose plers, ‘open the end links of the chain and slide €an open & mm jump ring through the oop half of the toggle. Repeat to attach the other end of the chain to the clasp hook (10). Adjust the length as needed ‘by adding or removing links. 11 Add a patina and polish with a brass ‘brush or fine steel woo! to highiight the shapes and enhance the contrast of the finished necklace. & Lisa Liddy has been ‘making jewelry for several years. ‘She particularly enjoys designing Jewelty that high- lights art-glass beads and metal findings. Lisa sells etched ‘metal bead caps, clasps and find- ings through her Etsy site, www MetalMe This [Link]. You can contact Lisa by e-mail at Joolebylisa@ [Link].Flower pendant SireUcienuieWel-ccien cele nieces design into a modern and wearable flower pendant. Fine tune your. spirals and weave them together to form a sturdy, beautiful structure. OTe uLc Dy Py)materials Pendant 1% x 1% in. (8 x:88 mm) + Sioring slvr fled, deed sot, round 2 (1 crn) 18-gauge (1.0 mm) 5. (1.61), 28-gauge (32 mn) = Tjump ring, 18-gauge (1.0 men), 4 mm inner iameter(D) tools & supplies Wireworktooibox, p. 8 stepbystep 1 Cut three 7-in. (17.8 cm) pieces of 18-gauge (1.0 mm] wire. Cut a3 ft (1.4 cm) piece of 28-gauge (0.32 mm) wire, Hold the first 2 in, (61 mm) of 28-gauge (0.82 mm) in your non-domi- nant hand. Wrap four times very tightly around the center of the 18-gauge wires to bind the 18-gauge (1.0 mm) wires Into a tienguiar bundle (1), Do not cut away the 28-gauge wie at either end of the coll 2 Using the tip of your chainnose pliers, grab one of the 18-gauge wires just above the end of the coll, and bend it into to a 90° angle tea). Repeat this tangle on the same wire on the bottom side of the four wraps. Repeat on anoth- er piece of 18-gauge wire fu), leaving the third wire straight to create an erma- ture with six equally-spaced lags pro- truding from the col (2). 3 Wrap the long length of the 28-gauge ‘wire over two of the logs (8a) and around the second leg. Continue counterclock- wise, crossing over and then wrapping around the next leg over (3. Continue to wrap around each leg one time all the way around the armature (te. Designer's tip Do not worry if some sections are wider or narrower than others. ‘4 Continue the same wrapping pattem with simi tension around the armature (da). Vieave until the widest sections 22 Wirework Spring 2012 C= ‘measure Yo in, (9.5 mm) from the center (, End the wire by coling it once or |wice around the closest leg, trimming off the wire and tucking down the end with chainnose pliers. Wrap the 2-in, (51 ‘mm) tal wire onca or twice and trim off the remaining wire. 5 Measuring from the woven section of the armature out toward the ends, trim each 18-gauge (1.0 mm) leg to 12% in. (44 mm). Using the tip of your chainnose pliers, bend each leg sideways, in the same draction, to sightly less than @ 45° ange (6) GAt the end of each wire leg, form a spiral asics, p. 9). Start with a closed, tight spral ust under two rotations (6a).Continue to form the spiral, allowing it to open up as it ros toward the naxt lag (over (68). Stop when the spiral butts up against the neighboring log. 7 Repeat with the five remaining legs (. Designer’s tip ‘After completing step 7, you can either hammer the outside edges of the spirals or leave the wire round. If the spirals were marred during shaping, hammering will flatten out any marks left by pli- ers. Lay the spirals on top of a bench block and hammer with the flat face of a chasing hammer. B Cut d-in. (69 mm) piece of 28-gauge (0.32 mm) wire, Hold a short tai in your rnon-dominent hand. Holding the tal wire in front, wrap around the upper leg, botwreen the two legs and back around the lower lag (@a). This forms the begin- ring of a figure-8 patter. Weave the wire back around the upper wire, com- pleting the fgure-B (ab). {9 Repeat the same weave three more times, wrapoing the upper and lower legs together with four figure-8 weaves Lisa Niven Kely is an award-winning artist who tind oy in al things beads. Currently, her work focuses on wiework, into which she incorporates beads whenever possible. Lisa is a regular contributor to many fewely-making magazines and is the author of Stamped Metal Jewelry. These days you wil find Lisa close to home with her two young daughters, ‘managing her business, [Link]. [Link] offers wirework and metal stamping tools and supplies, product how-to videos and hosts online video jewelry making classes. (80), To end the weave, wrap an extra time around one leg, trim and tuck down the end using chainnose pliers, Use chainnose plers to squeeze the weaving together itis too loose (84). Weave together all ofthe legs 10 Oxidize using Iver of sultur and polish using a polishing pad, steel wool (ora polishing cloth. Open an 18-gauge (1.0 mm), 4.0 mm ID jump ring and slide it through one of the segments of the pendant and close the ring.|mpressfArt sheds, Shel Db «op 7 7A) stan 27 Metal Stamps Designed by Artists for Artists Cet Over 25 Number & Letter sets and 150 Design Stamps now available. fetes aay “Sie ca all it takes is a twist! a) ess variety of wire ety elie egies Indudes 6 mandrels in 4 diferent shapes (round in 3 sizes, square, riongle, rectangle) Visit woebeodsmah com/is ‘0 wach ntsc vie! EAD SHOPS, 7529895200 er wmwbeotscithcom I 24 Wirework Spring 2012Multistrand chain mail necklace | Vivid niobium and brass rings are linked with Full Persian chain mail into a draped, multistrand collar necklace. Change the metals or colors to create dramatically different looks. by Spidermaterials necklace 17 in (48.2 em) + Jump rings 1900 "Yin. (4.97 mm, 20-ga9 ‘AVG (0.8 mm), smal, jeery brass 1500 "6, (6.95 mm), 18-gauge AWG (1.0 mm), large, anodized niobium + Mati-strand brass clesp tools & supplies Chain mal toobox,p. 8 stepbystep Full Persian weave 11 Buid this chain off of a starting "han. le.” Use a twisttie, pieve of scrap wire, oF a paperci. Starting the full Persian ‘weave can be a it's tricky, 60 the first our steps are color-coded. The fist two rings (shown in green) slide through the handla side by side (1). Do not link the rings together [Link] two more rings (shown in pink) ‘through both of the green rings, but not through each other @. ‘3 Fold the step 2 (pink) rings to the ‘opposite side (8). Tuck them out of the ‘way and separate the (green) rings added in step 1 ab 4 Side the next pair of rings (yellow) through the wedge created iwhen the first sot of (green) rings separates and reveais the second set of (pink) rings ( 55 This is known as tho the Porsian step. ‘All chains in the Persian femly have rings that double back and link thraugh ‘wo levels simultaneously. Add an open ring (olue) through the two (yellow) rings added in the last step (Sa) and then dou ble back to pick up the first two (green) rings as wel (sm. The current (blue) ing sides through the step 4 (yellow) rings ‘and the step 1 (green) rings. Close rings. 6 You may find it easier to side through the “V" of the step 1 (green) rings first 4. Try it both ways. Add a second ring Designer's tip ‘The next steps are shown with the active rings highlighted in green and without the color-coding used in previous stops. The next step is the “V-step.” The step that follows is the “tuck-back step.” Alternate between the V-step and tuck-back step two steps to create the rest of the chain. ‘7 Separate the end rings of your chain to create a V, Open two rings and side them through the V (9. Giese the rings. (blue) on the opposite side. Once two units (eght rings) of weaving are com: pleted, the chain is stable, 26 Wirowork Spring 2012 8 Slide another open ring through the two rings added in step 7, and then tuck back to pick up the V ereatad in step 7 (@ Close the ring. Ramemiber that you can go through the V frst (as shown in step 6) if that feels easier. 8 Add the corresponding ring to the other side of the chan Make the alternating-size chain 10 Folowing steps 1-8, make tive units (20 rings) of full Persian weave using the smaller jump rings (1).> 10 " 11 Add two units (8 rings) using the large rings «, 12 Continue the full Persian weave, add- ing five more units (20 rings) of smaller size rings (12). 1 Repeat steps 11 and 12 until reach ing the desired length for the chain, 14 This chain can be used as.a single or multiple strand for both bracelets and necklaces. To size the necklace pro- pry, start with the shortest chain. In the featured necklace, the shortest chain is 17 in. (48.2 em). Depend- ing on your nack size, your shortest chain length may be diferent, The necklace pictured here uses 75 in (1.9m) of finished chain and the clasp adds 1 in. (25 mm) to the length because the chains attach to loops on the bottom of the toggle clasp. 15 Lay the necklace flat to get a good first approximation for the length of the other chains. Once it looks good laying flat, you'l probably need to fine-tune the final lengths in front of a miror, adding or removing rings as needed. & 2 Gold-filled small rings with sterling silver large rings. Copper small rings with single-color niobium large rings. Copper and niobi- um, oxidized, rinsed, and tum- bled with stainless: steel shot. Spider has been ‘making chain mail Jewelty for 15 years. ABBE tier favorite aspect of tis neckiace is the unlimited possi- bilties for color palettes by chang- Ing the metals used for the rings. To see more of Spider's work or to ‘purchase jump rings for this necklace ‘or her other projects, e-mail her at spider @[Link] or visit her boy Rings & Things Designer Mollie Valente Visit Our Design Gallery For More: Inspiration Designed using the Sizzix® BIGkicl Vintaj® Edition * Beads # Chain * Findings ¢ Gemstones * Supplies « Tools Quality Products With Quantity Pricing! 1 (800) 366-2156 [Link] 27Strip wire & Faux Bone cuffs Join Faux Bone and strip wire into cuffs that have the flexibility of wire and the functionality of sheet metal while celebrating beautiful color. Stamp your favorite word or saying to personalize your cuff for a truly one-of-a-kind piece. 1 by Melissa Cable } 28 Wirework Spring 2012 seme”S§ Faux Bone Q&A with Robert Dancik What is Faux Bone? Faux Bone is a completely non-tox- je, high grade rigid PVC that does not outgas (produce fumes) when heated at temperatures below 290°, and does not contain any plasticiz~ cers such as phalates. It is malleable at just below 250", and can be heat formed into just about any shape. It was founded by artist Robert Dancik of Crackerdog Designs. What inspires you about Faux Bone? Unlike materials like silver, gold or ceramic, Faux Bone has no history or references, and the only informa- tion on the material comes from me. Itis a truly blank canvas waiting for me to form it. It has the flexibility of wire, the functionality of metal and showcases beautiful color like beads — the best of all worlds in ‘one material. When heated, it can bbe tangled, twisted, knotted, and even crocheted. In solid sheet form, it is nearly unbreakable and can be drilled, sawed, and connected by nuts, bolts, screws or rivets, proper- ties normally attributed to metal. Are there different types of Faux Bone? All Faux Bone products are made from the same material, they just come in different sizes and shapes. The ‘4c in. (1.5 mm) thick Faux Bone ‘can be cut using a good pair of shears and comes in a wide variety of strip widths and lengths, making it especially user-friendly. The 14. (mm), %- (6mm) and %-in. (13 mm) shapes and sheets are normally cut using a nearly unbreakable Faux Bone sawblade. Are there any safety considerations? Other than preventing the material from being heated above 290°, there are few concerns. Common. sense safety should be followed. * To avoid inhaling particles, wear a safety mask when filing or sanding anything, even non-toxic materials. '* Wear light cotton gloves when touching the heated material. + Never put Gilder’s Paste or other flammable sealants in a toaster ‘oven unless they are completely dry. + Always wear safety glasses, and carefully read and follow all direc- tions for handling inks, polishes, sealants and pastes. More information about Faux Bone can be found at [Link] fag materials bracelet 7 in. (17.8 om) #719. 47.8799, 18. 26 mm wide, ‘Vern. tick (1.5 mm) Faux Bone™ stip #3-4in, (6-102 mm), Yon, (5m) wide, 24-gauge (05 mm copper, ver or brass stip © 2.%ein, 4 mm) Crate Findings" Vain, diameter (1.5 mer) somi-tubuir rivets tools & supplies + Wirework eobox, p. 8 * Grated Findings riveting toor + Scoxing ped (burgundy) * Jewel's saw and Faux Bone sewtlades + Figcor emery board + Shears + Painters tape + Avior hobby eile * Metal ter design stamps + Aloondl inks or markers (Adrondack, Conic or Sharpie), acryic pant, shoe polish or Gidar’s Pasta + Foam eye-mckeup applicators + Bracelet mance! er ean + Light catton gloves + Spray sealant + Faux Bone shaping to! (optional) + Nyon bracelet bending ples (optona) ‘Other tractona riveting mates can be used instead of ser-tubular rivets, including a ole punch, rain hammer and ives, acl and wre, or screws, bots and nut stepbystep Prepare the Faux Bone 11 Use the Faux Bone shaping tool to round the strip edges. Clamp the stip to a table, pul the stp taut from the other fend, and run the blade down the left top edge ofthe strip, Rotate and fip the strip unti all edges are rounded (. 2 Scrub all surfaces of the Faux Bone ing pad to remove the shiny,ww ao 4 [Link] 74, (17.8 cm) piece of Faux Bone strip with matal shears or a jewel- ers saw fitted with a Faux Bone saw- blade, Round the ends of the Faux Bone vith 2 fle or emery board). Scrub the strip with the scouring pad to smooth the file marks and remove debris. Add texture 4 Create a texture on the Faux Bone using any of the following techniques: * Create scratch marks using an awl or hobby knife. ‘Stamp the surface with metal stamps, ‘center punches, nail sets, or other tools. ‘© Use 4 barrel sander on a Dremel or flex shaft to create dramatic texture and decorative edges (4a & 4b) ‘Use sandpaper to create a rough sue {face or to polish the strip ta a matte fin- ish, Start with wet/dry 820 grt and work ‘down to 400 and 600 to achieve the desired texture, Add color 55 Apply color to the Faux Bone in any ‘one of the folowing ways: © Use alcoho! ink pens like Copic or Sharpie markers, or use an eye-makeup applicator to apply Adrondack alcoho! ink to the surface (a) Use a scouring pad to rub acrylic paint into the texture and alow to dry slightly. Remove the excess paint with a fresh 30 Wirework Spring 2012 ‘scouring pad and then color with alcohol Ink, This highlights deep textures such as stamps and soralches (6). * Create the look of bone by rubbing bbrown shoe polish into the Faux Bone (60). Achieve a metalic frish by applying Giders Paste (6a). Both of these meth: tods should be applied after the Faux Bone has been heat-formed, Stamp the strip wire 6 Use metal shears or a joweler’s saw to Cut a piece of stro wie to the eppropri- atte length for your word(s), leaving at least a %4-in, (6.5 mm) margin on each lend, Use a double thickness of painter's tape to adhere the strip wire to your fbench block. Slide the stamp dav the face of the wire until the edge of the let- tor hits the edge of the tape. This makes it easior to stamp the word(s) straight on the strip wire. Tim the strip wire, it necessary, and round the corners of the sir wire with ‘a metal file or emery board, f desired, texture the edge of the strip wire with ‘metal stamps or use a chasing hammer and a stael bench block to create @ “hammered” finish ¢n. 8 Patina using liver of sulfur (Basics, p. 8) oF color with alcohol ink. Use the scouring pad to remove the color from the surface, leaving ink in the recesses of the itlers @). Using the riveting tool 9 Center the stamped strip wie on the Faux Bone and use painters tape to secure itn place. Usa the punch end Of the riveting tool to make a hole through both the strip wre and Faux Bone (a. Insert a Sain. (4 mm) rivet through the hole. Switch to the flaring side of the tool and pleas the head Of the rivet on the concave pad (ab). ‘Screw down the peg, lining up the smell pointed end ofthe peg with the center Of the rivet tube. Screw down unt the rivet hes fully fared (8).10 Designer’s note CCratted Findings in. (4 mm) rivets are the perfect length to attach a piece of 24-gauge (0.5 ‘mm) metal to a piece of 4c-in. (1.5 mm) thick Faux Bone. Insert the rivet through the materials and thers is a perfect margin of excess ‘material to create a wide fare, which will prevent the rivet from popping while heating and forming the cuff. It is helpful to place the tool ina small vice while using it. Traditional riveting techniques work perfectly, however, be sure to cout the rivet wire long enough to flare extra wide. This will reduce the risk of popping the rivet while heat-forming the cuff. Shape the cuff 10 Pre-heat a toaster oven to 250° and place the cuff in the oven for 30-45 seconds. Wear ight cotton gloves to protect your hands from the heated strip wire, Use nylon bracelet bending pliers or around object to gently curse the fends of the strip wire. Reheat the Faux Bone for another 30-48 seconds (10), 11 Remove the cul from the oven and wrap it quickly around a bracelet mandrel or can (11). Start at the Center and bend the strip wire fst. 12 Remove the cul from the mandrel while it is warm and manually refine the shape, Otherwise, simply hold it for about 30 seconds until it has com Pletely cooled (12), 13 Alternatively, heat sections of the cuff with an embossing gun while shaping it around a can or mandrel, being careful rnot to burn the Faux Bone (13). Seal the color 14 Never start your spray directly on. your piace. Spray to the side of the cuff {and then pass the spray back and forth 6-in. (15.2-20.3 cm) above the cut Rotate and tlio the cuff, spraying unti full coverage is achieved (14), Designer's note Alcohol inks adhere well to non- Porous surfaces. However, over time they can be rubbed off or react with alcohol-based products such as hairspray and perfume. Sealing the color is recommended for jewelry applications. Most spray sealants are solvent based, which causes the alcohol ink to run. Ranger Ink, maker of the ‘Adirondack brand of alcohol inks, suggests using a water-based, paint-on sealant such as Mod Podge. We have had good results with the spray sealant Preserve Your Memories Il, which dries fast enough to minimize ink damage. \Wre-wrep three stamped strips together. Rivet the two ends onto the cau and use a jam ring to dangle vwre-wrapped beads between the stamped pieces. Veg ©} Wire (Kalmbach Sy fe Publishing Co.) and teaches wirework, ‘metal work, and Faux Bone classes all over the country, including the upcoming Bead & Button Show in June 2012. For class and registration information visit [Link] For more information about Melissa, visit [Link] or wvaw. facebook com/melissacabledesigns. Use metal hole punch piers or cil it toppierce the cuff, making paths thoes. Lace through the holes with wire. EySpeedy dragonscale set Transform a dense, challenging weave into a featherweight bracelet and earrings. Vivid colored rings add a visual punch to a fast accessory set that can be made without spending too. much time or money. by Theresa D. Abelew 32. Wirework Spring 2012materials bracelet 72. (19.1 om) earrings Yie-2/in. (8x57 mm) (9 61 18-gauge (1.0 mm), Ya-in. (6.4 mm) inner giameter (D}, large aluminum Jung tings, 85 fr brace, 8 for earings (© 28 green & 33 blue, 19-gauge {0.9 mm), Yéein. (40 mmi0), sna enameled ‘copper jump rings, 18 18-gauge (1.0 mm), Yerin (2.8 mm 10, aluminum ump rings, 2 for bracset, Stor earings + Lobster lam cssp = Baring wires tools += Chain mal toolbox. 8 stepbystep 1 Open all large jump rings and close all small colored jump rings. Slide a closed sinall blue jump ring onto a large ring and close the large ring. Slide a closed small green jump ring onto a large ring and close the large ring (9). The con- nected rings are starter components. 2 To establish the frst two rows, stack the attached blue component and green component with the top large aluminum, ring surrounding the green ring @. 3 Take a large aluminum ring and thraed it through the green ring surounded by the previous large aluminum ring, add cone grean ring and ose the large jump ring, locking the previously ackfed large aluminum ring in place. Postion the newly added large aluminum ring soi surounds the blue ring, Slide the neve green ring over to the same column as the previous green ring (9) 4 Take a large aluminum ring and threed it through the blue ring surrounded by the previous large aluminum ring, add ‘one blue ring and ciose the large jump ring, Ths locks the previously-added large aluminurn ring in place. Postion the newly added large aluminum ring so it enccles the green ring, Slide the new blue ring over to the same coumn es the previous blue ring 5 Continue with steps 3 and 4 until reaching the desired length for the bracelet (8), 6 The frst and last aluminum rings won't stay in their proper column without a | ite hel. Link @ small urninum ring through the frst and thed large alumi- ‘num rings along the outside edge. This locks the top ring nto place and keeps the rows lined up correctly, Repeat on the other ond of the chain 7 Add a lobster claw clasp to a large aluminum ring on one end Making earrings 8 To make one earring, close three large aluminum jump rings, three small Due jump rings, one small green jump ring {and open three small aluminum rings. ‘Open the loop on the earring wire, insert a large aluminum ring and a blue ring and close securely (. 9 Side an open small aluminum ring through the large aluminum jump ring attached to the earring wire. Insert a large aluminum ring and a blue ring and close the small aluminum jump ring (). 10 Insert an open ema aluminum ring through the second large aluminum jump rng, Insert large aluminum ring and a green rng and close the small aluminum jump ring (0). 11 Insert an open smal aluminum ring through the third large aluminum jump ring Insert a blue ring and cose the smal aluminum jump rng 1. Theresa D. Abelew ‘has dabbled in many creative pursuits, but one chain mail ‘lass hooked her ‘on this portable, easy-to-learn and versatile medium. You can contact Theresa via e-mall at 2dogstudios@[Link] or lke 2DogStudios on Facebook. 33Spiral THIS earrings Who doesn’t love wire spirals and sparkly crystals? This project combines two great design elements in one fun pair of earrings. by Tracy Stanley 34 Whrework Spring 2012materials (41 x32 mm) += Wire, deed sof, round 16 in. (40.8 cm), 14-gauge : (1.6mm) 4 ft. (122 cm), 24-gauge 1 2 3 {0.5 mm) ‘+ Yazin, (4 mm) brass or cop- per tubing, 1 in, (25.5 mm) + 420-gauge 4mm mer emeter {1D} jump rings So = Beads 20.81rm cyst Bicones Z i 12.3 mm glass pearls: | 82.820 11" gass or metal ‘08d beads oul 7 + Ear vies tools & supplies + Wirework tooleox.p. 8 ‘+ Jowory saw and 3/0 blade += Tube holder Meta fe stepbystep 7 1 Flush cut four 4.n, (102 mmm) pisces of 14-gauge each end @). Spiral the end spiral components with stes! the thi pear, wrap three to (1.6 mm) wie. Meke amark of the second wire. Repeat wool ora polsting pad a, fourmore times. Cut off the 1% in. (38.1 mm) from one for @ second earring. The ‘extra wire on the back of the end of each piece of wire. large and small spirals willbe Add beads. spiral and squeeze in place Use roundnose plies to arranged diagonal to cach 5 Cut a2. (61 cm) piece of using chainnose pliers (9. make a loop onthe marked other. 24-gauge (.5mm) wire, Posi- end. Create an open spiral on tion the wire across the top 7 On the other end of the this end up to the mark (1). se of the top end of the tubing wire, string an alternating Fepeat on a four pisces, Designers tp wih 87, 203 em) afwire en bead pattern staring witha If the second wire is the side of the big spiral seed bead, then a crystal 2 Holding the tubing in a tube hard to slide into the ‘Wrap the 8 in. (20.3 cm) end Repeat the alternating pat- cutter or by hand, cut two tube, gently flatten the around the large sairal and tem unt there ave 15 onysias Wein, (13mm) sections with tube into an oval shape ng the wire up between _strung on the wire and add the jewelry saw. Use a metal using a chasing ham- the wires next to the tube. one last 11° seed bead (7). fie io smooth the ends ofthe mer and bench block. Next, wrap aver the top and tubes. Slide one of the around the small wire spiral, 8 Wrap this around the tube. spiraled wires into a tube and ‘again coming aut between If there ae too many beads, spiral the other end, forming 4 Choose one side to be the the wires. Repeat this fig- remove what you don't need. the larger second spiral front, keeping in mind that —_ure-B weave twice uni the Make two or three figure-8 towards the one on the other the pieces should be Wire is wrapped around the wraps around the soval wires end, Repeat ths step with arranged mirror-image to one large spiral 6) Just bolow the tubing to the other tube @. another. Use a chasing ham- secure the wire in place mer to fatten all of the spirals 6 Side a pearl onto the wire, 3 Side another spiraled wire and the tubing. Use liver of position it on the front se 9 With the wire emerging into the same tube from the sulfur to antique the spirals and wrap the wire three to. between the spiral wires, opposite direction so there is and 4 ft. (om) of 24-gauge four times around the spiel. string on a pearl and position small spiral coming out (0.5 mm) wire. Poish the Repeat twice. After adding it on the front of the larger 38,ITN “tet Ch TORY Sassi Oncouts NeMinimuna snes “ cotoneetengtroey the best source for ail your design needs Rennie Ao weer spiral. Make three to four wraps around the larger spiral. Repeat two more times. Aer the third pearls strung, wrap three ‘more times and flush cut the wire on the back of the earring. Squeeze the wire against the spiral using chainnose plors (8). Repeat steps 5-9 on the other earring. 10 Open a 20-gauge (0.8 mm), 4 mm ID jump ring and slide it between the frst and second peatis on the top spiral and close the jump ring, Slide a second open jump ring through the fist ring and loop of the ear wire, Close the jump ring (10). Repeat for the second earring, Silver Filled is hundreds of times thicker than Siver Plated at Pee etc mC Tracy Stanley lives ES hh in the Pacitic | Northwest and has - taught wire and ‘metal working classes for 18 ‘years. She teaches at shows, in stores, on bead cruises and at retreats abroad. Tracy has a book about wirework coming out in Spring 2012. Her classes are available online at Beaducation. ‘com. Learn more from her website, ww [Link], Read her biog at [Link] or email her at Tracy@ [Link]. Wes: BT ccd WATT 36 Wirework Spring 2012Freeform woven swirls pendant Woven swirls transform a simple border wrap into a pendant full of curvaceous whimsy. Layered wires and asymmetrical construction create a complex look built using basic wire techniques. Make spirals, turn round loops, coil and weave for detailed results. by Donna Spadatore 37materials Pendant 51 x 32 mm (21% in) + Copper, brass or string ser wre ‘52 in, (1.5 meters), 20-gauge square, hat-hard wire 8 in 203 om, 20-gauge halFround, hat-hard wire 22 6.8 meters), 20-gauge (0.82 mem) round, desd:-oft ire 12.7 mB in), 26-gaup9 (0.40 mm) round, dead'-soft re + 251mm (-n) round cabochon #4 mm round bead Tools & supplies + Wrowork oboe, 6 8 ‘+ mm mandiel r baltmaking prs stepbystep 1 Cut four 83-cm (13-in} pieces of 20-gauge (0.8 mm} square, hatt-hare wire, Place a mark at the canter of al four wires. Measure and mark 10 mm (G4 n) to the let and right of the center, Using a 64 mm (2%-in) piece of 20-gauge (0.8 mm), hall-round wire, wrap the wires together at the left- and right-of-center marks five times, Trim close to the wrapped wires (1). 2 Shape the wrepped wires around the cabochon. Position the center mark at the center of the botiom of the cab 3 Mark the wis where they overlap at the top of the cabochon. Hold the wires: around the stone and chock theft Make small adjustments until the wire fits around the cabochon, Bend the wires up to about a 90° angle Designer's tip Awire wrap to trap a cabochon is termed a border wrap. Usually in a border wrap, the wires are snug against the stone. For this proj- ect, a small amount of space makes it easier to attach the swirls to the frame. 4 Use 2 10.2 om (4-in) piece of 20-gauge (0.8 mm, hall-round wie to 38. Wirework Spring 2012 oid 1 4 wrap the wires together seven times at the top of the frame (4, 5 Using the tip of chain- or bentnose pliers to grasp and tum one of the faottomn wres, making @ 90° bend rght next to the wrap (8) 6 Repeat step 5 on each side of the fbundles and on both wires at the top of the frame, creating a basket (6). Put the cabochon face down into the bbasket, Repaat steps 5 and 6, to shape a basket on the back of the cabochon that matchas the one on the front ¢. 8 Separate two wires from the back of the bundle at the top of the frame and ‘bend them sightly backward 9 Cut a.91.4 om (8 ft) piece of 28-gauge (0.32 mm) wire and wrap it ‘around one of the back wires four or five times just above the bundle, Cut the starting tail wire and press it ageinst the frame wire () 10 Use the 28-gauge (0.82 mn) wire to bind together the two wires in figure-B } pattern. Weave @ 40 mm (13%e-in) long section. Wrap the end of the 28-gauge {0.32 mm) wire around one of the frame Wires five times (1a) Flush out the wrap- ping wire close to the frame wire. Tuck the end against the frame with chain- nose plies. Designer's tip For the remainder of this project, all 28-gauge (0.32 mm) wires will tbe secured as shown in step 10. 11 Measure 9.5 mm (94 in.) past the end of tha woven section and trim the wire fends. Shape the woven section over the 8mm mandral so that the end of the ‘wovan wires rests just above the bottom. basket wire (1).[Link] roundoss pliers to loop the ends of the wires underneath the bot- tom basket wire. Use chainnose pliers to close the loops. Use your fingars to press the woven section against the back of the cabochon, creating a tear- drop-shaped bai at the top (12). 13 Tum the pendant over and separate the remaining wires into three sections. ‘The two front center wires are one sec tion, The tio back wires on the left are another section. The two wires on the right form the thed section (19, 14 Shape the two left wires into a curve starting from the side of the bail. For this, pendant, the wires are about 4-6 mm part where they meet the lett side of the curve (14). The measurement does rot have to be exact but is provided as aguideine. Designer's tip For the remainder ofthis project, all 28-gauge (0.82 mm) wires will be attached as in step 15. 15 Cuta 1.5 motor 5-f1] piece of 28-gauge (0.32 mm) wite, Attach it to the upper curve wire by wrapping it around the frame wire five times. Cut the beginning wire tal and press it against the frame wire using chainnose pliers (9). 4 i ain, 16 Pass the 28-gauge (0.32 mm) wire between the two frame wires and wraps ittone full time around the lower wite 16) 17 Pass the wire back between the two frame wires and make multigle wraps around the upper wire (17. Designer's tip ‘While weaving around the curve, the number of wraps around the ‘outer frame wire wil vary. Imag- ine that you are cutting a cake ‘rom one edge to the center. ‘When you pull the wire across ‘the two frame wires and the angle looks perfect for cutting that slice of cake, then you have ‘wrapped enough times on the ‘outer wire (19. Wrap all the way ‘around once and then cross back to the outer wire. 18 Continue weaving around the curve until approximately 3 mm (16 in.) before the frame wires cross over the center ball. Curve the wires to mimic the shape of the basket wires on the opposite side of the ball 8), 19 Koop weaving, wrapping completely around each frame wire bafore crossing between the wires, unt the wire curves back toward the center. At that pont, Pha start wrapping two full imes around the outer wire and one full wrap around the inner wire (9). 20 Keep weaving just litle bit further around the curve, Viewing the pendant a a clock face, stop weaving at approx- imately the 2 o'clock position reo. ‘Secure the weaving to the pendant by wrapping the wire once around the inner ‘frame wire and the basket wire 208) 21 Continue weaving unti reaching the 3 o'clock postion fata). Secure the outer frame wire to the cabochon trame wires by wrapping the outer frame wire twice 10 the double wires on the side of the cabochon basket fat). 22 Use roundnose ples and fingers to shape the two frame wires into another wit, sweeping across the cabochon toward the top of the pendant (za) 23 Continue the fgure 8-weave around this swirl, changing the number of wraps. on the outer wie to divide the space into 30D o g 7 2 ‘ & wedges. Adjust the size and shape of the frame wires, forming the inner wire into a small loop (2 24 Coil a 13 mm (%é-in.) section around the inside frame wire, Cut the frame wire 3 mm (Ve in.) past the end of the coil (24, 25 Use roundness piers to shape a loop from the bare frame wie, starting a spiral. Use chainnose piers to form a spiral from the coll-weapped frame wre (Basics, p. 9. Press the coiled spiral into the center of the swirl (2) 26 Cut a 61 em (2-41) ongth of 28-gauge (0.82 mm) wite and attach ft to the second frame wire as described in step 15. Coil a 44 mm (194-in) section around the tramne wire (28. 27 Shape the coiled frame wire into a loop, bringing the end back toward the bottom of the pendant as it comes out of the loop en, 2B Continue coiling onto the frame wire 40, Wirework Spring 2012 Until the coil sits next to the cabachon frame. Wrap twice around the frame wire and side wires of the cabochon basket (8) 29 Coila 13 mm (%4-in, section beyond the anchor point an the side. Cut the frame wire 3 mm (V4 in.) past the end of the coil ea). 30 Use roundnose piers to shape a loop trom the bare frarne wire, starting @ spiral. Use chainnose pliers to spiral the call-encased end of the wire toward the anchor point. Position the spa near the Conter ofthe pendant 31 Shape the two right hand wires to Create a mirror image of the other side, creating a heart shape (31) 32 Working with a 1.5 meter (6-ft) pieos of 28-gauge (0.82 mm) wie, attach and weave the right side in the same manner as the left side. Stop weaving at the 10 c’clock position (32. 33 Altach the inner wire to the cabo- chon basket wire by wrapping them together (a9) 34 Continue weaving in the same man: reer all the way to the bottom of the pen- dant. Use two wraps to attach the inner ‘rame wire to the cabochon baskst (4). 36 Bring the weaving wire back to the outer frame wire and cola 19 mm (Gin) section, Cut the frame wire 3 mm (jie) past the end of the col (95 36 Use roundinose pliers to shane @ loop from the bare frame wire, starting & spiral. Uso chainnose pits to finish forming the colLencased frame wire into a spiral, turning the initia loop toward ‘the outside of the frame (36). 37 Attach a 20.3 om (8-in,) piece of 28-gauge (0.32 mm) wire to the inner wire and col a 13 mm (?é-in) section. Cat the frame wire 3 mm (16 in.) past the end of the coll @.a ‘ 38 Uso roundnose pliers to shape a loop from the bare frame wie, starting a spiral. Use chainnose piers to finish forming a spiral trom the coll-encased frame wire, turning the intial loop toward the top of the pendant. Press the spiral a close as possible to the face of the cabochon (3a). 39. Swoop tho remaining straight right hand frame wire into a logp about 3 mm ‘4 in, in diameter. Shape the other wire into a sweeping curve to create a 19 mi (%-in,) diameter circle (9), 40 Attach a 1.5 meter (5-1) piece of 28-gauge (0.82 mm) wire. Weave around the curve and down the top of the side of the pendant 2s in steps 15-20. Stop weaving at the 10 o'clock postion 40 41 Wrap the outer wire from this swirl to the outer wire of the previous swirl (4). Designer's tip Ifyou have difficulty passing the 28-gauge (0.32 mm) wire through the weave to attach the swiris together, use a straight pin to create a small gap where the wire can fit through. 42 Coll around to the 9 o'clock position, 47 Wrap the 26-gauge (0.4 mm) wire Attach the wire to the outer wire of the four times around the outer wires at the previous switl as in step 41 (42). top of the two rear swirs, Flush cut the fends and tuck the wire against the 43 Colla 19 mm @4-in} section past the frame using chainnase pliers (47). anchor point. Cut the frame wire Ys in. (6 mm) past the end of the coil 4s). Designer's tip 44 Attach 2 20.3 om (B-in) piece of This project can easily be adapted 28-gauge (0.2 mm) wire to the inner to eabochons of different sizes wire and colle 13 mm (%-n}) section. and shapes. The swirl patterns in Cut the frame wire 8 mm (in) past the this lesson are more of a sugges- end af the col. tion. You can alter them to fit any stone using the same techniques 45 On both wie ends, use roundnose shown here. pliers to shape a loop trom the bare frame wie, starting to roll the spiral Upward, toward the top of the pendant. Use chainnose pliers to finish forming spirals trom both coi-encased frame Donna Spadafore’s journey in wire wires, Press the spirals into piace (45). jewelry began with a paper cp, 2 Pair of pliers and a fow minutes of 46 Cut a 12.7 om 6-n) piece of boredom. From the moment she 26-gauge (0.4 mm) wire. Center a4 mm made her frst loop in a paper cio loeadi on the wire and bend the wire 9 there was no turning back. Ogle Con each side of the bead (48a). Position Donna's jewelry at [Link]/ the bead in the center of the third swirl shop/GailaviraJewelry or purchase at the top of the pendant. Push the wire tutorials for other designs at through the weave in the front swirland —_-[Link]/shop/ booth of the rear swirls near the top of GallaviraTutorials. the curves (4p) atButterfly wing earrings This quick and easy earring is one wing of a butterfly chain pattern. Wings can be made using just one size of jump rings if multiple sizes aren’t readily available. Plus, they can be made from any type of metal. by Colin Mahler 42, Wirework Spring 2012stepbystep 1 Slide a bead onto @ head pin, Make @ wire wrapped loop (Basics, p. 8) above the bead to create a dangle (1). Repeat for the sacond earring. Set the b2ad dangles aside for later use. 2 In the photos, siver jump rings are 4mm ID and 2.5 mm, and copper jump rings are 4.5 mm ID. Close eight of the 4mm silver jump rings and open all the remaining jump rings. Siide four closed 4 mm jump rings and the loop of an ear wire onto an open 4.5 mm jump ring. Close the 4.5 mm jump ring @, 3 Side an open 4.5 mm jump ring through two 4 mm jump rings on the left side, Close the jump ring (). 4 Side an open 4.5 mm jump ring through two 4 mm rings on the right side, Close the jump ring (). '5 Side an opan 4.5 mm jump rng through two canter 4 mm rings, picking Up one ring from each pair. Close the ring (6a). Flip the earring over and repeat con the ather side, which is the back of the earring. The two center jump rings will sandwich the two outer rings added in step 4 (sb 6 Side an open 4 mm jump ring through the eye of the overiapping copper rings, picking up the front center, left, and rear center rings. If needed, use an av or a piace of wire to hold the space open nti getting the jump ring into position (6a). Repeat on the right side (6. 7 Side an open 2.5 mm jump ring through the twa 4 mm jump rings added in step 6 and slide on the wrapped bead dangle from step 1. Close the jump ring (. Repeat steps 2-7 to compiate the other earring. © ‘Colin Mahler was introduced to the joys of beading at the age of 13. She has studied metalsmithing and glass bead making, and earned a certificate for pearl and bead stringing from the Gemological institute of America. After teaching herself how to ‘wire wrap, she became fascinated with all things wire. Since 2004 Colin has taught chain mail classes in the San Francis- co area and at national shows. She is the chain mail instructor for [Link], which offers her classes for viewing. Colin sells finished Jewelty and kits in her oniine store [Link]/shop/wolfstonejewelry and ‘can be contacted at beadwolf@[Link]. 4aLoopy copper cuff This looping technique creates a structural base with retro-modern style and is sure to spark new ideas and designs. Create a cuff or bangle that makes the perfect home for your favorite round bead. by Hana Terpo 44 Wirework Spring 2012materials + Round, dead-soft copper wire 48 4m), 14-gauge (1.6 mm) 4 ft. (1.25 m), 24-gauge (0.5 mm) +608 mound beads tools & supplies + Wirework toobox p. 8 + Bal malong prs wih an 8 mm aw + Bracelet mandrel or wrs-sized round objec to use for shaping Editor's note ‘The Swanstrom Parallel Action Bail-Forr pliers used in the photos are one of several types of bal ‘making pliers available. The large, 10 mm diameter jaw never changes, but the opposing jaw is interchange able and comes with five size options, An & mm jaw is used in the photos. The project designer used Wub- bers Large Bail Making pliers that have a small 6 mm diameter jaw opposite a large 8 mm jaw, forming the loops on the large jaw. In the photos, the 8 mm jaw is colored green and the 10 mm jaw is referred to as the opposing jaw in text. If you use Wubbers Large Bail- Making pliers, the opposing jaw will be smaller, instead of larger like the tool in the photos. Before starting, make several test loops with a 15-in. (88.1 cm) piece of wire to get a feel for the heavy wire and to practice the technique. stepbystep 1 Work directly from a spool or a cal of 14-gauge (1.6 mim) wire at least 8 ft. (2.5 m) long. Flush cut the end af the wire. Place the 8 mm jaw (green) of the bail making Piers on top and as close as possible to the wire end and close the jaws of the pliers to grasp the wire firmly (. 2 Begin to form 2 loop around the & mm jaw by rotating the piers 90° away from your body feat. Open the jaw and rol the opposing {orass) aw back up toward the ceiing @. Finish shaping a full oop by overepping the wire end, wrapping t toward the handles of the pers (2 3 Position the 8mm jaw above the wire and the ‘opposing jaw next to the Ioop {@a). Use your non-dominant hand to pull the wire haitway ‘around the 8 me jaw (8. Pivot the pliers 90°, rotating the opposing jaw away from the middle of the forming pair of }0098 (ae). Pull the wire around the 8 mm jaw on the side closest to the handles Until it creates a complete loop and points directly away from the forming row of loops (@4), The resulting shape is a slightly off-center figure-6. 4 Position the & mm javr above the wite and the ‘opposing jan next to the previous loop (4). Pll the Wire around the 8mm jaw, beginning @ second loop (4). Pull the wire around in front of the center wir, toward the tip ofthe pliers, to complete @ second loop (de). When making loops on fst sida (wih the overlapped end}, pul he wire around toward the tip ofthe piers. When making loops on the second side, pull the wire around toward the handle of the pliers. Pay close attention to ths orientation while forning loops, and be consistent. 455 Position the 8 mm jaw above the wire and the ‘opposing jaw next to the loop you just created (a). Pull the Wire around the 8 mm jaw to bbegin making anather loop. Reposition the opposing jaw to the outside of the loop and finish puling the wire around toward the handles of the pl- sto finish the loop 6), 6 For an open, siip-on cutt with no clasp, make the strip Ain, (65 mm) longer than your wrist measurement (6. To make @ bangle that slides on over your hand, measure your hand around the widest part, and add ¥ in, (13 mm) to the measurement, 7 Flush cust the wire on the last loop so the wire end is not visible from the front side Of the strip. File the end so that it overlaps and tucks neatly onto the inside of the cuff without scratching your 46 Wirework Spring 2012 ‘skin (9), Repeat steps 1-7 to make a second loopy strip 8 The top side of the stip hhas a wire crossing the mid- le, a gap, and then another wire crossing the mide (a), The bottom side of the strip thas two wires that sit next to ‘each ather down the center ‘between the two loops (Bb). 9 Place 2 loopy strip on a steal bench block. With the bottom side facing up, start by tapping lightly down the center of the whole strip using a chasing hammer. Next, begin to hammer the oops flat (@). Hammer one loo, then switch to the loop: con the opposite side, con- tinuing down the whole length of the strip unti all loops are fatienad. 10 Set the strips side-by-side arranged mirror-image to ‘each other. Working off of a long call ar spool of wire, start at the center of the sttigs, and connect two corresponding loops by virapping three or four times with 24-gauge (0.5 mm) wire (19). Next, wrap together the €end loops in the same man= ner to connect the pieces securely. Continue wrapping nti all of the corresponding loops are attached. Because the loopy strips are not perfectly straight along the side, some of the loops may overiap slightly. 11 Guta piece of 24-gauge (0.5 mm) wire roughly three times the length of the brace- lot. Stating on one end of the frame, attach the wire to the fist loop by wrapping it throe ‘or fourtimes, Pullthe wire 12 Start on one end of the across the front side of the bracelet and gradually bend it sirip and string @ bead. Wrap into a curved shape around @ around both of the next two mandrel or round object. adjacent loops two or three Repeat on the opposite end, times (11). Continue down the to begin shaping the curve. length of the bracelet, Next, push the middle Repeat on the remaining against a bracelet mandrel to rows of loops using anew continue to curve the shane, piece of wire for each row At Apply pressure wth your the end of each row, wrap fingers and move any loops the wire several mes around that are sightly out of pace. the loop, rim the wire and Reshape unt the bracelet fits tuck the end against the well, and is easy o put on bottom of the loopy strip and take off 12. Using chainnose pliers.13 It desired, apply er of sulfur to add a patina, Use a brass brush to highlight land polish the exposed areas to add Contrast. if there is any chance that the rratina solution wil stain or discolor the ‘beads chosen for the design, patina the frame and 24-gauge (0.5 mm) wrapping wire before adding beads. & Design variations ‘The looping technique can be done on any size pliers, using different gauges of wire. ‘The loops af this delicate bangle are made from 18-gauge stering wire looped around the largest part of the jaw of conventional roundnose pliers, The frame is filed with 4 mm beads. The strip is long and overlaps to create a our-row centerpiece on the bangle, AA single additional loop centered on booth ends provides a scrolled decorative finish To make narrower cuff, complete one loopy strip, add beads and shape the cul. For a narrower cuff, make the strip longer and wrap the ends together. This, ‘example is made with 6 mm beads. y Hana Terpo grew up in the Czech Republic, and has spent her whole ite making creative use of her mind and hands. In 2004, ‘she began making jewelry that blends a natural aesthetic with _ long-term wear. Her favorite materials are gold, copper, silver, ‘wood, stone, pear and leather. Although wirework Is her favorite technique, she also dabbles in metalwork. Hana ‘makes jewelry to relax alter a hectic job with Apple. See more of her work at www [Link] or contact her at fidana@[Link]. (peers ka eee DCR CURT a Guo ed ec * Cheinmslle spin on Serer ivmprings ree Toro ond its Retail & Whelescle llr fos& Supply Gus sing Sof Sling Instetions KisBrilliant bracelet Setting stones is quick and simple! Snap cubic zirconia into premade settings and bend a simple sterling bracelet with the look of fine jewelry. by Barb Switzer 48. Wirework Spring 2012stepbystep 11 Place the cubic zirconia fiat side down on a paced board or surface. Position the setting directly over it. Using a wooden needle case or a small dowel, push the setting down untl it snaps into place around the cuble zirconia (1. Prepare 11 or 12 settings. 2Cut 11 oF 12 1%6-n. (44 mm) pieoss of 20-gauge (0.8 mm) wire, Mark the center of each piece at 7 in, (22 mm). Position roundnose plats at the center mark, Pull the ends around the piers, orming @ U a). Cross the ends over each other Ys in. (1.5 mm) above the piers (2x). Put a sight upward bend in the wires at about where they cross over pach other a). 3 Slide the ends through the bezel Batting underneath the stone unt the U ‘end is about /% in. (3 mm] from the side ot the setting 4.0n the opposite side of the setting, pull the ends apart using your fingers or chainnose pliers (a), Use roundnose pii- fers to roll the end toward the middle, forming a small loop. Repeat on the opposite side (4b). Repeat to create enough links for a bracelet (10-12). ‘5 Open all jump rings. Slide two of the 3.5 mm jum rings rough the singe loops of two units. Ciose the jump rng. Atach the double loop side of one unit to another unit by siding a single 2 mm | Cc | jump ring through each smal loop 8). Close the jump rings. Continue to repeat the same patter until the chain is 3% (19 mm) shorter than the desired length. 6 Cuta 1/4-in. (88 mm) piece of 16-gauge (1.0 mm) wire. Using the tip of the chainnose pliers, fold one end over ‘Squeeze the fold firmly with chainnose pliers. Pace roundnose pis near the Center and roll the wire over to form a hook. On the remaining end, use round- ‘nose piles to tum a plain toon (8). 7A bracelet with an odd number of ‘bead units has the double loop of a ink located at the end. Side a single 2 mm Jump ring through each loop of the lnk and close. Side a 3.5 mm ring through the two newly-added rings and the loop (on the clasp hook (7. Close jump ring. BA bracelet with an even number of units wil have @ U loop on both ends. Ailach the loop of the clasp hook direct- ly into one loop and use tha opposite ‘9p to complete the clasp (. “0Woven rose Reminiscent of colorful stained glass, this pendant wraps together seed beads with colorful wire. Beaded dangles and a simple chain complete the look with a hint of movement and sparkle. 50 Wirework Spring 2012 ie ématerials * Wir, round, dead sot Gin. (22.9 cm), 20-gauge (0.6 mm) 30 in, (76.2 cm) of 3 different colors, '30-gauge (0.28 mm) coated copper wire 3.1%hin, 8 me) 22-gauge (06 mn) had on + Beads 2 grame 11° seed beads, in each of odors 50 1.5 mm cube beads, in each of 2edlors 243-4 mm crops (magetamss) 3.4 mm rounds 3.6 mmrondeles 36 mmmetel spacers 311 mm teardrops ‘33 mm round metal beads + Ba or 8-10 mm inner ckamater jump ring tools & supplies * Witework tootox,p. 8 stepbystep Shape the armature 11 Flush cut both ends of two 4.5-in (11.4 cm) pieces of 20-gauga (0.8 mm) wire. To begin, grasp one wire in the midalo with rouncnose plies. Postion the wire about Yin. (6-7 mm) from the tips of the pliers and bend the wire around the jaw forming a tight U with straight sides (), Flush cut if necessary 0 that the ends are even 2 Plaoe the loop back on the roundnos= piers. Position the flatnose pliors just below the jaws of the roundinose plisrs Both pliers’ jaws should be parallel. Close the flainose pliars around the lags, pinching them together just below the loop (2a). One wire crasses over the other when pinched. Flatten out the loop. ‘and the lags. The two spokes should be parallel and even at the end (2. Tim if necessary. 3 Measure % in. (16 mm) from the bottom of the loop and make a 90° bend with your chain nose pliers. Repeat with the other spoke (a). Grasp the end of the spoke with the narrowest, tip of chainnose pliers and curl inwerd, rmaicng tight upward facing spirals at the a ‘ends of both spokes. Stop adding to the spiral when the wire measures % in. (16 mrr) from the inside of the bend to the inside edge of the spiral ak). Repeat steps 1-3 to make the other half of the armature. Designer's tip Bead counts are approximate and ‘may be adjusted as needed to fit within your armature. Adding beads 4 Attach a short piece of scrap wire or tape to merk the top loop. The two parallel wires at the top will be referred tos spoke A. Cut a 2-ft (61.0 om) piece of 30-gauge (0.26 mm) wire and poston it behind spoke A at the 90° bends. Leave a short 1-in, 25.5 mm) tall to the lef of the spoke and make one ‘wrap over spoke A, warking in a clock- wise direction, Finish with the wrapping wire (WN) under spoke A (4. 5 Position the bottom half of the arrma- {ure below the top, and hold itn place. Bring the WW underneath the next two wires to the right (spoke B) and make one wrap around both wires treating them as a single wire (9) 6 Repeat bringing the WW behind the two joined wires al the bottom center (sp0ke ©) and the last two wires on the fet (spoxe D) st" 7 Pul the 1-in. (25.5 mm) tall of WW parallel to the two joined wires on spoke ‘A, Bring the WW upward behind spoke ‘A, Make one wrap in a clockwise direc: tion, encasing the short tall of WW next to the spoke (. 'B Work around the circle two to four more times, making a single wrap round each spoke, ending with a single wrap around spoke A (8, {9 Make another virap around spoke A. Side one 11* seed bead onto the wire and position it between spokes A and B (@a). Continue the rest of the way around the circle until you have returned to spoke A, positioning one 11* seed bead between each spoke (0). 10 Continue working in a clockwise direction. Wrap bare wire twice around each spoke, completing a circle. The WW will be positioned behind the sead beads. Repeat a second time, wrapping around each spoke once. ‘Make one single wran around spoke ‘A, Slide three cube beads onto the wire and position them between spokes A and B. Repeat the rest of the way around until there are three cube beads between each spoke. Wrap twice around spoke A. Hide the remainder of WW by threading it through the cube: 52 Wirework Spring 2012 beads between spokes A and B. Use flush cutters to carefully rim off any excess wie that protrudes from the ccube beads and trim off the short tal of the WW (10). 11 Gut a2-n. (61,0 om) piace of 80-gauge (0.26) wrapping wire (WW) and wrap itanto spoke A of the arma- ture, Side the left (ai) end of the wire through the cube beads betwesn spokes A and D to hide the end. Trim off the excess tall wire. Make a single wrap round spoke A. Work clockwise arcund the citcle making a single bare wire wrap round each spoke. Wrap twice around spoke A. Thread seven 11" seed beads conto the WW. Poston the leads between spokes A and B, Continue the same pattern between each spoke Until there are seven seed beads between each sooke. Wrap twice around spoke A (tt). 12 Continue clockwise around the circle making two wraps around each spoke. Repeat, gong once more around the Circle, The WW wil st behind the seod ‘beads from the previous rows. Wrap ‘twice around spoke A. Thread an alter- rating pattern of nine size 11" seed ‘beads and 1.5 mm cube beads on the WW. Postion the beads between spokes A and B. Ifthe pattern ends up t00 long, use size 15* instead of size 11" seed beads, Continue clockwise, adding the same sequence between each of the spokes. Wrap twice around spoke ‘A. Thread the remaining WW through the beads between spokes A and B. Use flush cutters to carefully rim away any excess wire protruding from the beads (12). 13 Cut a 30-in. 76.2 cm) length of 80-gauge (0.26) wrapsing wire (WWW) {and wrap it onto spoke A of the arma- {ure leaving a short tail. Side the tail end ‘of the wire through the cube beads between spokes A and D and trim away any excess wire, Wrap twice around ‘spoke A. Move clockwise around the amature, making two wraps around teach spoke, Make sure that the WW stays to the outside of the beads and doesn't sip behind them. Make a single ‘wrap around spoke A (1). 14 Bring the WY under the previous strand of WW between spokes A and B and wrap the WW around the two ‘wires, Repeat wrapping one wire around the other (about four times) between each spoke, creating the look of twisted wire 14 15 Wrap twice around spoke A. Thread 10 cube beads onto the WW. Wraptwice around spoke B. Continue the same pattern unti the wire is wrapped twice on ‘spoke A. Move clack ‘wise around the Circle making two vraps around ‘each spoke, Wrap ‘twice around ‘spoke A (1). 16 Side onto the WW an alternating pattern of seed and drop beads to fit between spokes A and B. Wrap twice on spoke B, Continue clockwise, stringing the same pattem Until the wire is wraooed twice on spoke ‘A, Thread the remaining WW through the beads between spokes A and B. Use flush cutters to carefully cut off any excess wire that protrudes from the beads (16. Finishing touches 17 Make three beaded dangles by siding a stack of beads onto head pins. Above the beads, make a simple loop «1M. See Basics, . 8, for step-by-step instruc- tions on making a loop. The photo has a stack of one 8x6 mm onstal drop, one 5 mm metal spacer, one 4.x 6mm aystal rondele and one 4 mm round metal bead. The drops on the strung on a decorative head pin and include one 12 x 8 mm erystal drop, one 8 x 8 mm deco- retive metal spacer, one 4 x6 mm. crystal rondoll, and one 4 mm round. metal bead, 18 Add @ bail finding orjump ring to the top loop. Attach the loops of the three dangles to the bottom spirals and the bottom ioop (8). The finished pendant ‘can be hung on a cord, beaded strand, ora chan. @ pendant shown to the left are Joan Babcock applied her talents for knotting and macramé to Jewelry desians during the 1980s. Her continuing anistic evo- lution includes working with metals, wire, and bead mosaics. ‘She has written two books, Micro Macramé Jewelry and Wired Micto Macramé Jewelry, and also created a DVD, Micro-Macramé and Cavandoli Knotting. Visit her website, [Link] to see photos of her colortul and intricate work, including Jewelry, basketry, bead mosaics, and more, 7 saAn elegant new chain mail weave, created by Greg deHetre of Ontario, Canada, weaves into a slinky, sinuous necklace. It’s deceptively simple, yet provides beautiful texture, especially using two contrasting metals. by Kathleen Bergeronmaterials Necklace 20 in. (51cm) '* 18-gauge (1.0 mm) jump rings 1127.0 mm inner diameter (1D), iver fled, ge 226 45 nm ID, 80 god-iled, rmedum 43 mmID, sivecflled, small + Single erend cep Earrings 1% in. (4.8 cm) #127 mmID, sver-fled jump rings, large + 90.4.5 mm D, 1089 gold-fled jump rings, medium 11 par storing ear wires ‘tools & supplies + Chan mal ootox,p. 8 stepbystep Ln the photos, two contrasting ring colors are used to better show how the pattem is constructed, Make a 2-in-2 chain trom medium, 18-gauge, 4.6 mm ID rings (1). Make the chain % in, shorter than the desired length of the necklace, 2 Open all ofthe large rings. Side one large (copper ring through the fst and thi (pink) pairs of the chain @). Close the large ring, The large rings encircle one pair of rings and go through the pairs on either sd, inthis case, through the (01k rings and encircling the (green) rings. 3 Side another large (copper) ring through the (green) rings encircled by the first large ring, encircle the next (bink) pair and then slide through the next pair of (green) rings (). Close the ring. The ring overtaps and sits in front of the previous large ring. Be careful not to twist the starting chain. ‘4-with another open (copper) ring, slide through the last encircled (pink) rings, around the next (green) pair and then through the next (pink) pair of rings (. Close the rings. Continue adding large rings until reaching the other end of the chain. On both ends, side a large ring through the last pair of medium rings 50 both sides of the chain end with a large single siver-ilad jump ring, '5 Open four smal jump rings. Side one single small ring through the last pair of medium rings and close the ring, Add a ‘second small ring through the previous ring, the last large ring of the chain and the clasp loop. Close the jump ring 9). Repeat on the other end of the chain. Earrings 6 The earrings are constructed using the same weave as the necklace, Create two sections af 2-in-2 chain ‘comprised of seven pairs of jump rings. On the end, attach a single medium jump ring and an ear wie, 7 Open and slide a large jump ring through the bottom pair of medium rings, encircing the second pair of medium rings, and through the third set cof medium rings from the bottom. Ciose the jump ring, Continue the pattern as for thaneckiace. The last large ring siides through the second to last pai of medium rings and the single jump ring attached to the ear wie (6). Designer's tip Tumble or polish your jewelry. Clean, shiny metal is beautiful metal. Kathleen Bergeron started out over 20 years ago asa beader, but shiny ‘metal rings kept calling her name, and before long she was a true chain mail addict! As the ‘co-owner and designer for Chain- Weavers, she now has an uniimit- ‘ed supply of a the jump rings she could ever weave — a veritable ‘Nirvana with pliers! Kathleen wntes tutorials, designs kits and offers a wondertul selection of jump rings in precious and base ‘metals at [Link] ‘and [Link]. Reach Kathleen at info@[Link] or [Link]/ChainWeavers. 5Lacy butterfly lariat Use a specialized crochet hook to make delicate ruffled focal pieces. by Misako Kishi 156 Wirework Spring 2012materials Lariat 38 in. (68.9 em) + Wit: round, deat-sot 26-gauge (04 mn), Bin (20.8 om) 30-gauge (0.26 mm), 77 ft. 28.5 m) + Onin: Inks to fit asp, 35 in 89 en) + 210% 141mm drop beads * 86 mm glass beads + 10.4 mmbicona crystals + 102 4 mm finge crop beads + 1022 x4 mm fre utter) bods + 18-8023 mm gomsone chips + Lobster claw clasp tools & supplies + Wrowork toolbox, p. 8 © Lacis petite {2 mm x 5 in.) locker ‘hook {[Link]) or #20 (2 mm) “Tulp Fetina steal crochet hook © Sft. (1.5 m) 6 mm nylon cord stepbystep The technique featured in this project is a knit/crochet hybrid in which stitches remain on the hook, as in kritting, instead of being dropped oft. The hook has the head of a crochet hook and a straight shaft, which holds the slitches on the hook as you work, A hole in the end of the hook allows you to draw a coord through your stitches to keep your ‘work flat and help you keep track of your rounds. The techniques used in this piece willbe largely familiar to anyone who crochets, yet the differences are great enough that i's best to visit "Crochet basics," page 59, to practice the tech- niques batore you begin the project. Butterfly components 1.0n 30-gauge (0.26 mm) wire, sting a repeating pattem of a 4 mm fringe drop bead, a2 x 4 mm fatale bead, a croo, and a fatale 12 times, leaving the wire on the spoo). 2 Leaving a 16-in. (41 on) tal, work 18 chain stitches (s8e “Crochet Basics,” page 59). 3 Join the chain into a ring with a sip stitch (see "Crochet Basics? 4 Work in lace crochet ("Crochet Basics" ‘and Figure a) 28 follows: Round 1: Work ane lace stitch in each cchain stitch (a). Round 2: Yarn over, than work & lee stitch in the next lace stitch in the previ- ‘us round. Repeat around, adding a yarn over between every lace stitch (ab) Round 3: Yarn over, than work a lace stitch in the frst yarn over in the previ- ‘ous round. Yarn over, then work 2 lace stitch in the frst lace stitch of the previ- ‘ous round. Repeat this entire sequence ‘around the ring, working a yam over and allace stitch in each yarn over and lace sitchin the previous round (Ae). Round 4: Work a lace stitch in each yarn ‘over and lace stitch in the previous round (adh. Round 5: Referring to Figureb for stitch placement, work as follows: sip stitch in the naxt lace stitch; chain stitch; sip stitch in the next lace stitch; bead chain stitch; slp stitch in the next lace stitch; cchain stitch; sip stitch in the next lace stitch; bead chain stitch; slp stitch in the next lace stitch; bead chain stitch; slip slitch in the next lace stitch; bead chain stitch, Repeat this entire sequence ‘around the ring (4). Gut the wire, leaving Gin, (15.2 cm) tall 370/8 0/8 Fepeat times 5 Remove the cords from the stitches, and gently stretch the wirework ring. ‘outward in all directions, causing itto ruffle. Twist the ring to oreate the shape of a butlerty @). 6 Determine where you want to postion 22.6 mm bead, and weave the long beginning tall through the wirenork to tacesora | vamover [otainsten | sipsteen that spot. String @ 6 mm bead, and go | ° ° = back through the wirework. Weave through the wirework tothe next spot ‘where you want a bead, and repeat. figure a Repeat uni you have added two 6 mma, two 4 mm bicone crystal, and the desired number of 2x 8 mm gem- ‘stone chips. Weave the wire tails to the round S center back of the component, and set the component aside (6. round 4 Repeat steps 1-6 to make two more ‘arge components. Working as in steos: 1-6, follow Figuree to make two small components. Embelish each with one 6mm and two 4 mms, round 3 round2 Assembly ‘ound 1 TCut 4 in. (10.2 cm) af 26-gauge (0.4 mm) wire, and sting a 10 x 14 mm drop base round bead to the center. Cross the wires above the bead, then twist them once 0. 8 Make a loop with one wire (8). Side one end of @ 35-in. (68.9 mm) chain into the loop. Make one wrap below the loop (8a). With the other wire tail, make three 58. Wirework Spring 2012Crochet basics Chain stitch’ ‘To get started, cross the spool end of the wire over the tail to make a loop. Insert your hook into the loop, and pull the wire through to make a new loop. Yam over the hook, and pul the hook through the loop an the hook. Repeat for the desired number of chain stitches. Lace stitch 1 Insert your hook into the next stitch in th previous round. Yarn over, and pull up a loop through the stitch in the previ- ‘ous round. On your hook, you will have the stitch you just made as well as the loop that was on your hook at the begin- ring of the round (19). Bead chain stitch Slide @ bead up to the hook, yarn over, and pull through the loop on the hook. Insert your hook into the next stitch in the previous round, yarn over, and pull up a loop. Repsat around, keeping the previous loops on your hook (1b). | |\* ¥ Shas Slip stitch Insert the hook into the target stitch, yam over, and pull through the stitch and the loop on the hook 2 After you have several stitches on your hook, you'l find it hard to keep going in a circle and you'll need to pull a cord through the existing stitches in the round tomaintan the shape. First, drop the very first loop (the ane remaining from the previous round) off the end of the hook. Thread a .6 mm cord through the hole in the hook a), Pullthe cord through the stitches (2. Remove the cord from the hole in the hhook, leaving the cord in the stitches. Insert the hook through the most recent stitch made in round 1, and continue the round Ge). When you can no longer comfortably keep going around the ring, crop the first stitch the stitch you put your hook through to resume the round) off the end: f the hook, thread the cord through the hhook, and pull the cord through the stitches. Remove the cord from the hook, leaving it in all the stitches. Repaat around. Yarn over ‘The yarn over is used to add increases. between lace stitches, To increase, make a loop over the hook before insert- ing the hook into the next stitch.Wraps over the first wrap (@e). Tem the Wires to 1% in. (25.5-38 mm). 8 Using roundnase pliers, make a tiny loop at the end of one wire. Using chain nase pliers, grasp across the loop and rotate the wire into a spral (Basics, p. 8) leaving % in. (6 mm) of wire above the spiel. Repeat with the other wire (sa) Twist tho wires above the spirals togeth or twice Repeet steps 7-9 atthe other end of the chain 10 Roforring to Figure, attach the components to the chain using the remaining wire tals (1, he ___- 8a — S 5 i \ 60, Wirework Spring 2012 0/8/0/8/0)8 Repeat times editor’s notes ‘= The Japanese term for this technique Is “kunsuto ami,” a term probably borrowed from the German kunst-Stricken, which translates to “art knitting” and is used to describe knitted lace. '* There are several related fiber techniques that use a tool similar to the ‘one used in this project. Locker hooking is a rug-making technique that uses such a device. The cro-hook or knooker is a similar too! but ithas a head at the end instead of a hole. People use these tools for Tunisian crochet, knooking (knitting with a hook), and probably countless other techniques as well.11 On the large component closest to the end, weave one of its wire tails through the wrework to the spot where Make a ring Use a butterfly component to make a pretty, feminine ring. Besides wire and beads, you'll need a ring mandrel for shaping. 1 Make a small buttery component 2s in the lariat, but don’t add the accent, beads yet 2 Tomake tho ring shark, cut two 2-f (61 om) pisces of 26-gauge wire and two 8'6 in. (21.6 cm) pieces of 24-gauge wir, 3 Coil Basics, p. 8) one piece of 26-gauge wire around a 24-gauge core wire, making the col long enough to wrap around your finger. Trm the ends as needed, and center the coil on the core. Repeat this step with the other two wires. 4 Wrap one coiled core wire around a ring mandrel at the anoropriate size for your finger, and twist the bare core ends a fow times, leaving a small gap between the ends of the coil. Repeat with the other coiled core wire. you want to attach the clasp. Attach the clasp with several wraps. Trm all the remaining wire tals (1). 5 Align the two ring shanks, and use ‘one set of core wires to bind the shanks ogether in the gap batween the cals, 6 Steng the buttery component onto a core wire, then pass the core wie back through the butterty component. Wrap itonce around the joined area ofthe shanks, and pass i through the butterfly component again. Repeat with the remaining core wires, 80 all of them end Lup onthe front ofthe componant, ‘7 Embalish the component with accent beads as in step 6 of the lara, then make spirals (Basics, p. 8} with the remaining core wires. © ‘gure ¢ Misako Kishi grew up in a kniting school environment where her mother ‘was owner and headmaster. Not surprisingly, she grew up fo be a nitverochet instructor herself. She ‘discovered wire about 8 years ago and quickly incorporated it into her work. To see more of her award-winning work, visit her website, ht:/chibasilvergakuin. ‘tj. Contact her at sitver6181@ [Link].Edmaterials Bracelet 7¥%x tin, (197 x 13 mm) += Siting shor plated jump ings 66, 16-geuge (1.3 mm), 6 mm inner ‘ameter (D) forge) 64, 18-gauge {1.0 mm), 5 mm ID (medium) tools & supplies + Chainmail e0bo« p. 8 stepbystep 1 Open all jump rings. Create a 2-in-2- in-2 chain using four large 16-gauge (1.3 rm), 6 mm ID jump rings and two medi- um 18-gauge (1.0 mm), 5 mm ID jump rings pink). Side the two medium jump rings inthe center, through four ciosedt large rings (1). Close the ring. 2 squeeze the two large end rings of tha chain batween your fingers. Separate the second pair of large jump rings, posi- tioning one on your index finger and the ‘other on your thumb. The two medium ID jump tings (pink) are now on top @). 3 Fold back the two large and jump rings and hold them between your finger and thumb, Seperate the medium top jump rings (nk) to expose the two large rings folded backin step 2 @. 4 One ata time, side two medium jump rings pink) through this opening, sing through the tops of the two large rings exposed in stop 8 ). Giese rings. 5 One at a time, slide two large jump Fings through the two medium jump rings added in step 4 (6) Close rings. {6 Holding the chain in your hand, sepa- rate and fold back the two large jump rings added in step 5 (6), 77 Fold down the two large jump rings and hold them between your finger and thumb, Separate the medium top jump rings (pink) to expose the pair of large jump rings fokied back in step 6 @. 8 Ropeat stops 4-7 unti the chain reaches the desired length. Remember to include the clasp measurement when ccleuiating the overall length (@ 9 Sle @ medium jump ring and the toggle clasp loop through two rings on the end of the chain and cose the ring (83). On the opposite end of the chain, slide two medium rings through the two large end rings. Close rings. Side a ‘second palr of madium jump rings through the two previous rings. Side ‘one medium ring and the togole bar through the last two rings and close the jump ring ee), © Qa | % o Diane Miller has been making Jewelry since 1999. She offers chain mail kits in Argentium silver, sliver lated and enameled jump rings through her websites, www [Link] and www [Link].Wired bead mail bracelet This bracelet is not yourordinary chain mail! Multiple beads are wired into continuous, closed rings. Beaded rings are linked into a classic 4-in-1 chain mail bracelet with a completely new look. by Perri Jackson 84 Wirework Spring 2012materials Bracelet 7Yin. (19.1 om) + Roun, dead sot colored rat wo 11 yds. (10 m) 26-gauge (0.4 mm} or 24-gauge (05 mm) for base outside) gs or A 5 yds. (4:8 m) 26-aaug6 0.4 er) (0 24-gauge (0.5 mm) fr spine (center) rings (color B + Beads 4186.5 mm pinch beads £86 4 mm facoted round beads #4 18-gauge (1.0 mm), 6 mm inner ameter (0) ume rings tools Wirework toolbox, p. 8 Designer's notes ‘Orientation of the work during construction is important. These Instructions are written for a right-handed person, so adjust accordingly if you're left-handed. ‘+ Due to the way this bracelet fits, purchase enough extra beads and wire for at least two ‘additional base rings and one spine ring. That adds 10 more spine beads, 20 more base beads, 34 in. (86.4 cm) of color A (base) wire, and 17 in. (43.2 om) of color B (spine) wire. ‘Use the largest gauge of wire that comfortably passes twice through the bead holes. If work- ing with two styles or sizes of beads, only one type of the beads needs to accommodate two passes of wire. If the wire is to0 tight for the bead holes, the color can get stripped during construction of the rings. stepbystep Make the base rings [Link] 17 in, (43.2 om) of color A wire. Fold the wire in half with a gentle bend, ‘and then create a large loop on one end to use as a bead stopper (1), 2 String eight 5 mm pinch beads using the halfway bend as a stop. Keeping the beads in a tight row, bend the wirs sharply over and behind the end bead {@). Hold the bead in place and wrap the wire 2¥e tight wraps around the core wire, Pull the wire toward the first bead while wrapping. Stop when the wrep- ping wire is pointing downward. Designer's note Tight construction is crucial! The reason a smaller-gauge wire can bbe used is because the construc- tion is snug and well-reinforced. 3 Straighten the base wire with your hands, letting the beads fall to the bead stopper loop. Side the second bead into place and re-orient the work so that the wrap wire points at you instead of downward. Wrap tightly, front-to-back, over the bead, while holding it firmly in place. Pivot your thumb, and pull the wrapping wire around the core wire Keep the wrapping tight. Wrap 216 times ntl the wire points downward. 4 Grasp the frst wrapped bead in your non-dominant hand and hold it station- ary. Turn the second bead away from ‘you, gently, to line up the wire wraps (). Be very careful not to overwork the wre, especially if using 26-gauge (0.4 mm), or it could break. Pull the bead toward the rest and compress the work tight. Designer's note Pinch beads have thinner walls ‘and can chip during step 4 ifitis not done carefully and gently. 5 Turn the wrapped beads a quarter tur away from you so that the wire wraps are orianted upward, 8ke the two beads on the left ga). Wrap the wire across the next bead and wrap around the core wire. Continue to turn and wrap the rest of the beads. Aftor the last bead 'S rotated into place and the wires are lined up across the row, trim the wrap ping wire and press the end onto the core wire (3)ita ab 8 a 6 Curve the beads into a semi-circle, Position the wite that crosses the beads to the inside of the circle. Gently band the last bead inward to open the hole, Cut away the bead stop loop on the base wire. Use nylon Jaw piers to straighten the base wire, and pul it through the first bead (6) Pull until the ring is snug. Keep the wire as straight as possible to prevent the color coating from being stripped off by the edges of the bead as the wire is pulled through the hole. 7 Hold the work in place with the ring closed tightly. Pull the wire sharply back cover the bead itis extn. Wrap the wire forward, and pul the end though the center of the ring 7a). Pull toward the back, and then sharply upward end toward the front bringing it forward, back through the center of the ring. Wrap tightly around the existing wraps between the beads unti the wie is near the next bead inthe ring (7). There should be one vaibie wrap of wire between the beads from this pass. B Continue around the circe, adding a ssacond pass of wire around the rest of the beads in the circle, After wrapping the last bead, cut the wire close. Curve the end sightly using roundnose pliers (@. Press it down onto the work, beng careful not to mar the wire coating, 86 Wirework Spring 2012 Designer’s note Roundnose pliers generally have finer tips than chain nose, and can get into tight spaces. This process makes it easy to press ‘the wire end into the work invisi- bly and virtually eliminates too! marks. 9 Shape the ring into a perfect circle shape while using your fingemails to push the wires toward the sides of the ‘beads (@) This step work hardens the wire and solidifies the ring shape. Calculate the number of base rings To determine the size, add 1¥ in. (88 ‘mm to your wrist measurement to com- ppensate for the length ofthe clasp and the inner diameter of the assembled bracelet. To estimate number of base rings needed, add ¥2 in. (13 mm) to your wrist measurement. Divide this number by the individual ring measurement. Mul tipty by two and round up to the next ‘even numbar. The total is an approx: ‘mate numer, use it as a guideline. ‘Check the size while putting the bracelet togather, and add or remove rings as needed. For a 6/-in. (16.5 cm] wrist, ‘make 20 base rings from § mm pinch ‘beads, four wih eight beads, 16 with rine beads. Make the spine rings 10 Using color B wire and 4 mm round fre polish beads, follow steps 1-5 to begin making nine more tings. Five rings are made with 10.4 mm round fre polish beads. Four rings are made with nine 4 mm round fire polish beads (10) ‘Shape the rings into curves, then set ‘them aside, leaving them open. These spine rings wil be closed when connect ing pairs of base rings. 11 Rings made with pinch beads have a pointed top that runs lengthwise (ta) and a fat bottom side with a ridge ‘across the middle (118), and need to be assembled in a specific manner. Since the base rings are already closed, there | no way to corract the orientation fa fing is put in upside down, 12 Stack two of the nino-bead base fings with the pointed top sides facing together. Create a second stack of two cight-beed base rings with the fat bot- tom sides facing together. Load both stacks in order ento a rine-bead spine fing (12) 13 Ciose the spine sing using stops 7 and 8, Let the base rings hang inside the spine ring and rotate the ring to facil- itate the work while adding the second ass of wire and wrapping the ring closed (13), 14 Lay the segment on a fat surlace and arrange with the larger rings siting(on top of the smaller rings. Be sure that all base rings are arranged with the pointed top side facing up. The spine ring will sit at an angle. Using it ike a hook, insert the open spine ring through the base rings, down into bottom ring {and boack up through the top ring (14). 15 Stack two nine-bead base rings with the pointed top sides facing together. Load them onto the open spine ring (18) The rings are easier to manage f they're loaded on the side of the base ring with the wire attached, 16 Close the spine ring in the usual way (16), letting the base rings hang inside the spine ring and rotating the ring to faciitate the work while adding the sec- ond pass of wie and closing the ring, Editor's note Instructions for the woven clasp used for this project are shown ‘on p. 68-69. Leam great tips for transforming an earring finding into a custom clasp that looks completely handmade. 17 With the bracelet right side up, over- lap the two eight-vead base rings on the end and secure them with an 18-gauge (1.0 mm) jump ting in a vertical orienta tion as shown. Add the attachment ring of the woven clasp and close the jump ring (19. The jump ring size may need to be adjusted to fit just tightly enough that the base rings da not move through it. 18 The base rings will tend to fold downward, Add a second jump ring at the other end of the overlap, oriented horizontaly around the bead rings. This locks the overlap in place and prevents the fold (18). 19 Lay out he chain with al base rings facing right side up. Add a 10-bead spine rng with two nine-bead base rings, complete steps 14-16. Repeat three more times. 20 Check the ft and determine whether you nead to add two or three more sats {@ sat is one 10-bead spine ring plus two base rings). two sets will make the bracelet long enough to fit you, then proceed to step 21. If additional length is required, add one more set of rings. before beginning the next step. 21 Add 2 nine-bead spine ring with two rine-bead base rings, folowed by anine-bead spine ing Fs wth two eight-bead base rings. » 22 Repeat step 17, closing the 18-gauge (1.0 mr) jump ring without adding the clasp loop. Repeat step 18, adding @ second jump ring perpendicu- lar to the first to secure the base rings fon the end. Add as many extra jump rings es nesded to easly pul the toggle bar through the toggle loop. © Perri Jackson has been crafting with fiber her entia ite After injuring her hand, manipulating wire became both ‘physical therapy and a powerful ‘outlet for her creative talents. Read Perris insightful blog or shop for project tutorials at [Link]- [Link]Wire-woven toggle Transform a finding into a clasp with intricate details and great mechanics. Use this toggle to finish Perri’s Wired bead mail bracelet, found on page 64, or to finish any piece of jewelry. ural ‘supplies “Toggle clasp 1 x in. (25 x 22 mm) + 55 n, 26-aavae (0.4 mm) colored craft wie #6 in. (15.2 om) 18-gauge (1.0 mm} wire *¥%4 in, (19 mm} double circle earring feng ©6653 mm inner diameter 1D), 20-gauge (0.8 me) jump rings +23 mm Czech faceted round beads tools & materials Wirework toolbox, p. 8 stepbystep Weaving the loop 11 Using fush cutters, snip the bottom loop off the earring finding and file it smooth, disturbing the finish as ite as, possible. Merk each loop in the center, Using a ruler as a straight edge (0. 2Cuta4s-n. (114.3 om) piece of 26-gauge (0.4 mm wire. Fold the wire in half and wrap it around the inner loop of the earring finding at the center. Pull both ends of the wire across the gap between the loops crossing from front 10 back as they cross between the loops (@. One full wrap appears as two adjacent wires on the front side of the finding and a single wire on the back. (88. Wirework Spring 2012 '3 Wap four timas around the outer loop Gf the finding. Weave both ends through the space between the loops so that the wires lay on opposite sides of the inner {inding loop @). Keep the work centered (on the marks on the finding, To keeo the ‘weave even and dense, wrap one side, then repeat with the other wire instead Of completing the full steo with ane wire thon with the other. 4 Make one full wrap around the inner oop with each wire, weave through the ‘space between loops and end with both ‘wires on opposite sides of the outer ‘00p (@). Center the work on the marks and compress the weaving, hiding the finding with the wrapping wire. In the photo, the wires are spread out to clearty show the number of wraps. 5 Continue wrepping end weaving in the ‘same fashion (8) Un there are 11 sets ‘of two wraps on the iner loop and 10 sets of four wraps on the outer oop. [Noxt, add six sets of four wraps on the1 2 outside loop with five sets of two wraps (on the inside loop. After that, add one Sot of five wraps to the outside loop. Push the woven wire toward the center after each set. In the photo, the wrap- ping is spread out to clearly show the number of wraps at the beginning of the step. 6 Make one more set, decreasing to four wraps on the outside Ioop. Contin ue to weave, chariging to a ratio of three: wraps on the outer loop and two wraps (on the inner loop. When the space gets too narrow to weave between, wrap the wire around bath loops, fattening the wrapped finding with nylon-jaw pliers after each wrap (6). Compress the work toward the center keeping the weave dense and tight and preventing the fiat tened wraps from averlagping.. 7 End the wraps on the same side of the finding on either side of the attach- ment loop. Gross the wires over each other to lock the work in place (m, then bend both wires to the ack on either side of the attachment loop. 'B Pul the wires up to the front of the finding. Thread both wires through a 8 mm Czech round bead and pul t down flat against the attachment loop @). 9 Wrap one wire directly around the side Of the attachment loop a few times. Wrap the other wre around the bead a Couple of times and then around the other side ofthe attachment loop ea |e Ny Cut both wires and press down close so that the ends sit on the inside of the attachment loop, 10 Cut 6 in, (15.2 cm) of 18-gauge (1.0 mm) wire. Wrap the canter of the wire «round the widest part of your round nose pliers passing the ends unti they are parallel and even, Holding the loop firmly in fat- or chainnose pliers, grasp ‘both ends and twist them together one time. Use nyion-jaw piers to straighten the wires extending from the loop (10. 11. Postion the loop made in step 10 against one side of the toggle and mark the point where the bar crosses the far side of the opening (11). Repeat on the ‘opposite side of the toggle bar. These marks are the shortest length that guarantees a secure bar. 12 Measure % in. (16 mm) from each mark and flush cut the wire. Turn tight spirals in opposite directions on each end until the edge of the spiral touchos the mark. Turn the spirals perpendicular {0 the loop and add a small, curved ‘bend using roundnose pliers (12). Ifthe boris sill somewhat flexible, hardan it ‘by hammering a few times with a rawhide or plastic mallet. 13 Cut 10 in, (25.4 om) of 26-gauge (0.4 mm) wire. Wrap the center of the ire around the shanks of the bar and then upwards, Thread both ends of the wire through @ 3 mm Czech bead and jul the bead tight against the bar 1b with wire coming out of both sides of the bead hole (13) 14 Pul the wires across the sides, Creating a wire frame around the bead. Pull the wire down and coilittigntly around the bar until reaching the mark next to the spiral (14). Use chainnose pliers to lit the spiral sightly. Cut the \wire close and press the end down next to the spiral. Use chainnose pliers to push the spral down into place. Repeat on the other side of the bar. 15 Make a small bend across the hole of the bar loop (18). This small change in shape transforms the loop into a hook that comes into contact with the side of the loop when the toggles closed, ‘making it more secure and locking the bar into position (50). Perri Jackson has been crafting with fiber her entire life After injuring her ‘hand, manipulating wire became both physical therapy and a power- ful outlet for her creative talents. Read Pern’ insightful blog ‘or shop for project tutorials at [Link]Wrapped & wrapped again necklace This versatile link works well for almost any combination of beads or type of wire. When finished, the chain is rich with beads and wrapped wire, making it a perfect accent for any pendant or focal bead. by Nora Lynn Holmes. 70 Wirework Spring 2012 Soematerials Necklace 19 in. (48.3 em) '* Wire, round, dead soft 8. 251m), 24-gauge (50 mm) 2. (61 cm), 20-gauge (0.8 mm) + Beads 484 mm round beads 144-8 mm accent bonds 128 mm round beads '* Focal pendant or bead (optional) tools & supplies Wirework toolbox, p. 8 stepbystep Make the pendant hanger [Link] 10-n, (22.9 cm) piece of 20-gauge wire. Using round nose pliers, make a large loop at the center of the piece of wite. Pul the wite ends in oppo- site drections (1). Pull the wite around to make a sa0ond joop next to the frst ‘one (tb). Repeat on the opposite side to make a thid loop (1. 2, Feed both wires through the hole of the bead pendant. Bring one wire up across the back of the bead, Wrap once above the bead (ea). Cut the remaining wire below the bead to #4 in, (13 mm) Using chainnose pliers, make a very ‘small spiral below the bead (au). Ifthe ft ends up being loose, use chainnose pliers to put a kink in the middle of the bback of the bead to tighten the wire (2) Make the fancy links 3 Using chainnose pars, make a 90° bend 12 in. (88 mm) from the end of a [Link]. (17.8 om) piece of 24-gauge (0.5 mm) wire (, 4 Using chainnose pliers, make a 45° bend in the opposite direction % in, (8 mm) from the fist band (a. '5 Side a4 mm bead onto the wire so that it sts as close as possible to the 45° comer. Using chainnose pliers, make another 45° bend a few milime- ters above the bead, creating a minror image of the opposite side @). Side a 4mm bead onto the wire and make a 45° bond toward the middle of the triangle, crossing the wire over the center, completing a triangular loop. 6 Using chainnose plirs, hold the triangle between the 4 mm beads and ‘oottom of the trengle (6). Wrap the tall round the center wire two or three times, Tim off any extra wire and tuck {he tal down next to the center wire (66) 7 Place an 8 mm bead onto the cove Wire, and leave a litle bit of space ‘between the beads and wraps at the base of the triangle. Using channose pliers, make a 90° bend, leaving about Ya in. (1.5 mm) of space above the large bead (. 8 Repeat stops 3-6 to create a second beaded oop (6a). Wrap twice around the core wite and leave the tal attachod (a). te I te >) i. a apie) A) 2 | \ fo , \ 2 lei \ 4 ( 5 6 Lye 6 wt B J 9 Swoeo the tal diagonally around the 8 mm bead (Ba), Weap around the core wire once on the opposite side so the tail is on the oppostte side of the ‘crossover (8b). After wrapping, pull the ‘wire across the other side of the bead and wrap it once around the core wire again (8) nn o> |O Ourcece) Mele merelay PTT CISL errr Mr rap foes For ceftegl ea (ee) Ser ramnaeen Best of Both PCorlds poll a S Wie Wrapped Unis ‘Using Gr Wie % First Blush Bracelet Free Prject ideo By dome ogee Ss a ae [Link] (re corsa Soft Flex’ Glass Art & Bead Festivals ~ Honolulu, Hawaii: March 2-4, 2012 & September 21-23, 2012 GALLERY IN SONOMA, CA - OPEN TO THE PUBLIC EVERY WEDNESDAY ~ SEE WEBSITE FOR MORE DETAILSPursue Your Passiow Move beyond | aera) ee Veer cet = Terug i slice ra fered Tel Ros RVZ-UM ola core eee cscs ete Maree, Unconventional Chain Mail Jewel's hybrid style poirs on | ay ; pene erie mee a a eel anette ea 4 X aC ire) Re eure gual cine) eee en help you reimagine traditional pee ener Lele Rosco Ceres I Ge alin ttre: Monday ~Fridoy, 830 0m. ~ 4:30 pm. CST. 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Mugen ne Gr anyy eerie tape een CakcSatig al cs Gnd cseS Ean tng ho hh SEL toon Saamelielimaienn™ Rare diltcbs ie WMG Cucnarep supe FARETGNETRBS Ua, TE WOE ay WISN Roorat scons Seboron CaDA-a-alge Gorman, | Reema Geceenasae SRN Rarata | eet, taal aati See, ed See a Siemeeenmete ieee RE aainone MAUD eaeiapes) ESTEE sms SOON eno WSGIREN-Sa Pee Wssm)— GAUDI-S-erere, aaa eect tnaed mean Nret te mata Rerenentatiy. Eanauealonunese | iereaiiecr ia! Sa See See meet eae e are ae Peach este emt Bee nom Sn Coenen Run your shop directory ad in the next issue of Wirework! Call 1-888-558-1544, y= ext. 815 ° Wirework Isabela Lam February 2012 BeadsButon February 2012 Beaesautton TE 3 CREATE Bead&Button magazine is packed with unique projects to inspire you! Leam how to design and create beautiful jewelry using bead stitching and a variety of jewelry-making techniques. Each project is tested bby our editors, with photos and accurate, step-by-step instructions you can easily follow. No matter what your experience level, Bead&Button is your complete beading resource! [Link] Order online or call: 1-800-533-6644 Helby. ‘Ad/Adornments. ‘Adorn Jewollory Tools & Supply..47 Art Jewelry Books ed BeadFx Beaducation, Inc. Blue Buddha Boutique, [Link].. Desert Bloom Designs, LLC Eastern Findings Corporation... 7 Fire Mountain Gems. Halstead Bead, inc. 7 Kalmbach Books. Kalmbach magazines.. Metallferous.. ‘Monstersiayer, Inc. . Otto Fre [Link]. PJ Tool and Supply... Revere Academy of Jewelry Arts...47 Rings & Things... Soft Flex Wire Stars Clasps 36 Weave Got Maile. a7 Wigdig . Wire & Cable Speciatties, inc. Wired Up Beads. 2 Xuron 76 atI's a Wrap Wire Sculptures by Elizabeth Berrien \Wre sculptor Elizabeth Berien weaves together a fascination with nature, art, and textiles. Her inspirational works helped snark a renaissance in contemporary wire sculpture. Her wire sculpture technique is daceptivaly smple: Twist two wires together. Then, add another wire, and another wire, Drawing with wires, Elizabeth intuitively seeks out the lines that best evoke an animals essential spint and energy. She challenges herself each year to explore and create something she couldn't do the year before, venturing boldly outside of her comfort zone to find a place where growth happens. For 4d years, Elizabeth explored the nature and properties of wire, ever expanding her capacty to create expressive wire sculptures, ranging from tiny dragonfies to monumental horses, bears, and dinosaurs. Her work is showcased in landscapes, airports, and museuns. Berren'sifetong love of animals is an inherent part other BAK (A art. She has a small farm nestled among pastures, creeks, // and redwoods. Her studio, a converted bam, looks out con horses, hawks, foxes, egrets, and other wildlife. Thanks to the internet, Elizabeth Berrien spread the ‘word about wire. Her webste www [Link] is an essential resource with hundreds of sculptural images, a free online tutorial, and lesson pian. 82 Wirework Spring 2012(oo Pandata. = hina Beads, Findings &G.Sivas an han OMicay rine AMounTain: sora Wire GEMS" (82.4; Ges ae a See! ss ‘One Fire Mountain Wey, DEPT C026 ‘rans Pass, OR 975262373 1-800-355-2137 [Link] America’s Favorite Beading and Jewelry Supply Company® Request your Free 448 page catalog online Over 250 design ideas featured inside You supply the creativity, we supply everything ir stehanieedy .com Bronze Medal Prize Winner Necklace Category, Metal Clay. Jewelry-Making Contest Lazee Daizee™ Viking Knit tool