Professional Documents
Culture Documents
Jewelry Projects
Best of Lapidary Journal Jewelry Artist, Volume 4
1
W
e’re proud to bring you 10 Mixed Media you some of our favorite designs in this hot, hot, hot
Jewelry Projects, Volume 4 of the Best of genre. You’ll make earrings, pendants, pins, and a
Lapidary Journal Jewelry Artist. Mix metal bracelet while learning to adapt a wide variety of
with paper, fiber, ceramics, mechanical parts, resin, materials to jewelry as you recycle found objects and
polymer — even foodstuffs! — to create jewelry that interesting remnants. So pull out your stash of cool
tells a personal story and is sure to inspire compli- things that you haven’t been able to decide what to
ments! 10 Mixed Media Jewelry Projects, Volume 4 do with and let’s put them into jewelry!
of the Best of Lapidary Journal Jewelry Artist, brings
10 Mixed Media
Jewelry
Projects Contents
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 2
Felt Tassel & Silver Bracelet
Project by
Michele A. Friedman
Opening Photo: Hap Sakwa
A fusion of fiber and metal Project Photos: John Ames
I
have been designing and skills you need
making jewelry since 1992.
The focus was always metal.
• sawing • sweat soldering • patina use
I had never incorporated any materials and tools you need
color in any material in my M a teri a l s too l s Liver-of-sulfur or other
jewelry until I started explor- oxidizing agent
Silver tubing (ID 2.5mm) nine Flux
ing the possibility of using wool 3.5mm-3.56mm sections Scotch Brite pad
Hard and easy sheet solder
felt in my work. Whimsical and
2.5mm sterling mesh chain 220-grit sandpaper
bright, the tassels were the first Saw blades
10 sterling jump rings, tiny Pickle pot and pickle
expression of my new direction. (for wire) Scribe
Torch with small or medium tip
I knew I was on a very different Straight edge
2 sterling jump rings, small
path from the one I had been on (for bracelet ends, clasp) Soldering surface
Cutting surface
when only working with mixed 10 sterling jump rings, medium, Soldering pick
Sharp scissors and
metals. Now, I combine metal- (for wires and tassels) rotary cutter Soldering tweezers
smithing skills with an alterna- 18- or 19-gauge sterling wire Nippers Oxidizing tweezers
tive color choice: wool felt.
10 sterling end cones Round, flat, and needle Copper sheet to act as heat sink
End caps nose pliers if needed
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 3
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4 5 6
Saw 9 sections of tubing, each approxi- edge and cutting surface for accuracy. {Photo 3} Use needle and flat nose pliers
mately 3.5mm long. Insert 2–3 paillons of easy sheet sol- to attach each eyepin to bracelet with
der inside each section of tubing and medium jump rings. Place between tubing
Sand outside of each section, leaving heat until solder melts. sections and end caps.
inside unsanded.
Repeat for end caps. Pickle. {Photo 4} Attached eyepins move only
Cut about 7” of mesh chain. Snip 10 sections between tubing sections, not over them.
of wire, each about 3/4” long. {Photo 1} Close 10 tiny jump rings.
Solder opening of each ring against Solder medium jump rings closed.
File one end flat on each. flat end of each wire section to cre-
ate eyepins without openings. Oxidize entire bracelet and cones.
With rotary cutter, cut 3 1/8” wide x 1 1/4 “
long strips of felt for each tassel. Use straight Slide tubing sections onto mesh chain. Rinse, let dry and strip oxidation as desired
Space each section equidistantly. Position with Scotch Brite pad.
end caps on ends of chain. These compo-
nents need to fit snugly. {Photo 5} Make tassel by placing hand-
Tip
made eyepin through top of cone. Pierce
{Photo 2} Sweat solder tubing and and place felt strip on eyepin.
caps to mesh as follows: Apply generous
amount of flux. Heat each segment until {Photo 6} Use scribe to force felt
solder within flows to join them to chain. into cone.
n Pay careful attention to all
parts of the piece and avoid Pickle. Check each section and end caps Leave approximately 3⁄8” of wire, snip excess.
overheating. Try using copper for successful soldering. Repeat until all
sheet to shield the piece and pieces are soldered and secured. Use round nose pliers to loop end under felt
act as heat sink if needed. to prevent it from popping out of cone.
Solder clasp and end jump ring using
remaining 2 small jump rings. Repeat for all cones. Trim felt with scissors
as desired.
Michele A. Friedman has been a self-employed metalsmith and jewelry designer since 1992.
She has exhibited jewelry lines in art, design, and craft shows all over the country and is repre-
sented by galleries nationally. E-mail: mafdesign@hotmail.com Web: www.mafdesign.blogspot.com
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 4
Paper, resin, and peridot pendant
PROJECT BY
Eleanore Macnish
Opening Photo: JIM LAWSON
Project Photos: ELEANORE MACNISH
Embed a famous design into a pret t y wearable
I
have had a love affair with
the work of William Morris
since attending an exhibit
of it at the Victoria & Albert
Museum in London many years
ago. I remember just walking
though it over and over. By the
fourth or fifth walk-through,
the security guards and I just
nodded to one another — hope-
fully they didn’t think I was
“casing the joint”! Many years
later, I still love his designs and
use prints of them in much of
my work.
S K I L L S yo u n e e d
M ate r ia ls a n d To o ls yo u n e e d
M a teri a l s EZ solder Soldering tools: flux, pickle, torch, 24 gauge bezel with a wall height of
nickel (5-cent piece) to use as 2.30mm high: Rio Grande #950274,
30mm sterling silver bezel cup Two part epoxy resin soldering support, flex shaft cut- www.riogrande.com
14-gauge sterling wire: 6” length Popsicle stick and clean disposable ting disk, chamois buffing wheel,
polishing compound, level Resin: Rio Grande Colores Resin
14-gauge sterling wire jump ring plastic cup for mixing resin
with Thin Hardener 1:1 ratio, www.
hammered flat Optional tools: ring mandrel, circle
Paper towel riogrande.com.
template
Sterling beaded wire: approx. 1 ⁄4” 1
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 5
1 2 3
4 5 6
file or sand the back of the bezel cup and actual level and prepare the curing area
wire bail to remove any oils or dirt. Flux. before you pour the resin.
{Photo 3} Lay the bezel on the soldering With a glue stick or a thin layer of white
block. Place a nickel next to the bezel and glue, cover back of paper image and press
lay the wire bail across the bezel cup and into the bezel cup. Cover it with a paper
nickel. Solder the bail onto the bezel cup towel and burnish with your fingertip to
using EZ solder. press out any bubbles.
➤ The nickel will act as a support for the Covering the image with a paper towel
wire to keep it from tilting as you solder. prevents any moisture or oils from your
Pickle, rinse, and oxidize it. Polish it with fingers from smudging the image. Let it dry
buffing compound on a chamois wheel. completely.batch. Mix glitter thoroughly
into resin after each addition.
{Photo 4} Using a cutting disk, make a
groove in the inside wall of the bezel to pro- {Photo 7} Set the pendant on the curing
vide an anchor for resin — it does not need surface and use a coin to raise end opposite
to be deep. Soak it in ammonia solution for wire bail so that it is level.
a few minutes and scrub with a toothbrush.
Rinse and dry it. I started out with a quarter, but when I
7
added resin, the resin immediately started
{Photo 5} Make a copy of the original to flow toward the bail, telling me it was not
image on glossy photo paper with an ink jet level — so, I switched to a dime.
printer. Trace a circle on copy and cut it out.
Place the peridot cab in a 6mm bezel cup
{Photo 1} Shape the beaded sterling wire ➤ If you are using an original image, you and set it. Lightly sand or file the back of
into a circle that fits inside bezel so you can will need to seal the image completely — the bezel cup. With a popsicle stick and a
just drop the circle in. Solder the ends with including the edges — with a sealer like plastic cup, thoroughly mix the resin ac-
EZ solder. Place it in the pickle. decoupage sealer and let it dry completely. cording to the package directions.
➤ When making the circle, it is easier to {Photo 6} Prepare the area where the ➤ I used Rio Grande Colores Resin with
achieve a perfect one by forming it on a poured resin pendant will cure and make Thin Hardener at a 1:1 ratio, though the
ring mandrel set in a vise. sure it is level. instructions advise 2:1. I use the Colores
with a 1:1 ratio because I like how thin the
{Photo 2} Cut a 6” piece of 14ga wire. With I use a cheese board with a glass dome set resin is and how it easily seeps into nooks
round nosed pliers, coil each end equally. on a bookshelf to cure my pieces. Taking and crannies.
Fold wire in half to form a bail. Hammer into account that surfaces which look level
each side on a steel block to flatten. Lightly are not always level, make sure you use an
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 6
easy option:
No Solder
You can buy premade bezels with pendant
{Photo 8} Put a small amount of resin ➤ Using a butane lighter, lightly sweep the ➤ When the leftover resin is rock hard,
(about size of a domed quarter) in the bezel. flame over the surface of the resin to pop your pendant will be fully cured! Attach
Pick up the pendant and swirl the resin any bubbles. For this resin, there should be the jump ring to the bail and slide onto a
around so that it touches all the inside edges no bubbles; if there are bubbles, the lighter neckwire or chain to wear it.
of the bezel and completely covers the flame should take care of them.
image. Replace the pendant on the curing
surface and drop it in the beaded wire circle. {Photo 9} Making sure there are no ELEANORE MACNISH is a glass
Drop in the bezel-set peridot and position it bubbles and that the peridot is where you beadmaker and silversmith living in
where you want it to be. want it to be, cover the pendant with a Albuquerque, New Mexico. She has
drinking glass or glass dome and place it been making glass beads for 9 years
It is important to start with a small aside to cure for at least 24 hours. Check and doing silver work for 1 1/2 years.
amount of resin because you will displace on the pendant a few times over next few Visit www.emacnish.com to see more of
some resin by adding the beaded wire hours to make sure there are no bubbles her work.
circle and the bezel set cab. You can al- and that the cab has not moved.
ways add more resin later — initially, start
with less than you think you will need. It is To check whether the resin has cured,
much easier than trying to clean up resin check the leftover resin in your mixing
2106152-SSBF-090521.pdf Processed by DG February 25, 2009
that oozes out the sides of the bezel! cup instead of the actual pendant!
For over 4 years, Step by Step Wire Jewelry has been the only
magazine devoted to bringing you the very best in wire!
Subscribe now and get a
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 7
Vintage Illustration Pendant
Project by
Eleanore MacNish
Opening Photo: JIM LAWSON
Project Photos: ELEANORE MACNISH
A confection from recycled ephemera
T
o make this pendant, you
need to go on a scavenger hunt.
Gather all sorts of earrings,
vintage illustrations of cakes, and
whatever you think might look good
hanging from the bottom of your
pendant. Good places to start hunt-
ing are a flea market or tag and
yard sales. I gathered orphaned ear-
rings, vintage jewelry, coins, tokens,
and game pieces for my pendant.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 8
1 2 3 4
5 6 7 8
{Photo 1} Lay out objects and play My pendant is made up of 3 pieces of {Photo 6} Trace design for each metal
around with composition. metal. I soldered the bezels onto the front- piece on a half sheet of tracing paper. Spray
facing silver sheet with EZ solder, and then 22ga sterling sheet with adhesive, apply
{Photo 2} Choose an earring for top of soldered the bail and the back curlicue with tracing paper drawing to adhesive, let dry.
piece and remove back finding. Choose a low temperature paste solder.
focal cake illustration. Choose an object to {Photo 7} Rip overhanging tracing paper
hang from the bottom. {Photo 4} Fit bezels for rhinestone ear- from edge of sheet and saw out shapes. On
ring and cake illustration. Use pliers to soldering block, burn off paper and adhe-
{Photo 3} On graph paper, outline edges conform bezel to outlines. Make bezels a sive (fumes are toxic — wear a respirator
of all components and design overall shape bit larger than components. mask). Pickle, rinse, file, sand smooth.
of pendant.
{Photo 5} Solder bezels together with {Photo 8} Solder bezels to front of cut-
From here, you need to decide where pallions of hard solder. out with easy. Pickle, rinse. On back of
any
‰ areas of stress might be and how to cutout, lightly flux bail and curlicue panel.
compensate for them. I make a “pendant Make adjustments as needed to sketches after Apply small amount of low temperature
plan” for each metal piece, indicating where laying soldered bezels back on graph paper. paste solder. Support piece as needed.
I will solder, and in what order. Solder, pickle, rinse, dry.
t
I fabricated a bezel-set clasp from
a vintage button.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 9
9 10 11 12
Using a marker, dot where you want a
border. Punch dots using a carbide tip and
small hammer. Remove marker with meth-
yl alcohol or nail polish remover. Oxidize
piece as desired. Polish with chamois buff-
ing wheel and compound. Soak in ammo-
nia solution and scrub with soft bristled
toothbrush. Rinse and dry completely. Set
earring in bezel.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 10
Framed focal charm
project by
Shoshana Farber
Opening Photo: Jim Lawson
Interchangeable inserts that Project Photos: Shoshana Farber
M
y miniature frames can be incorporated into virtually any piece
of jewelry, or made into personalized cufflinks. The double-sided
frame will hold up to two photos or artwork which can be removed
and replaced as desired. Pay close attention to the exact thickness of
the required sheet — this will result in a precise and snug fit.
Cufflink
design option
If making cufflinks, the back of
the piece must remain solid.
Finding components can be
soldered directly onto the solid
backs of the frames. SKILLS YOU NEED
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 11
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4 5 6
{Photo 2} Saw out center of “three- Framing Tip
legged” square, being sure to cut along It may be easier to mark your
the inside of scribed line. File inside edges lines along the inside of the
completely level and ensure corners are frame by scribing them 1mm
square. Saw along outside lines of square, from the inner edges. If you like,
cutting out three-legged shape from sheet. trace the scribed lines with pen.
7
This will be inside layer of frame.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 12
Polish piece before attaching chain. Apply
polishing compounds to textured metal
with soft bristle brush so pattern doesn’t
wear away. Use cotton buffs for sides.
8 9
selected high resolution images. Resize
to 11mm x 11mm, or cut decorative paper
squares or drawings to this size. Cut two
11mm x 11mm squares of Mylar. Sandwich
photos between Mylar sheets. Slide image
sand edges of both windows smooth and sandwich into frame’s side groove, being
{Photo 8} Sweat-solder another frame
level. Cut a flat, 0.9mm thick copper or sure to push inserts straight to back
and roller-print another square for other
brass rectangular strip 30mm x 11.5mm. of frame.
side of piece. File and sand outside edges.
Position piece so window faces up. Insert strip into side groove of completed
frame. If needed, use rolling mill to reduce
{Photo 9} Drill hole in center of solid back thickness gradually until the strip slides in. SHOSHANA FARBER completed her
sheet. Saw 4 diagonal lines out from drilled With rawhide mallet, gently tap each side diploma in art, craft, and design with a
center to each corner of window. of frame and along protruding end of brass major in Jewelry and Small Object Design
strip to ensure that inner grooves are from the Kootenay School of the Arts
Using top window lip as guide, carefully aligned. Attach findings or jump rings of in Nelson, British Columbia. She lives in
saw out back window. File edges level and your choice. Inner frame layer will accom- Toronto and has built a studio where she
corners square. Wrap a thin, flat wooden modate a drill hole up to 2mm — center- designs and manufactures jewelry under
stick or coffee stirrer in emery paper and punch exactly 1mm from side of piece. the name Showsh Design.
1109_LJJA-eBooks-Halfpg.pdf Processed by DG November 12, 2009
Create strong designs Discover the vast Mix up your metal jewelry
with wire techniques. potential of metal clay. with new cool techniques.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 13
FOUND OBJECT PENDANT
Project by
ELEANORE MACNISH
Opening Photo: JIM LAWSON
A vintage ruler and typewriter Project Photos: ELEANORE MACNISH
M
y friend Lucille wears
four pieces of jewelry
90% of the time. The
same pieces every day — when
you’re standing behind her,
you know it’s her just by
looking at the clasp on her
necklace. She loves those four
pieces and they look fabulous
on her — so more power to her!
However, having this kind of
friend makes the whole gift-
giving thing rather difficult
when making jewelry is what
you do.
My solution? I made her
a pendant and put it on a key
ring to disguise its true nature.
I also stamped a bunch of
wrong information on the sil-
ver “card” purely by accident
(if you knew me, you’d know
that’s not uncommon), which I
discovered when another friend SKILLS YOU NEED
was looking at the piece with a
befuddled look on her face. The
• fabrication • soldering
accident made the whole situa-
MATERIAL s AND TOOLS YOU NEED
tion really funny. “Shut up! You
M A T E R I AL S Solder — Hard, EZ, and Extra EZ Carbide tip scribe
are not 50!!!” the message says
— and she’s not, because the Vintage ruler Flux Setting tools
gift was for her 53rd birthday. Vintage typewriter key Ammonia, water, and liquid soap Hand shears for cutting bezel
I’d even been at her 50th birth- (preferably with tabs on the solution wire and gallery wire
back)
day party and all of the ones Toothbrush Chamois buffing wheel
22-gauge sterling sheet
after it! I did have the best of Oxidizer or liver of sulfur Polishing compound
intentions, though — and luck- Small scrap of 20-gauge
sterling sheet TOOLS Third hand
ily, Lucille loves the piece, so I
Silver bezel wire tall enough Drill bit for 14-gauge sterling wire Vise; rawhide mallet or flat
consider it a success. jawed pliers
to clear surface of ruler and Drill bit to countersink hole for
typewriter key 14-gauge wire Small woodcarving chisel or
14-gauge sterling dead soft wire; razor blade mounted in a handle
2-0 saw blades
approximately 1 1⁄2” long Permanent marker
Saw frame
14-gauge sterling jump ring Rectangular joint-edge file
Letter stamps for message tag
22-gauge sterling sheet, 1” x 2” Files and sandpaper for
Torch smoothing metal before
22-gauge sterling disk, 3⁄4”
Round nosed pliers polishing
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 14
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4 5 6
{Photo 1} Cut length of ruler. With perma- {Photo 4} Place bent arrow on ruler and
nent marker, mark edges of ruler on 22ga slide along edge until you arrive at place
sheet. you want arrow to point. With permanent
marker, outline tab on back and mark
{Photo 2} With permanent marker, draw where shaft lies on edge of ruler.
outline of pendant around traced ruler
lines. Saw pendant out of sheet. Chisel out tab outline. Carve a little at a time
and verify fit often by setting tab into niche.
Make optional message tag if desired. Tab should be flush with surface of ruler.
{Photo 9} Solder 14ga wire to back of File and smooth all silver cutouts and 14ga
disk with Extra EZ solder. components, oxidize, rinse, and polish ELEANORE MACNISH is a glass
using chamois buff and compound. Rinse beadmaker and silversmith living in
{Photo 10} Using carbide tip, make an in ammonia/water/soap solution and scrub Albuquerque, New Mexico. She has
indention on each end of pendant for hole with soft toothbrush. Fit arrow into filed been making glass beads for 9 years
placement. Drill holes in indents. Use larger notch on ruler. Lay arrow and ruler into and doing silverwork for 1 1⁄2 years. Visit
drill bit by hand to remove burrs from bezel; set. Lay letter, plastic lens, and steel www.emacnish.com to see more of her work.
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© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 16
Pottery Shard Brooch
PROJECT BY
Julie Jerman-Melka
Opening Photo: JIM LAWSON
A nostalgic keepsake from Project Photos: JULIE JERMAN-MELKA
a broken dinner plate
I
enjoy the challenge of working with found objects into the trash. In this simple project, I’ll show you how
and incorporating them into a wearable piece of to recycle the broken shards and make a simple brooch,
jewelry. If you’re like me, you probably have fond perhaps reminding you of one of those special times
memories of enjoying a special dinner with family or with friends and family.
friends, using the “good” china, or maybe enjoying a Instead of using a commercial finding for this piece,
cup of afternoon tea from vintage tea cups. Inevitably, I decided to make my own pin mechanism. It’s easy
a piece of china or one of the prized teacups acciden- to execute and gives the piece a simple, handcrafted
tally breaks, and it’s painful to just throw the shards elegance with an extra personal touch.
S K I L L S yo u n e e d
M ate r ia ls a n d To o ls yo u n e e d
M a teri a l s 18-gauge round nickel 330 epoxy Hand tools: metal shears, wire
wire: 4" cutter, saw frame, saw blades,
Pottery shard Liver of sulfur beeswax or Bur Life, bench pin,
One 7mm half-drilled 6" half round file, needle files,
22-gauge sterling sheet: 2" x button pearl Ammonia
1 1/2" 2 1/2" bent steel burnisher
#65 Drill bit T oo l s
22-gauge brass sheet: 2" x 1 1/4" Other tools: rolling mill, buff-
Hard and medium solder Soldering tools: torch, solder ing machine, dust mask, safety
28-gauge sterling bezel wire: pick, Solderite pad 6" x 6", eyewear, Sharpie, Fabulustre
5mm height x 6" Texture to roller print pickle pot with pickle, copper or buffing compound, 4" muslin
(texture paper) tongs, cross locking tweezers buff, flex shaft
20-gauge round sterling wire: 6"
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 17
1 2 3 4
5 6 7
{Photo 1} Select pottery shard.
➤ Your silver sheet will distort and elongate with this process.
{Photo 4} Make bezel for pottery shard using flat nose pli-
ers. Solder bezel together using hard. Pickle bezel until clean.
File any excess solder on seam. Rub bezel on sandpaper to
clean bottom edge.
My original sketch for the piece
{Photo 5} Place shard on rollerprinted silver sheet. Trace
outside edge of shard with Sharpie pen to create an interest-
ing shape for your brooch. Mark on metal sheet will be slightly
larger than shard. Saw along Sharpie line and then fine-sand Tips on Supplies
edge.
n If you don’t have a rolling mill, you can purchase
embossed metal sheets from Metalliferous: www.
{Photo 6} Place bezel on sheet making sure there are no
metalliferous.com, 888-944-0909, or David H.
gaps between them. Solder bezel to roller printed sheet using
chips of medium solder.
Fell: www.dhfco.com, 800-822-1996.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 18
8 9
10 11
12 13 14
➤ This is also a good time to stamp the {Photo 10} Curl wire for pin stem with machine to desired polish. Clean off buffing
back of the piece with a sterling stamp and round nose pliers twice to create tension compound using weak solution of sudsy
your personal maker’s stamp if you have for mechanism. End of pin should extend ammonia mixed with water and a soft
one. slightly beyond catch. Snip end if too long, toothbrush. Rinse piece under warm water
then file, sand, and polish. and dry with soft cloth. Dissolve a pea size
{Photo 8} Use 4" of 20ga round nickel piece of liver of sulfur in a cup of warm
wire for pin mechanism. Bend wire in half {Photo 11} Set shard in bezel and check water.
and solder ends to back of brooch with height: bezel should just barely extend
medium solder. Pickle and sand any excess above shard. File bezel down if too high. {Photo 13} Dip brooch in solution and
solder. Push walls of bezel over shard using bent rinse in cold water. Repeat until you
steel burnisher. achieve desired patina color, then let air
➤ Make sure you locate the mechanism dry. Polish lightly to bring contrast to piece.
above the central axis so the pin will sit ➤ I use a triangle file to file the bezel cor-
properly when worn. ners. This creates a V shape, so the metal {Photo 14} Adjust height of stem for pearl
will not fold over itself during setting. by cutting and filing until pearl sits flush
5
{Photo 9} Snip wire for catch at 3/16" and with silver sheet. Mix equal parts of 330
bend over. {Photo 12} Polish brooch on buffing epoxy on small piece of paper with tooth-
pick. Put small amount of epoxy on stem
for pearl and place pearl on stem. Allow
epoxy to dry.
Setting Tips
JULIE JERMAN-MELKA earned her
n Your pottery shard may have an irregular top surface, so you will M.F.A. from Colorado State University
have to file the bezel to the proper height in order to have a bezel in Fort Collins, Colorado, where she lives
that is visually pleasing. and works. Her work can be seen in
galleries throughout the United States.
n Place the pottery shard in the bezel and file the bezel to match She also teaches part time at Laramie
the edge of the shard, making sure to have the bezel extend County Community College in Cheyenne,
beyond the shard. Wyoming. You can see more of her
work at www.flyinganvildesigns.com.
n I start with pushing the bezel over on the side of the corner first,
and then proceed around the shard.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 19
Sprinkle Earrings
Project by
Eleanore Macnish
Opening Photo: JIM LAWSON
Project Photos: ELEANORE MACNISH
Sweet little treats make a speedy gift
W
hile doing my resin
research I embedded
everything I could think
of! At an estate sale, I spied
some cake decorations in a
cabinet and thought, “Hey!
I wonder if I could put those
sprinkles in resin!” Before I
tried it, I didn’t think it would
work: I thought the resin
would degrade the color coat-
ing on the candy, but I was
wrong — it worked beautifully!
These earrings make
great gifts. They take about
20 minutes to make and 15
minutes to cure. They are
exceedingly happy, bright,
and truly sweet. You’ll need
to work on a sunny day, at
least if you use the same
UV resin I did, as it needs
to cure in the sun. If you
choose traditional two-part
epoxy resin, you can work
on a cloudy day, too.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 20
1 2
4 5 3
{Photo 1} Cut two 1 3/4” lengths of 20ga While you’re twisting, make sure you keep ‰ If you’re using two-part epoxy, follow the
wire. File ends smooth. the wire straight. Five or 6 rotations are manufacturer’s instructions very carefully
usually sufficient. with regard to mixing or you’ll end up with
Lightly sand back of bezel cups and wire to a sticky mess that will never harden. I use
remove any oils or dirt. {Photo 5} Apply a very light coat of white a one-part epoxy UV resin that comes in a
craft glue to interior of bezel cups. Press bottle and is ready to go.
{Photo 2} Lay bezels side by side on metal leaf into glue.
soldering block. Place nickel next to each {Photo 8} Put earrings (still attached to
bezel. Lay wire across bezel cup and nickel. ‰ The metal leaf will be covered up with hard surface with tacky clay) in sunlight.
the sprinkles, so there is no need to be tidy Place drinking glass over them to shield
‰ The nickel will support the wire at the or exact — wrinkles are okay. from dust. Leave in sunlight approximately
same height as the bezel cup and keep it in 10 to 15 minutes. Rotate every 5 minutes
position while soldering. {Photo 6} When glue has dried, remove to allow light exposure to all parts of resin
overhanging metal leaf from bezels. — both the walls of bezel cup and sprinkles
{Photo 3} Flux, lightly heat until flux will cast shadows.
becomes chalky. Lay pallion of EZ solder ‰ If you prefer, just polish the interior of the
on each bezel cup, ensuring solder touches bezel cups instead of adding the metal leaf. ‰ If you’re using two-part epoxy resin, cure
wire. Solder. Either way, the final outcome is better if it for 48 hours before bending the ear
the interior of the bezel cups are shiny. wires.
Pickle, rinse, dry. Oxidize. Polish with buff-
ing compound on a chamois wheel or with Make 2 small balls of tacky clay. Mash balls {Photo 9} When resin is fully cured, bend
brass brush. Soak in ammonia solution for down into pancakes on a hard surface. Lay wires over pen to create a “U” shape. With
a few seconds and scrub with toothbrush. earrings down on clay and press. Embed flat nosed pliers, bend ends of wires to fin-
Rinse. Dry. earring backs into clay and level them. Fill ish hooks.
leveled bezels with sprinkles until flush
{Photo 4} With flat nosed pliers, grasp with top edge. ELEANORE MACNISH is a glass
end of each wire and twist a few rotations. beadmaker and silversmith living in
{Photo 7} Apply resin. Wait a few sec- Albuquerque, New Mexico. She has been
‰ Wire anneals and becomes softer during onds to see if air bubbles surface. When making glass beads for 9 years and
soldering; twisting the ear wire work bubbles rise, wave flame of lighter close to doing silverwork for 1 1⁄2 years. Visit www.
hardens it and makes the metal stiff again. resin surface to pop them. emacnish.com to see more of her work.
6 7 8 9
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 21
PVC & SILVER BROOCH
Project by
ROBERT DANCIK
Faux Bone — fantastic plastic Project Photos: JIM LAWSON
F
aux Bone™ is a new mate- skills you need
rial for artists that is easy
to use, affordable, and non-
• fabrication • drilling • riveting
toxic. In this project, I used Faux materials and tools you need
Bone with sterling silver, pearls, M A T E R I AL S TOOLS O ption a l
and a Chinese carnelian bead.
Faux Bone Jeweler’s saw; #1 and #2/0 Electric etcher
Owing to its basic indestructibil- blades
22-gauge sterling sheet approxi- Triangular scraper
ity, all riveting, drilling, stamp-
mately 1” x 2 1 ⁄2” (textured or Bench pin
ing, electric etching, and ham- not) Checkering file
Drill; bits size 1⁄4”, and #’s 54
mering can be done without fear 13-15” 18-gauge round sterling and 60
1
⁄8” drill bit
of chipping or cracking — and silver wire Countersink bit
Files; medium and fine
without the use of heat or spe- Freshwater pearls (or other
beads, pearls, stones, etc.) Silicon carbide sandpaper; grits
cial treatment. This material can 320, 400, 600
be left pure white, or pigment 6mm round bead (or similar)
Scribe
can be rubbed into stampings or Acrylic paint or similar
Torch (small crème
scratchings and finished with a
Brown (or other color) brûlée torch is fine)
bit of shoe polish for a bonelike shoe polish
look and feel. Faux Bone invites Masking tape or similar
experimentation and play — its
Cyanoacrylate glue
possibilities are as endless as
your imagination.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed media Jewelry Projects 22
1 2 3
4 5 6
{Photo 1} Draw a 21/4” x 11/2” oval on sheet down, and 3/8” to the right of the oval cen- vise vertically with edge of oval facing up.
of Faux Bone. terline — with silver on the left. Locate drill bit on edge, in line with guide-
line passing over bead hole. Drill slowly
{Photo 2} Using jeweler’s saw with #1 {Photo 4} Use countersink in drilled hole through edge into bead hole and across
blade, cut out oval. File edges and sand to widen top. Bevel should not go deeper into other side of bead hole, keeping drill
with 320-grit sandpaper. Sand two flat than about 1/6”. turning as you retract it.
sides and edges with 400-grit sandpaper.
{Photo 5} Draw line on face of oval {Photo 6} Countersink or use 1/8” drill bit
{Photo 3} Measure, mark, and drill bead perpendicular to centerline, which passes to make slight well so ball on end of wire
hole with a 1/4” drill bit. My bead hole is 7/8” through center of bead hole. Place oval in will seat into edge of oval.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 23
7 8 9
10 11
{Photo 7} Hold bead so hole is in line Position strip on face of oval and secure Cut 8 lengths of 18ga wire, each 3/4” long. Ball
with wire hole. Insert wire through side of with tape. Mark silver strip with locations one end of each wire with torch by holding each
oval, through bead, and into other side of of rivets. Remove strip and drill holes with wire vertically at the top end in crosslock twee-
hole. Measure trim amount for ball to seat #60 drill bit. Replace strip on face of oval. zers. Dip end to be balled into paste flux. Heat
in well, retract wire, and trim accordingly. Tape into position. wire about 1/8” above bottom end with torch.
Set bead and wire aside. Flame should be small and pulled away as soon
{Photo 8} Using drilled hole in strip as as metal begins to ball up wire. Quench, pickle,
Hammer texture into silver, if desired. guide, drill one hole through Faux Bone. and brass-brush wires. Set aside.
Anneal if needed. Quench, pickle, and dry. Insert 18ga wire into hole to secure. Repeat
for next rivet hole and remaining holes. Cut 18ga wire 2” long for pin stem. With
{Photo 8} Place silver with texture side hammer, flatten one end to about 1/4”. File
up. Position oval on silver sheet so long, Draw a line along center of edge. Plan and tapered point on other end. With round
square edge of oval lies next to long side mark pearl placement for 8 pearls on side of nosed pliers, grasp wire 1/4” above flat-
of silver. Trace outside edge of oval onto oval, ensuring they do not intersect with rivet tened end and wrap long end around pliers
sheet. Remove oval. Draw second line par- wires. Remove sterling strip and set aside. tip 1/4 turns. Wire should point at 90° angle
allel to first at about 1/4” inside. Draw any to flattened end. Set aside.
design in space between lines — I used a {Photo 9} Place oval in vise. Drill holes into
saw-tooth for this piece. edge for pearls about 1/4” deep, keeping bit Cut 18ga wire to 3/4” for catch. With ham-
perpendicular to edge. Make a well to seat mer, flatten one end to about 1/4”. Grasp
Saw out shape, file and sand edges of silver, pearls in top of each drilled hole. On back of nonflattened end and twist to form a
progressing through to 600-grit sandpaper. oval, create wells where rivet wires exit. number 9 shape. Offset end of wire until it
looks like beginning of a spiral.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 24
Alternate Designs
The versatility and
ease of using Faux Bone
allows for many design
possibilities
12 13
{Photo 12} Position strip on oval by lin- sunk wells. Squeeze out a small bead of ROBERT DANCIK has been an artist/
ing up rivet holes. Insert all wires into their glue. Retract each wire, dip end into glue, teacher for over 30 years. He presently
holes; secure with tape. Trim protruding and reinsert wire into oval. teaches and exhibits his jewelry and
wire to about 1mm above surface on back sculpture in the U.S., Europe, the UK, and
of oval. Square end of wire with file. Rivet Using tip of craft knife blade or thin wire, Australia, and is the originator of Faux
in place with round faced hammer. Rivet place small amount of glue inside hole for Bone™. He lives and works in Connecticut
will fill countersunk well. Repeat with bead wire. Insert wire through edge of and can be reached through his Web sites:
remaining rivet wires. oval, through bead, and into glue of inside www.robertdancik.com and www.faux-
hole. Tap balled end of wire to seat into bone.com, which also offer a complete set
{Photo 13} Thread balled wires into each well in edge of oval. of instructions and potential sheets for
pearl. Insert into pearl holes, trimming as Faux Bone.
needed. Pearls should seat into counter- Give piece final buffing.
Fabrication Tips
n I usually cut a smaller piece of Faux Bone from the n Depending on the curve of the oval, it may be easier
larger sheet for ease of handling. to sand the outside edge of the silver strip after it is
attached to the oval. The silver strip may be pickled
and brass-brushed or oxidized in liver of sulfur prior to
n One way of creating an oval is to use a bracelet (usu-
riveting it to the Faux Bone.
ally about 21⁄2” in diameter) or something similar as a
template to trace the two sides of the oval. Draw a line
21⁄4” long and place the bracelet atop the line; slide it n The sandpaper used is for wet sanding — all sanding
until the inside edge of the bracelet intersects the ends should be done with lots of water.
of the line. Trace the inside curve of the bracelet and
repeat for the other side of the oval.
n If the holes in the pearls or beads or whatever you are
using are too small for 18ga wire, it may also be neces-
n Any bead or other object can be inserted into the hole sary to redrill them with a #60 drill bit. If so, hold the
in the oval using the same wiring process. The only dif- pearls in padded pliers, and use a lubricant such as Bur
ference lies in the size of the hole and its location on the Life on the bit while drilling.
oval.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 25
Finishing Faux Bone
n There are an almost infinite number of surface n If small burrs are raised on the surface of the piece,
treatments for the Faux Bone oval. The project you may wish to leave them, or sand with 600-grit
piece is scratched with a scribe, etched with an elec- sandpaper until smooth. To color the piece, rub
tric etcher, stamped cold with metal stamps, and with acrylic paints, which are allowed to dry, then
has parallel lines made with a checkering file. sand once more to remove as much of the paint as
desired.
n To affect a final “polish” on the surface, turn the
600-grit sandpaper over to the paper side and rub
vigorously until it takes on a soft sheen. Fine “hair-
line cracks” and age lines are put in by drawing the
sharp edge of a craft-knife blade over the surface
with no pressure except for the weight of the knife.
These will be further revealed when the piece is
rubbed with a bit of brown shoe polish — the last
step in the finishing. Allow the polish to set for an
hour or so and then rub vigorously with a soft cloth
— or buff it with a clean, unsewn muslin wheel on a
flex shaft or polishing machine.
Let us inspire
the artist in you!
With Jewelry Artist you’ll find great
jewelry and gem projects in an
easy-to-follow format, columns on
trends and gems, a showcase of
jewelry designs, and a spotlight on a
different jewelry artist in every issue.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 26
colorful resin Earrings
PROJECT BY
Tom & Kay Benham
Opening Photo: JIM LAWSON
Project Photos: TOM & KAY BENHAM
Pretend plique-à-jour enamel
A
friend’s new pendant immediately
caught our eye. At first glance we
thought it was a piece of enamel
— but then she explained that she had
recently created it in a resin workshop.
She had added some glitter to the
resin to create the enamel effect.
We were so intrigued that we had
to give it a try.
Working with resin wasn’t as easy
as we’d initially thought. We experi-
mented with several resin systems
and colorants before deciding on this
project, a pair of earrings that give
the impression of plique-à-jour enamel
(open on both sides), using transpar-
ent resin in place of enamel. The resin
holds the wire design in place once
it cures. The addition of fine glitter
creates a stained glass effect with
the open back letting the light shine
through. Best of all, no kilns
necessary!
S K I L L S yo u n e e d
M ate r ia ls a n d To o ls yo u n e e d
M a teri a l s ICE Resin and Hardener (we chose Layout tools: pencil, paper S o u rces :
this product because of its ability
24-gauge sterling silver strip: to produce a glistening dome finish) Finishing tools: beeswax, vibratory Tools & Materials: Most of the tools
.020” x .125” tumbler and materials for this project will be
Assorted colors of fine glitter available from well stocked jewelry
28-gauge fine silver bezel wire: Other tools: disposable mixing supply vendors.
.013” x .125” Renaissance Wax cups, spatula, micro-spatula,
eye dropper, wooden toothpicks, ICE Resin: www.objectsand
Sterling silver seamless tubing: acetone elements.com
.188” OD x .156” ID TOOLS
Soldering tools: torch and tips,
18-gauge sterling silver round wire Hand tools: assorted pliers; as- striker, flux, easy solder, soldering
sorted files, jeweler’s gram scale, block, quench and pickle
Double-sided carpet tape tube cutting jig; jeweler’s saw and
Five-minute, two-part epoxy blades, flush cutter, cup bur
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 27
1 2 3 4
5 6 7 8
{Photo 4} Use tube cutting jig to cut four {Photo 8} Mix resin with spatula
.125" lengths of sterling silver tubing. for two minutes per manufacturer’s
recommendation. Because we wanted our
➤ Two tubing lengths will create the open- earrings to match, we mixed a batch large
ings for the ear wires; the second set to cre- enough so that we could fill comparable par-
ate 2 teardrop shapes — which we formed titions in both earrings in one application.
9
with our small needle-nose pliers.
{Photo 9} Add glitter in small amounts
{Photo 5} Mix up small batch of five- using a micro-spatula. Add glitter in
minute, two-part epoxy to secure each several small batches, rather than adding
intersection with outer frame. Apply epoxy too much to avoid having to mix up another
to each joint with tip of wooden toothpick, batch. Mix glitter thoroughly into resin after
Once we agreed on our design, we used
then place assemblies under work lamp to each addition.
tracing paper to create our pattern.
allow a proper cure.
{Photo 1} Use pattern as a guide. With
fingers and assortment of forming ➤ We did not bond the teardrop shapes or
pliers, create frames of earrings from the ear wire openings at this time.
lengths of sterling silver strip, similar to
{Photo 6} Place a strip of double-sided
Tip
forming a bezel. Mark and cut strips, then
file ends square. carpet tape to a sheet of paper, then re- Success with resin is
move release strip from top side of carpet dependant upon careful
tape. Carefully press each assembly onto measurement. You must
{Photo 2} Solder outer frames using easy
tape to seal bottom of assembly so it be sure the proportions
solder. Quench, pickle, rinse. File and sand of resin and catalyst are
solder joint smooth. won’t leak when liquid resin is poured into
each cavity. Press small teardrop shapes
mixed according to the
package directions, and
{Photo 3} Again using fingers and and pieces of tubing for ear wires onto
that molds, mixing imple-
page
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 28
10 11 12
{Photo 10} Using dropper, add each batch temperature for one hour, and then place Before attaching earrings to wires,
of resin in appropriate cavities. Fill cavities under work light for 24 hours. Remove from apply a coat of Renaissance Wax to
only 3/4 full to allow for final doming layer of light and allow to cool to room temperature protect resin surface.
clear resin. Clean eye dropper with acetone before removing tape from back.
between each resin batch. TOM & KAY BENHAM are teachers
➤ Avoid touching the resin surface as of both metalsmithing and lapidary, are
{Photo 11} Allow resin to cure at room it can acquire fingerprints for several days members of The Florida Society of Gold-
temperature for one hour according to di- before it is fully cured. smiths and The Central Florida Mineral &
rections. Place assemblies under work light Gem Society, and have been Contribut-
for 24 hours. Then turn light off and allow Create ear wires with 20ga sterling ing Editors for this magazine for 7 years.
resin to cool to room temperature before silver round wire. Round each end with the
proceeding. cup burr lubricated with beeswax before
shaping.
{Photo 12} Mix a large enough batch to
dome both earrings at same time. Again, ➤ We placed the ear wires into a
with eye dropper, add resin slowly and care- vibratory tumbler for a couple of
fully so it domes up. Don’t allow resin to hours to work-harden them.
2112982-LPJF-090808.pdf
flowProcessed by DG
over sides. Juneresin
Allow 5, 2009
to cure at room
Riveting!
WATCH – LEARN – CREATE!
Learn how to create artistic and long-lasting connections PLUS make two
distinctive pendants using wire rivets, screw rivets & tube rivets.
Combine found objects, metal shapes and frames, and other unique
elements in one-of-a-kind designer pendants using one of the strongest
cold connections in metalworking: rivets.
$24.99
Approximately 60 minutes
interweavestore.com
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 29
Multi technique Cynthia Alderdice
PROJECT BY
enameled pendant & Lois Mansfield
Opening Photo: JIM LAWSON
Project Photos: AAGPA EDITIONS
C o m b i n e m e t a l c l a y, c l o i s o n n é , e t c h i n g ,
stone setting, and chain making in one design
O
ur design, called “Alchemic Synthesis,”
combines cloisonné enamel with textured
22K gold sheet, metal clay, the design and
creation of custom etching plates, keumboo, and
setting faceted and cabochon gemstones. It was
created to explore and combine several advanced
and specialized jewelry making techniques into a
beautiful but challenging piece.
First, we’ll create the etching plates,
etch them, and create the textured
metal clay pendant backing. After fir-
ing, we’ll use the “tear away” tech-
nique — developed by Celie Fago
for metal clay surface design
— to transfer the same texture
to gold. Our original designs
for the etching and tear-away
plates were developed on
the computer, and we used
Adobe Illustrator to create
positive and negative images,
but you could use any imag-
ing software to do the same
thing. The etching plates were
used to impress patterns on the
PMC base. Additional texture was
achieved by traditional roll print-
ing in a mill.
Then, we’ll create the cloisonné,
fabricate the pendant, and create the
handmade chain for the necklace. We like the
way the colorful cloisonné enameling enhances
the overall design.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 30
S K I L L S yo u n e e d
M ate r ia ls a n d To o ls yo u n e e d
1 2 3 3 4
{Photo 1} Plan design using Illustrator {Photo 2} Create pattern using component {Photo 3} Enlarge pattern to fit 3” x 5” brass
or other computer drawing program. parts of design. etching plates. Print both positive and nega-
tive images using laser printer.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 31
4 5 6 7
8 9 10 11
{Photo 4} Place printed image under ➤ The image is transferred to the brass Etching times may vary depending upon
presensitized thermal screen, sandwiched plate as the acid resist passes through the the complexity of the design. Check plate
between backing paper and transparency silk of the open areas of the mask. You’ll every hour. Our plates took 6 hours to etch
film. Run through Thermo-Fax thermal need to create another mask and frame to fully. Rinse plates under running water for
copier. create a negative image plate by following several minutes to wash away etchant. Neu-
the same procedure. tralize plates from any lingering etchant
{Photo 5} Peel silk screen mask from in a solution of baking soda and water and
thermal printed image. {Photo 8} Mount etching plates to foam dry.
block with duct tape and float on surface of
{Photo 6} Transfer peeled image to ferric chloride etchant solution. {Photo 9} Remove resist from plates with
screen. Mount screen to plastic frame. mineral spirits and paper towels. Rinse and
➤ We use 3 parts acid to 2 parts water for dry. On backs of plates, indicate direction
{Photo 7} Apply acid resist to top of frame our etchant recipe, but follow the specific of top of design and negative (N) or positive
and squeegee to bottom of frame. directions for your chosen brand. Reminder: (P) with Sharpie.
always add acid to water, not water to acid.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 32
12 13 14 15
16 17 18
19 20
{Photo 10} Oil etching plates and all tools {Photo 18} Dry at least 24 hours. Sand fine silver sheet through rolling mill. Saw
for PMC +. and refine edges. Fire in kiln for 2 hours at out design using tracing paper pattern as
1650º. guide. Clean textured silver with Comet
(Photo 11} Roll PMC to desired thickness. cleanser and toothbrush to remove all
Our design is 14 cards thick. {Photo 19} Create a “tear away” texture grease. Rinse and dry well. Spray 50/50
plate. Anneal 22K gold sheet and then solution of Klyr-Fire and distilled water on
{Photo 12} Sandwich rolled clay between pickle in Sparex acid. Roll print tear-away back of piece. Carefully sift Soyer Enamels
positive and negative plates. design onto annealed and pickled 22K gold #3 flux on back. Repeat twice.
sheet. Clay paper can be used only once for
{Photo 13} Position plates in center of 2 this procedure. {Photo 23} Repeat flux and sift procedure
pressed wood boards. on piece front. Handle carefully and place
➤ You can roll any texture onto the gold back side down on mica sheet.
{Photo 14} Place boards in center of book- sheet, but if you’d like the patterns to
binding press to achieve even pressure. match exactly, the “tear away” technique is {Photo 24} Dry in front of kiln, then place
the best method for achieving this. on ceramic shard on top of kiln to dry
➤ If you don’t have a bookbinding press, further. Fire approximately 1-2 minutes in
you can carefully roll the sandwiched clay {Photo 20} Saw out design shape. small enameling kiln. Dip cloisonné wires in
and plates between the wood boards after Klyr-Fire and place on surface. Fuse small
inserting risers of the desired thickness on ➤ Use the tracing paper shape from the de- cloisons, fill with selected colors, and fire
either side of the plates and clay. A wooden sign as a “view finder” to aid in placement separately on mica. Arrange these shapes
rolling pin will work for this method. of the pattern on the gold sheet. and add additional wires to complete
design. Fire again.
{Photo 15} Carefully remove top plate to {Photo 21} Create design layout with
reveal pressed clay image. enamel and test color chips. {Photo 25} Fill cloisons with chosen
colors. It may be necessary to fill and fire
{Photo 16} Cut desired pendant shape {Photo 22} Make drawing and pattern as many as 10 or 11 times. Fill top layers with
with pin tool, allowing for clay shrinkage. for placement of 24K gold cloisonné wire finishing flux N-1 Ninomiya.
shapes. Form wire shapes according to
{Photo 17} Peel excess clay from cut shape. design. Run textured brass plate and .020
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 33
21 22 23 24
25 26 27 28
{Photo 26} Adhere wooden dowel to
reverse side of enamel using dop wax.
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29 30 31 32
33 34 35 36
{Photo 29} Cut links using Joyce Chen
scissors.
© Interweave Press LLC. Not to be reprinted. All rights reserved. Best of Lapidary Journal Jewelry Artist, Volume 4 10 Mixed Media Jewelry Projects 35