Jewellery MAKING NEW LOOK ISSUE

The UK's best jewellery magazine

85
PROJECTS
TECHNIQUES
• Clear resin & paper
• Foldforming
metal masterclass
AND • Making texture
IDEAS plates

Inside
this
issue...
Wire wrapped agate
Polymer pendants
Bronze clay necklace
PLUS much more
MJ95 Final Cover SH.indd 1 21/06/2016 13:18
 Traditional Czech Beads

SOLGEL COLORS
PRECIOSA Rocailles
PRECIOSA PipTM
PRECIOSA Fire Polished Beads
DESIGN BY ATLAS BIJOUX

PRECIOSA Traditional Czech BeadsTM PRECIOSA Rocailles

Art N O . 331 19 001
PRECIOSA Pip TM
PRECIOSA ORNELA, a.s. | Zásada 317, 468 25 Czech Republic Art N O . 111 01 346
P +420 488 117 711, F +420 483 312 292, E beads@preciosa.com
PRECIOSA Fire Polished Beads
Art N O . 151 19 001
preciosa-ornela.com

IFC_MAJ_095.indd 1 5/25/16 2:17 PM

 Making Jewellery is published
13 times a year by
GMC Publications Ltd,
86 High Street, Lewes,
East Sussex BN7 1XN
makingjewellery.com
thegmcgroup.com
01273 477374

EDITOR Sian Hamilton

mjeditor@thegmcgroup.com
SUB EDITOR Sarah Doughty
STAFF WRITER Sarah Farley
EDITORIAL ASSISTANT
Lauren Goodchild
DESIGNER Claire Stevens
PRODUCTION MANAGER
Jim Bulley
jimb@thegmcgroup.com
PRODUCTION CONTROLLER
Amanda Allsopp
amanda.allsopp@thegmc
group.com
PUBLISHER Jonathan Grogan
PRINTER Precision Colour Printers
DISTRIBUTION
Seymour Distribution Ltd
Tel: +44 (0) 20 7429 4000
ADVERTISING
Russell Higgins

Editor’s
Tel: 01273 402841
russellh@thegmcgroup.com
MARKETING Anne Guillot
SUBSCRIPTIONS Helen Chrystie
Tel: 01273 488 005
helenc@thegmcgroup.com

letter
Subscribe online at
craftsinstitute.com
12 issues (inc p&p) UK £59.88,
Europe £74.85,
rest of the world £83.83.
Cheques made payable to

GMC Publications Ltd.
Send to The Subscription
Department, 166 High Street,
Lewes, East Sussex BN7 1XU
SEE PAGE 88 FOR MORE
DETAILS
Current subscribers will
automatically receive a renewal
notice (excludes direct debit
subscribers)
FIND US ON
Follow us on Twitter at
@MAKINGJEWELLERY
To become a fan of our
Facebook page search for
MAKING JEWELLERY
Find us on Pinterest at
pinterest.com/
makingjewellery
Find us on Instagram at
instagram.com/
makingjewellery
Views and comments expressed
by individuals in Making Jewellery
magazine (ISSN 1756-4069) do
not necessarily represent those
of the publishers and no legal
responsibility can be accepted
for the results of the use of
readers of information or advice
of whatever kind given in this
publication, either in editorial
or advertisements.
No part of this publication may be
reproduced, stored in a retrieval
system or transmitted in any form
by anymmeans without the prior
I
t’s the Summer issue of MJ and I
really (really!) want to be able to say
“yay it’s summer!” But the trouble is
the weather is not cooperating, which
is very frustrating, as I like to sit on
my patio and make jewellery in the
fresh air as soon as possible when the
summer months arrive. I hope by the
time this issue arrives in your hands
that the weather has changed and I am
jewelling outside.
OK, so that’s my weather moan of the
month, now on to our fabulous second
issue of the re-design. Its still feels new
to us and it has been just as exciting
creating this issue as it was the last one.
This month I’ve been experimenting
with bronze and copper clays using
my own drawn texture sheets (p30).
It’s been really good fun and a lovely
way to make unique textures for metal
clay and polymer.
We’ve also got in depth techniques
using clear resin and paper (p20) and
a masterclass on foldforming metal
sheet (p58). The inspirational images
of foldformed jewellery are truly
stunning! (p65).
Enjoy this issue and have fun with
your summer makes.

Sian 30
permission of Guild of Master
Craft sman Publications Ltd.

makingjeweller y.com 1

MJ95_P01_Ed's Letter SH.indd 1 27/05/2016 09:23

 CONTENTS ISSUE 95 • SUMMER 2016 54
REGULARS TECHNIQUES
5 JEWELLERY TALK 20 RESIN JEWELLERY
All the latest news, reviews and information Create simple pendants from resin-
from the world of jewellery making covered paper

18 COLOUR & STYLE 58 FOLDFORMING

Fashion trends for your holiday wardrobe A great way to work with sheet metal

29 DESIGNER PROFILE 72 CREATING TEXTURES

Contributor Pru McRae answers How to make a texture sheet using
our questions a polystrene sheet

34 BUSINESS MATTERS 94 BASIC TECHNIQUES

The latest tips on selling at fairs Beginners’ techniques to get you started

36 10 QUESTIONS
Interview with jeweller Amy Prout

43 TOP 8
This month’s must-have jewellery items

53 ON TREND
Perfect accessories for your wardrobe
5 58
71 WHAT INSPIRES
Find out what inspires Amanda Cope

84 PRODUCT REVIEW
72
Explore products that will help get your
jewellery noticed

86 PRODUCT TEST
Clair Wolfe trials a triple ring pendant kit

92 IT’S A JEWELLER’S LIFE

The latest installment of Anna
Mcloughlin’s column

53 20
MJ95_P02-03_Contents.indd 2 02/06/2016 14:18
 15 49 24
PROJECTS
8 MULTISTRAND BEADING
A simple form of beading using seed beads

12 BOHO CHIC SUEDE FRINGING

Our celebrity-inspired make

15 TROPICAL SWIRL
Colourful weaved bracelets

24 FRUIT PUNCH
Sparkling crystal fruit charms using beads

30 BEYOND BIRDS
Bronze and copper clay pendants using
handmade textures

38 WIRE AND STONES

Earrings that combine silversmithing
with beading

38 44 SILVER WEAVE
Sterling silver bangle using the Beadalon
78
Bangle Weaver

49 TROPICAL TRANSFERS
Polymer clay jewellery set using image
transfers

54 EXOTIC OUTLOOK
Combining different materials to create
necklaces and rings

66 TROPICAL STORM
Use polymer clay to make colourful
swirl pendants

78 ALOHA
Use shrink plastic to make tropical
style jewellery

82 EYGPTIAN SPIRAL NECKLACE

Super easy necklace using wire curling

66 makingjeweller y.com 44 3

MJ95_P02-03_Contents.indd 3 27/05/2016 09:30

 3D BRACELET JIG™ CONETASTIC™
PATENT PENDING This ingenious tool makes beautiful
Create trendy bangle bracelets, wire cones and bead caps
cuff bracelets, and curved components

FLAT COPPER WIRE

Design wire jewelry with
new dimension BRAID
Give your designs a
compelling textured look

The Largest Selection of Craft Wire

and Wire Working Tools

ALUMINUM WIRE
Wire is soft tempered and is ideal
for creating wire wrapped designs
WIRE KNITTER TOOL
FINDINGS FORMS Try different stitches to create
various patterns
PATENT PENDING
Use these clever fixed peg jigs COILING GIZMOS
to make your own wire clasps,
ear wires, and connectors
SAW FRAME WITH 36 BLADES PATENTED
Everything you need to start cutting metal Crank wire to make
sheet, large gauge wire, wood, and plastics coiled springs & beads

WIRE STRAIGHTENER TOOL

Make it easy to straighten wire
that has been worked

To find an Artistic Wire/Beadalon retailer near you, please visit

www.beadalon.com/store_locator.asp To find an Artistic Wire/Beadalon retailer near you, please visit
®

www.beadalon.com/store_locator.asp

004_MAJ_095.indd 4 5/31/16 9:41 AM

 JEWELLERY TALK News, reviews and all the gossip

CAVERSWALL MINERALS
This summer, Caverswall Minerals has released some new solid silver
ring mounts in a range of shapes and sizes. The ring mounts have
a deep, solid back setting area ready to take resin, stones, glass and
ceramic. You can find this range in the ‘silver ring mounts’ section at
caverswallminerals.com.

I-BEADS
Why not add I-Beads’ beautifully shaped
hibiscus and dragonfly beads to your
summer collection? Unique to I-Beads,
these beads are made from Czech-pressed
glass and crafted with incredible detail
and quality. Hibiscus beads are £1.56 for
four and dragonfly beads are £1.99 for two.
Contact I-Beads for details at i-beads.co.uk.
FREE JEWELLERY CLEANING
FROM IN-TIME
Visit one of 54 branches in Debenhams
stores around the UK to receive a free
jewellery clean, normally priced at £6.
This offer also includes a free inspection
and repair estimate for watches and
jewellery. The offer ends on 1 September
2016. For more details, visit intime.co.uk.

makingjeweller y.com 5

MJ95_P05-07_News SHLGSF.indd 5 27/05/2016 09:40

 NEWS
FAVOURITE What’s on JULY & AUGUST
MAKE Find out what’s happening in the Jewellery world near you
FRIDAY 24 JULY – LONDON
BUILD A JEWELLERY WEBSITE IN A
DAY WITH WORDPRESS
Learn the basics of WordPress so that you
can set up your own jewellery website at
City Lit, Keeley Street, £59, citylit.ac.uk
25-29 JULY – WEST MIDLANDS
JEWELLERY: CATCHES,
CLASPS & HINGES
Learn the techniques and methods used
in constructing catches, clasps, clips and
hinges in this five-day course at Birmingham
City University, £540, bcu.ac.uk
SALLY THAKE 28 JULY – LONDON
Beaded bracelet INTRODUCTION TO GEMSTONES
This one-day intensive course at the
London Jewellery School will teach
you about the world of gemstones, £50,
londonjewelleryschool.co.uk
28 JULY – WILTSHIRE
RONDELLE ROW
Have fun creating this simple yet effective
bracelet with lentil beads and seed beads at
the Stitchncraft Beads workshop in Semley.
Suitable for all abilities, £20,
stitchncraft.co.uk
29-31 JULY – SCOTLAND
ENAMELLING –
EMPHASIS ON TEXTURE,
PATTERNS AND MARK MAKING
Caroline Finlay will be teaching a weekend
course on Enamelling at the Fire Station
Creative, Dunfermline in Fife, £220,
carolinefinlay.co.uk
RACHEL HUNTLEY
Necklace 1 AUGUST – BUCKINGHAMSHIRE
SILVER CLAY JEWELLERY WORKSHOP
A relaxed one-day class learning the basic
techniques for working with silver clay
at the Buckingham Summer School near
Aylesbury, £65,
buckinghamsummerschool.co.uk
7 AUGUST – SOUTH DERBYSHIRE
INTRODUCTION TO CABOCHON
STONE SETTING WORKSHOP
Learn how to make a cabochon stone setting
in silver just outside Burton-on-Trent. Must
have previous experience in silversmithing,
£75 (including lunch),
etsy.com/uk/shop/LouiseMaryDesigns
CHRISTINA RHODEN
Wire tiara
6 makingjeweller y.com
MJ95_P05-07_News SHLGSF.indd 6
7 AUGUST – LONDON
TECHNICAL DRAWING
FOR JEWELLERY
Learn how to draw accurate technical
drawings for jewellery making at the London
Jewellery School. One-day course, £126,
londonjewelleryschool.co.uk
12 AUGUST – DERBYSHIRE
CHASING AND REPOUSSE COURSE
Spend three days learning the skill of
sculpting metal into wonderful artwork
using a hammer and specially handcrafted
chasing tools in Derby, £300.
inthestudio.co.uk
13 AUGUST – WEST MIDLANDS
SILVER BANGLE IN A DAY
A one-day workshop teaching basic
metalwork skills that you will use to
make a sliver bangle in Birmingham.
Open to beginners and improvers, £48,
macbirmingham.co.uk
14 AUGUST – EAST YORKSHIRE
INTRODUCTION TO SILVER
JEWELLERY MAKING
Try your hand at silver jewellery making
at Cold Harbour Farm in Beverley, £75
(plus silver).
Book through craftcourses.com
17 AUGUST – LONDON
BEGINNERS WIRE WRAPPING
Learn the age-old technique of wire
wrapping in this one-day course at
the London Jewellery School, £132,
londonjewelleryschool.co.uk
20-21 AUGUST – WEST YORKSHIRE
FULL WEEKEND INTRODUCTION
TO JEWELLERY MAKING
Spend a weekend learning a foundation
course in jewellery in Leeds. Teaching you
skills in the production of jewellery and the
use of hand tools. Suitable for beginners,
£150, jewelleryworkshopleeds.com
27 AUGUST – BRISTOL
GEOMETRIC BEADWORK
EARRINGS & PENDANT
Learn to work with delica and seed beads
to create a geometric pendant and earrings
at the Shiney Company in Bristol, £45,
shineyrocks.co.uk
27/05/2016 09:40
 NEWS

REVIEWS PRECOISA PRESENTS THE NEW CANDY PRESSED BEAD

Candy is the newest pressed bead to join Precoisa’s collection. With two holes and a round base
(8mm), this bead is said to simplify sewing round and joining up beads. This range comes in 64
different fi nishes with a choice of half and full coating, so you can create your own collection.
BOOK The beads can be combined with Preciosa pellet or chilli beads to create fashion accessories or
REVIEW costume jewellery.

BEAD
CROCHET
BASICS
CANDICE
SEXTON
All
ll jewellery
ll makers
k have
h to start
somewhere and this book with a DVD
package is perfect for beginners looking
to learn bead crochet. Taking things
back to basics you’ll learn tips, toolkit
guides and techniques that will give
you all the information you’ll need to
progress. Put your skills to the test and
complete a total 22 step-by-step projects
with the help of demonstrations and
clear instructions and thanks to the
expert knowledge of teacher and author
Candice Sexton, you’ll be sure to get off
to a flying start.

KALMBACH BOOKS, $21.99

ISBN 9780871164469

GET A FREE EBOOK

ENTITLED CREATIVE
BUSINESS CHECKLIST
FROM THE JEWELLERY
& CRAFTS ACADEMY
This eBook provides
information and tips for
everyone starting or growing
a handmade jewellery
business. It sets down all
the practical steps that need
to be covered to ensure you
start your venture off on
good foundations.
To access the eBook,
please visit
jewellerycraftsacademy.com
NEW STONE SETTING KITS AVAILABLE AT LONDON JEWELLERY SCHOOL to sign up for the free
The London Jewellery School has pooled the expertise of their fantastic tutors to create a fantastic stone eBook today.
setting kit with all the essential tools and equipment (and even some gemstones to practise with!) to help you You will receive it as a PDF
learn how to set gemstones to a professional standard. The kit costs £82 plus P&P and can be purchased online download immediately.
at londonjewelleryschool.co.uk/kits/stone-setting-kit.

makingjeweller y.com 7

MJ95_P05-07_News SHLGSF.indd 7 27/05/2016 09:40

 PROJECT

MULTISTRAND
BEADING CLAIR WOLFE

T
his has to be the simplest form of
beading using seed beads. Use a needle
and thread to create single strands of
beads, which can be used in many beautiful and
effective ways. Using a strong beading thread
and a selection of knots instead of beading wire
will allow the beads to drape softly and remove
the need for crimps, crimp covers or wire
guardians. Colour play and layering make great
use of this simple technique and show that
simple does not have to be boring.

MATERIALS & TOOLS

● Selection of seed beads in various colours
and sizes
● Fireline
● Beading thread, C-lon beading cord
● Selection of connectors and charms
● Clasps
● Beading needle
● Snips/scissors
● Glue

8 makingjeweller y.com

MJ95_P08-11_Multistrand Beading SHLGSF.indd 8 27/05/2016 09:49


1 2
4 5
1. Take a manageable length of Fireline,
condition and thread through a beading needle.
Pass the needle through the connector and
then use an overhand knot to secure; pull the
knot so that it sits as close to the connector as
possible. Finish with a surgeon’s knot and a dab
of glue. Do not trim the tail yet.
2. Add seed beads to the needle and thread
until there is approx. 21cm of beaded thread.
Pass the needle through one half of a clasp, and
secure with a hitch knot.
3. Continue to add lengths of beaded thread,
using beads of different colours, sizes and
finishes. Once you are nearing the end of the
MJ95_P08-11_Multistrand Beading SHLGSF.indd 9
PROJECT
HOW TO MAKE
working thread, tie off using the tail from
Step 1, using an overhand knot. Pull the knot
so it sits against the connector, then fi nish with
a surgeon’s knot and a dab of glue.
4. Repeat the above steps a second time to
add further layers of beaded thread. Once all
threads have been secured with knots and
the glue has dried, use snips to trim away any
excess threads.
5. Cut a wingspan of C-Lon cord, and begin
to weave it around the connector. Begin with
the middle of the cord positioned opposite
the point on the connector where the next
part of the necklace will begin. Take care
makingjeweller y.com
3
6
when weaving the thread between each of the
lengths of beads. Once the circumference has
been woven, both lengths of cord should be
similar lengths.
6. Snip the cord ends to the same length
and then use glue to stick the two together;
this will add stiff ness and make it easy to
thread beads. Add approx. 70 size 6 beads,
an overhand knot and then leave a section
unbeaded. Make another overhand knot
before adding approx. 70 beads to the
remaining length of thread. Finally, add the
second half of the clasp and secure with hitch
knots and glue. Snip away any excess cord.
9
27/05/2016 09:49
 10

MJ95_P08-11_Multistrand Beading SHLGSF.indd 10 27/05/2016 09:49


7 8
PHOTOGRAPHS: LAUREL GUILFOYLE, CLAIR WOLFE
10
To make earrings
7. Add a length of KO thread to a beading
needle and secure the thread end to a
connector, using a thread similar in colour
to the connector. Add a selection of beads to
the thread, then pass the needle through an
earwire, securing in place with a knot. Add
the same amount of beads to the thread before
securing to the connector using a knot; add a
dab of glue and snip away any excess thread.
To make a bracelet
8. Cut two 30cm lengths of C-Lon, add a
jumpring to the centre of one of the threads
and secure with an overhand knot. Repeat
on the second length. Thread a needle with a
wingspan of Fireline and attach to one of the
jumprings with a knot. Pass the needle through
the bead cone; add a size 6, 10 size 11s, then a
size 6 before going through another bead cone
and tying onto the other jumpring. Repeat
this process, passing through the size 6 and
MJ95_P08-11_Multistrand Beading SHLGSF.indd 11
PROJECT
11
only adding further 11s, until there are several
beaded sections in each of the cone holes, then
repeat on two remaining cone holes. Secure
with a selection of knots and a dab of glue. Add
a clasp to the C-Lon, securing with overhand
knots and glue. Snip any excess cord.
To make a long beaded necklace
9. Add a length of Fireline to a beading needle;
add enough seed beads to create a necklace
that will slip over your head without the need
for a clasp. Add a charm before securing with
a couple of surgeon’s knots, sew any excess
thread back through the beaded thread, adding
a hitch knot here and there and snip away any
excess. Create a number of these necklaces in a
variety of colours to layer up.
To make heart charm earrings
10. Add a length of Fireline to a beading needle
and secure the thread end to a jumpring using
an overhand knot. Add a selection of beads and
makingjeweller y.com
9
a charm, then pass the needle back up through
the beads. Use an overhand knot and a dab of
glue to finish; snip away any excess thread and
add an earring finding.
To make the heart charm bracelet
11. Add a length of Fireline to a beading needle
and add a selection of seed beads, approx.
18cm in length (or to suit your wrists). Pass the
needle through one half of a clasp, securing
with a knot. Add approx. 8cm of beads, a charm
and then a further 8cm of beads. Finish off
by adding the second half of the clasp to the
thread and securing with a few knots and a dab
of glue, snipping away any excess thread.
RESOURCES
All tools and supplies for this project
are available from: beadsdirect.co.uk
CONTACT
ClairWolfeJewellery@gmail.com
11
27/05/2016 09:49
 CELEBRITY STYLE

BOHO
CHIC
SUEDE
FRINGING TANSY WILSON

12 makingjeweller y.com

MJ95_P12-13_Celebrity Style SHLGSF.indd 12 02/06/2016 15:38


1 2
PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER
4 5
T
ansy has been inspired
to make this necklace
for Sienna Miller, as she
was famously associated with
championing the trend of ‘Boho
chic’, along with her friend Kate
Moss. Suede and tassels are a
key factor for this look and the
casual knotting and long length
make this a great design for any
hippy chick.
MATERIALS & TOOLS
● 1.5m of green faux suede thong
● 1.5m of blue faux suede thong
● 1.5m of aqua faux suede thong
● 80 x 6mm closed jumprings
● Kumihimo clasp
● Circle connector bead hanger
(code C386AS)
● 5 x leaf charms (code C309S)
RESOURCES
Suede, jumprings and clasps:
hcbeads.com
Circle connector bead hanger,
flower-shaped connector and
leaf charms: bijouxbeads.co.uk
CONTACT
tansywilson@hotmail.com
MJ95_P12-13_Celebrity Style SHLGSF.indd 13
CELEBRITY STYLE
HOW TO MAKE
1. Cut three different colours of
suede thong all 1m in length. Fold
in half to create a loop right in the
middle. Place this loop though the
circle connector and then pass the
six ends of suede through the loop
and pull, securing all the strands
onto the circle connector. You are
now left with six strands of suede
all approx. 50cm long.
2. Separate the strands so you
have three strands on one side
and three on the other. Starting
with one side, randomly pick up
two of the strands and knot them
together. Then slide 10 x closed
jumprings onto only one of these
strands and then tie them both
together above the jumprings. Pick
up another two suede strands and
repeat this process. Now repeat
this step with the other group of
suede strands.
3. Still keeping the two groups
of strands separate, decide upon
the length of where you want the
circle connector to hang. Make
knots at the very ends of each
group and trim the suede as close
to the knot as possible. Mix a two-
part adhesive and glue the knots
inside the ends of a clasp, such as a
kumihimo clasp.
makingjeweller y.com
STYLE
PROFILE
SIENNA
3
PHOTOGRAPH: LEV RADIN/SHUTTERSTOCK.COM
6
4. Take the remaining 50cm
lengths of coloured suede and cut
into 25cm lengths. Select five of Sienna Miller is a British-
them and fold in half, creating a American actress and model
loop at the middle. Place this loop who has starred in many
through the circle connector and blockbusters such as Layer
pass all the ends through the loop Cake, Alfie and more recently
and pull, securing the suede and Burnt alongside heartthrob
hiding the loop on the connector. Bradley Cooper. She started
her career as a model and is
5. Again, randomly select two still heavily involved with the
suede lengths at a time and knot industry today with her own
them together, then slide 10 x fashion label twenty8twelve.
closed jumprings onto one of the
lengths and knot the other side
to secure in place. Repeat to add a
total of four groups of jumprings.
6. You can trim the bottom fringe
to whatever length you wish, but
the longer style is more on trend.
Simply knot a few leaf-shaped
charms to half of the lengths for
that extra detail.
FURTHER IDEAS
PHOTOGRAPH: WITHGOD/SHUTTERSTOCK.COM
You can obtain an alternative look
with this silver studded suede.
Rather than knotting on jumprings,
use chain threaded onto the flower
shaped connector in the same
way as the suede to attach small
turquoise beads and charms for
that extra tassel-tastic look.
13
27/05/2016 09:51
014_MAJ_095.indd 14 5/25/16 2:17 PM
 PROJECT

TROPICAL SWIRL SUE MASON-BURNS

U
se wire and beads in of tropical shades
of pink and blue to decorate these swirl
bracelets. This simple bracelet design is
easy to achieve, and even easier to decorate and
make your own. The weaving technique allows
you to use two different coloured wires for
maximum impact – or all your scrap wire for
a multicolour look. If weaving is not your thing,
then simply add beads to the swirl frame in
many different variations. This project would
suit a beginner as the techniques are simple and
repetitive, providing good weaving practice.

MATERIALS & TOOLS

● 1.25mm (16 gauge) copper wire
● 1mm (18 gauge) copper wire
● 1.6mm (14 gauge) copper wire
● 0.4mm (26 gauge) coloured wire
● 0.5mm (24 gauge) coloured wire
● 8mm round beads
● 6mm round beads
● 6mm faceted rondelle beads
● Flush cutters
● Chain nose pliers
● Flat nose pliers
● Large bail-making pliers
● Medium bail-making pliers
● Small bail-making pliers
● Round bangle mandrel

makingjeweller y.com 15

MJ95_P15-17_Tropical Swirl SHLGSF.indd 15 27/05/2016 09:54


1 2
4 5
1. Flush cut a 2m length of 1.25mm copper
wire. Use the larger jaw of medium bail-making
pliers to make a loop in one end. Position the
smaller jaw of large bail-making pliers beside
the loop and wrap the wire around the larger
jaw to form the first swirl. Reposition the large
bail-making pliers to the opposite side of the
loop and wrap the wire around the larger jaw
again in the opposite direction.
2. Continue in this way, gradually making each
swirl slightly larger than the previous one, until
you have the largest size for the width you wish
to achieve for the bracelet. Continue forming
swirls, remembering to graduate down again as
you reach the opposite end of the bracelet. Finish
with a loop to match the loop you made in Step 1.
3. Cut a 50cm length of 0.4mm wire. Find the
halfway point of this wire and coil 30 times
around the rounded end of the first swirl.
Position the coiled wire so that it sits evenly
around the curve. You will now have two long
tail wires at either side of the coiled section.
Take one of these wires, pass it under the frame
it sits on and over the frame at the opposite
side of the swirl and coil five times. Take the
remaining tail and do the same in the opposite
direction, so the wires cross each other across
the swirl shape. Continue doing this until the
swirl shape is fully woven.
16
MJ95_P15-17_Tropical Swirl SHLGSF.indd 16
PROJECT
3
6
HOW TO MAKE
4. Use both tail wires to begin weaving halfway
along the next swirl section. Continue weaving
as before, coiling five times around each side
of the swirl. Approx. 1cm before the rounded
section, instead of crossing the wires, thread
both tail wires through an 8mm round bead,
one from each side. Coil one of the tail wires
five times around the frame and use the
remaining tail wire to coil until the curved end
of the swirl is fully covered. Trim and secure
both tail wires.
5. Follow the directions given in Step 3 to
weave the remaining, unwoven end of this
swirl section. When the whole swirl section is
woven, following the directions given in Step
4 to begin the next section of weaving on the
next swirl shape down. This time, omit the
bead and simply continue weaving until the
end. Finish off by coiling the curved end. Trim
and secure the tail wires.
6. For the next section, add your bead to the
opposite side of the frame to the first bead you
added. Start as you would for a simple curved
swirl section, by coiling 30 times around the
frame with one end of the wire, then add the
bead as you did in Step 4, and continue weaving
normally, coiling five times on each side of the
frame. Continue weaving in this way, adding
beads at regular intervals along the frame.
makingjeweller y.com
To make a hook
7. Take a 10cm length of 1mm copper wire and
fold it in half. Use chain nose or flat nose pliers
to press both sides of the wire flat together.
8. Bend the folded end of wire around the tip of
flat nose pliers so that it forms a U-shape. This
will form the hook of the clasp, so the U-section
only needs to be big enough to fit snugly around
a 1.25mm frame wire.
9. Use the larger jaw of small bail-making pliers
to make matching loops in the opposite end of
the hook. Attach this hook to one end of the
bracelet by opening the loop at the end of the
bracelet frame. The other loop will act as the
eye of the clasp.
10. Form the bracelet around a round bracelet
mandrel. Use your fi ngers to press the woven
sections fi rmly against the mandrel so they
will take the shape. Push the bracelet down
the mandrel to a size bigger than you need, as
the shape will spring back when you remove it
from the mandrel.
For a simpler style
11. Make a frame as you did in Steps 1 and 2
using 1.6mm copper wire. Take a 2m length of
27/05/2016 09:54

7 8
10
PHOTOGRAPHS: LAUREL GUILFOYLE, SUE MASON-BURNS
13
0.5mm wire in a colour of your choosing and coil
five times around the frame at the curved end of
a swirl shape. Thread on a 6mm bead and coil
five times around the frame on the opposite side
of the swirl. Coil five times around the first side
of the next swirl, add a bead and coil five times
around the opposite side of the frame. Fill all
curved sections of all swirls on both sides in this
way then trim and secure the 0.5mm wire.
12. Follow Steps 7–9 of the woven bracelet
directions, using 1.25mm wire for the hook.
Cut two small lengths of 0.5mm wire and use
them to secure the first swirl shape to the loop
at both ends of the bracelet. This will prevent
the bracelet frame from being pulled out of
shape when it is worn. Make a similar bracelet
MJ95_P15-17_Tropical Swirl SHLGSF.indd 17
PROJECT
9
11 12
14
in this way, with 1.25mm wire as the frame and 14. Weave as you did in Steps 4 and 5, coiling
forming smaller swirls with the smaller jaw of five times on each side of the frame, with the
large bail making pliers, all the same size as alternating wire colours. Omit the beads,
the first swirl shape. Fill the curved sections and continue weaving, adding different
with 6mm faceted crystal rondelle beads using colour combinations as you add new wire for
0.5mm wire. subsequent swirl sections. Add a hook clasp
made from 1mm wire and form around a
To use up old scraps of coloured wire bangle mandrel.
13. Make a frame from 1.25mm wire, with each RESOURCES
swirl the same size as the first, i.e. no graduation, Copper wire: wires.co.uk
and using the smaller jaw of large bail-making Coloured wire: parawire.com
pliers, making smaller swirls. Cut two 40cm Beads are widely available
lengths of wire, each in a different colour. Leave
a small tail for each wire, and coil 12 times from CONTACT
the centre of the curved section out. Do this for wonderfullywired.co.uk
each wire. sue@wonderfullywired.co.uk
makingjeweller y.com 17
02/06/2016 15:39
 COLOUR & STYLE

TOTALLY TROPICAL
Get inspired by nature from faraway destinations to create
te a tropical look.
By Rachelle Bell
POOLSIDE
PARADISE
When the heat is on, there
is nothing better than
lounging by the pool.
This season a pin-up style
is popular by the water.
Bright hues that emphasise
curves, teamed with kitsch
and fun prints are perfect
for this look. Think Palm
Springs in the Fifties and
you can channel your
inner Hollywood film star.
Team your bikini with
some stacked wedge shoes
and oversized sunglasses
to evoke poolside glamour.
A wide-brimmed hat will
disguise swim hair in the
chicest of ways. A sarong
will serve you well as it
can be worn in a variety
of styles, either as a simple
skirt, halter dress or as a
scarf. Accessorise with a
fun flamingo
fu in brooch and
amin
am
you
ou are
yyo arre ready
rea to go from
rea
re
p ol tto
pool
po ol opparty!
pa
ar y
TEQUILA
SUNRISE
While you’re in a tropical
paradise you will need a
few refreshing cocktails.
Exotic fruits and beautiful
sunsets inspire this trend.
Orange, pink and red
hues work well together.
A flowing maxi skirt is
easy to throw on over a
swimsuit for a laid-back
outfit from beach to bar
and will keep you cool and
comfortable. A sunburst
necklace is another
suitcase essential to uplift
any outfit. Eye-catching
geometric shapes in
resin and plastics are a
contemporary alternative
to precious jewellery.
ry. Of
course, no cocktail party
is complete withoutut a
shimmering cocktail ail ring!
A pair of smart yet comfy
ballet shoes will save
ve
your soles when seeing
eing
the sights and offerr more
support than flip-fl ops.
flops.
Swimsuit £30, skirt dress
£28, mandco.com
Brush stroke midi skirt
irt
£69, phase-eight.co.uk
o.uk
Pointy pumps £25,
simplybe.co.uk
Resin chunky necklace
necklaace
£29, east.com

B
Bikini top £25,
£ bikini
wrap £35,
brieff £18, w
b
houseoffra
h raser.co.uk
Chevron w
C wedge mules £49,
debenhams.com/faith
debenham
d
RRetro
t sunglasses £9.95,
wwhatsabouttown.com
FFlamingo brooch £23,
ddaisypark.co.uk

MJ95_P18-19_Colour & Style SHLGSF.indd 18 27/05/2016 09:59

 COLOUR & STYLE

JUNGLE
FEVER
This trend takes
inspiration from deep in
the rainforest – tropical
blooms, twisting vines
and rare wildlife. To
create a ‘safari-chic’ look,
the colour palette is based
on neutral, camouflage
colours such as khaki and
beige. To mix it up, add
pops of bright colour and
animal prints. Go bold in
a leopard-print jumpsuit
or walk on the wild side
with a pair of animal
print flats. A sheer and
flowing kaftan is a perfect
cover-up in hot weather.
Wear with tribal-inspired
jewellery. Wooden
bangles and gold hoop
earrings pair brilliantly
with this exotic style.
Animal charm necklaces
such as elephants or lions
add the perfect finishing
touch to your outfit.

Kimono £19, bikini top £4,

shorts £10, hat £4, sandals
£12, primark.com
Jungle kaftan by Matthewew
EXOTIC PRINTS Williamson £38,
debenhams.com
Depending on what part of Black fringe heels £19.99,
99,
the world you’re visiting, theree deichmann.com
is usually an abundance of Leopard-print jumpsuitt
traditional prints and patterns.s. £110, houseoffraser.co.uk/
.uk/
Neutral prints are everywheree biba
this summer. Earthy tones
teamed with metallics look
polished and sophisticated.
Jumpsuits are so easy to wear
and they are easily dressed up
or down. Wear with wedges
and a few ethnic bracelets for
an evening look. Alternatively,,
add canvas trainers and a goldd
backpack for a day of glamorous us
adventuring. Wide-leg trousers rs
are ideal as they are breezy andd
effortless. Team with a delicatee
stone camisole for an easy
tourist outfit. In the evening,
wear the trousers with a sheerr
blouse and ballet shoes for
a classic look.

Plait wedges £18, printed jumpsuit

uit
£20, heatonsstores.com
Wide leg printed trousers £35,
marksandspencer.com
Orla Kiely daisy chain flower
bracelet £150, Pantone gold
mini backpack £45, amara.com m
craftsinstitute.com 19

MJ95_P18-19_Colour & Style SHLGSF.indd 19 27/05/2016 09:59

 TIPS & TECHNIQUES

RESIN, PAPER
AND BEZELS LINZI ALFORD-BUCKMASTER

T
his technique looks at making pendants
from resin-covered paper. Any image
can be used such as from a book,
photos, printed from your computer or use
craft images especially for this purpose. We
are using TotalCast, a new brand of resin that
can be used for casting, coating or setting. The
twin pack makes 200g, which should be enough
for pendants and other small items. Make sure
you have all your projects ready to pour resin
onto beforehand, as it begins to cure in about
40 minutes. Test the colourfastness first and be
sure to seal with several coats of sealant before
applying resin to avoid seeping or discolouration.

MATERIALS & TOOLS

● TotalCast resin 200g, one-use twin pack

● Various images cut from old books
● Bezels and pendant settings
● Glue-on bails
● Spray sealer
● White glue
● Jewellery crystal 2-part adhesive
● Non-stick mat
● Sharp scissors
● Brush or sponge applicator
● Wooden cocktail sticks
● Drill or hole punch

20

MJ95_P20-23_Resin Tech SHLGSF.indd 20 02/06/2016 15:40

 TIPS & TECHNIQUES

1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE, LINZI ALFORD-BUCKMASTER

4 5 6

HOW TO MAKE
Resin coated paper cover with an upturned bowl or similar to avoid
dust settling and keep children and pets away.
1. Firstly cut out your image using sharp
scissors. Seal the front and reverse with three 5. Once images are completely dry, trim
coats of sealer, allowing to dry thoroughly any excess resin away from the edges, using
between each coat. Without sealing the image sharp scissors or a craft knife. Any holes for
can become transparent or discoloured when attachment points can now be drilled or made
covered with resin. using a hole punch.

2. To strengthen the image and provide a Flowers embedded in resin

plain-coloured back to hide the reverse of the
image (if cut out from a book, for example), add 6. To make pendants with dried flower
a card backing. Use white glue generously and inclusions, firstly be sure the flowers are
once dry, seal the backing with spray sealer. Cut totally dry; any moisture can cloud the resin
neatly around the edges. or prevent it setting. To fi x the flowers to
the base of the mould add a dab of white
3. Mix the resin. If using the one-use pack then glue, which prevents the flower
remove the clip from the centre of the pack floating around when the resin
then swoosh both parts of the resin from side is poured. If preferred the
to side using your fingers to ensure it is mixed flowers could be added in
completely within the bag, including from the resin layers, allowing
bag corners. After mixing for around three each to dry before
minutes, the resin is ready to use. Snip a corner adding the next.
from the bag and decant into pouring cups for
accuracy and ease of use.

4. Using a brush (that you do not want to use

again) or a sponge applicator, cover the images
with a thin layer of resin. Do this on a non-stick
mat so that you can leave the images on it to
dry overnight or ideally for 24 hours. Be sure to

makingjeweller y.com 21

MJ95_P20-23_Resin Tech SHLGSF.indd 21 27/05/2016 10:00

 TIPS & TECHNIQUES

7 8 9

10 11 12

7. Position the flower or flowers with a cocktail

stick and keep repositioning while you slowly
add the resin to the mould. Use a wooden stick
to drizzle the resin gradually until the mould
is full. Repeat for each flower mould. Be sure
to position the mould where you can leave it
to dry as trying to move a full mould can
cause overspills.

8. After about 24 hours, the cast piece will have

dried and can be removed from the mould, by
popping out from the reverse gently. Remove
any spills with scissors or wire cutters and sand
away any rough edges. Glue on bails or drill
holes if required.

Resin in bezels

9. To make paper in bezel pieces, firstly trace

the outline on the paper. A helpful tip is to use
a coin for circular items and draw around with 12. Drizzle resin into the bezels, but be careful Inspirational pieces
a pencil (as pen can sometimes bleed under not to overfi ll them. Add the last drops to form
resin). Cut out the shapes using sharp scissors. a dome if desired. Again, make sure you won’t 1. Maroon bangle
need to move the items, as it will cause the 2. Blue/Red bangles
10. If using open back bezels (such as brass resin to spill over and spoil any domes that you 3. Five resin bangles
curtain rings), then firmly glue a card backing created. Allow to dry for 24 hours before adding 4. Resin donut
into place. Make sure the inner is sealed with bails, making holes as required. 5. Resin ring
plenty of glue to prevent the resin escaping. 6. Resin cabochons
CONTACT
11. Using white glue applied with brush or magpieinthesky.co.uk All inspirational pieces use Total Cast resin
finger fi x the images into place inside the facebook.com/magpieinthesky and are by Clare John, resin8.co.uk
bezels, allow the glue to dry totally. linzi@magpieinthesky.co.uk

22 makingjeweller y.com

MJ95_P20-23_Resin Tech SHLGSF.indd 22 27/05/2016 10:01

 INSPIRATIONAL PIECES

1 2 3

4 5 6

makingjeweller y.com 23

MJ95_P20-23_Resin Tech SHLGSF.indd 23 27/05/2016 10:01

 PROJECT

FRUIT PUNCH CHLOE MENAGE

C
reate sparkling crystal fruit charms – MATERIALS & TOOLS
the lemons, oranges and cherries are ● 0.25mm or 0.3mm clear monofi lament ● Curb chain
ideal for beginner beaders, while the thread or crystal Fireline ● Headpins
pineapple is a little more challenging. This ● Plenty of 4mm Swarovski Xilions in ● Necklace end
Japanese style of beadweaving uses a variation fruity colours ● Scissors
of right-angle weave. It works best when created ● Size 15 seed beads ● Needles (if using the Fireline)
with a clear monofi lament thread to give the ● Size 11 seed beads (green) ● Chain nose pliers
charms a structure. You may need to add some ● Pinch of size 8 seed beads (green) ● Round nose pliers
scrunched-up cling fi lm inside the pineapple to ● 4mm soldered jumpring ● Cutters
pad it out before completing the final units. You ● Czech glass leaf beads ● Permanent marker in two colours
don’t need to use a needle with this thread, but ● Czech glass or polymer clay fruit beads
use a permanent pen to colour each end of it; ● Strong thread/Fireline
one end blue and the other pink or red. (for the charm bracelet)

24 makingjeweller y.com

MJ95_P24-27_Fruit Punch SHLGSF.indd 24 27/05/2016 10:02


1 2
5 6
Basic fruit
1. Cut a 40cm length of thread and pick up
3 crystals. With the pink thread pick up a
crystal and pass the blue thread through in
the opposite direction (crossover). Move to
the centre of the thread. To add the next unit,
pick up a crystal on each thread and then add a
crossover bead. Repeat to add a third unit. Join
the final unit to the first one by picking up a
bead on each thread and crossing over through
the middle bead in the first unit (see diagram).
Reinforce and pass through the four beads on
the two sides of the cube not fully joined by
thread to tighten. This is essentially a unit of
CRAW (cubic right-angle weave).
Orange
2. Use orange coloured crystals and follow the
steps above. Work the threads through to exit
from adjacent beads. Pick up a jumpring on one
thread and pass into the next bead, cross the
other thread through the jumpring into the bead.
Work around and pass through again to reinforce.
Knot the thread and work in the ends securely.
The charms can be added to the bracelet.
Lemon
3. Follow Step 1 using yellow crystals and then
finish off the threads securely. On a headpin,
thread on a yellow crystal and pass directly
through the middle of the beaded cube. Thread
MJ95_P24-27_Fruit Punch SHLGSF.indd 25
PROJECT
3 4
7 8
HOW TO MAKE
on another crystal. Snug up the beads and
make a wrapped loop a few millimetres above
the crystal. These can be added to the charm
bracelet or to earrings.
Cherry Duo
4. Use red crystals and follow Step 1, but don’t
trim the thread yet. Pass the threads through so
that they are exiting from two adjacent beads.
On one cherry, pinch the threads together
and pick up 11 x size 11 seed beads and add a
bead stopper. With the second cherry repeat,
but pick up 6 x size 11 seed beads. Pick up the
first cherry and count up 8 seed beads. Pass
both threads from the second cherry up the
remaining beads in the stem. Snug everything
up. With pliers, attach a triangle clamp to a leaf
bead and then thread this onto the stem and
add one more seed bead. Pass all four threads
through a necklace end and a crimp bead.
Gently crush the crimp bead and add a dab of
glue or nail varnish. When dry, trim the ends
and close the necklace end with pliers.
Strawberry
5. On the pink thread, pick up 1 x 4mm Xilion,
1 x size 15, 1 x 4mm Xilion, 1 x size 15 and 1
x 4mm, cross the blue thread through the last
Xilion added. On the Blue thread pick up 1 x size
15, 1 x 4mm Xilion and a size 15. On the pink
thread pick up 1 x 4mm Xilion and cross the
thread through. On the pink thread pick up 1
makingjeweller y.com
x size 15, 1 x 4mm Xilion and a size 15. On the
blue thread pick up 1 x 4mm Xilion and cross
the thread through to make a third unit. Make a
fourth unit by picking up a seed bead and crystal
on the blue thread. Pass the pink thread through
the Xilion from the first unit, pick up a size 15
then cross the thread through the new Xilion.
6. With the blue thread, pick up 1 x size 15, 1 x
4mm Xilion, 1 x size 15, 1 x 4mm Xilion. With
the pink thread pick up 1 x size 15 and cross
through the last Xilion added. On the blue
thread, pick up 1 x size 15 and pass through the
next Xilion in the base square, pick up 1 x size
15. On the Pink thread pick up 1 x size 15, 1 x
4mm Xilion and cross both threads through
this Xilion. Repeat around to add two more
units, but on the final unit you don’t need to
pick up a Xilion.
7. Exit one thread from a size 15 on the top, pick
up 3 x size 11 green beads, pass in to the next
size 15. Repeat around to add four trios of beads.
Pass up through the first size 11 bead in a set.
Pass down into the third and directly across into
the first size 11 in the next set. Repeat around.
Work in threads securely and trim.
8. To make up the strawberry, on a headpin pick
up 1 x 4mm bead and thread the pin through
the bottom of the strawberry (the set of four
crystals with no seed beads). Pass through the
top and then thread on a green size 8 seed bead.
Snug up and make a wrapped loop.
25
27/05/2016 10:02

4 5
3 1
2 13
9 10
13 14
Pineapple
9. You will make units made up of 3 crystals
with size 15 seed beads in between; these join
into flower shapes with five central crystals to
create the body of the pineapple. You always
cross over in a crystal. On a comfortable length
of monofilament thread pick up [1 crystal, 1 seed
bead] 3 times. Cross the thread through the first
crystal and move the unit to the centre of the
thread. On the blue thread pick up: 1 seed bead
(SB), 1 crystal (C), 1 SB, on the pink thread pick
up 1 SB and 1 C. Crossover (unit 2). Pink; pick up
1 x SB, 1 x C, 1 x SB, blue; pick up 1 x SB, 1 x C,
crossover (unit 3). Pink; PU 1 x SB, 1 x C, 1 x SB,
blue; PU 1 x SB, 1 x C, crossover (unit 4). Blue;
pick up 1 x SB, pass through the nearest crystal,
pick up (PU) 1 x SB, 1 x C. Pink; pick up 1 x SB,
crossover (unit 5 – one flower now complete).
10. Pink; PU 1 x SB, 1C, 1 x SB. Blue; PU 1 x
SB, 1 C, crossover (unit 6). Blue; PU 1 x SB, 1
x C, 1 x SB. Pink; PU 1 x SB, 1 x C, crossover
(unit 7). Pink; PU 1 x SB, 1 x C, blue; PU 1 x SB,
pass through the next crystal, PU 1 x SB and
crossover (unit 8).
11. Blue; PU 1 x SB, 1C, 1 x SB. Pink PU 1 x SB,
1C and crossover (unit 9). Blue; PU 1 x SB, pass
through crystal and PU 1 x SB. Pink; PU 1 x
SB and 1 C, crossover to complete flower (unit
10). Following the diagram and this step, work
around to create flower shapes – each crystal
should have a seed bead between it: Make one
more unit (11) then complete the next flower
26
MJ95_P24-27_Fruit Punch SHLGSF.indd 26
PROJECT
7
6 8 15
14
12
11
15
(1 new crystal – unit 12). Make one more unit
(2 new crystals – unit 13). Complete this flower
using the 1 new crystal as the crossover; don’t
forget to PU seed bead before and after passing
through the base crystal (unit 14). To complete
the next flower on the pink thread, PU 1 seed
bead and pass through the existing crystal.
PU 1 x SB, 1 x C, on blue PU x SB, crossover to
make unit 15.
12. Working anticlockwise, make another
flower: unit 16 with 2 new crystals, unit 17
with one new crystal, unit 18 with one new
crystal (crossover through this). Now when
viewing the pineapple from the top you will
have four crystals on the top edge, with seed
beads between them – two sets of 4 beads,
two sets of 3. Next work around to add trios
of crystals, but only add a seed bead at the top
of the crystal trios, not at the bottom – unless
you pass over a trio of seed beads then you
should add a seed bead in order to turn it into
circle of 5 – see diagram.
13. To complete the top of the pineapple, work
the shortest end of the thread into work. With
the longest length exit from a size 15 at the top,
PU 4 x size 11 seed beads, pass into the next
size 15. Repeat around, pull snug (herringbone).
Pass up to exit from the second seed bead added
in the first group (stepping up). Pick up 4 x size
11, pass down through the third/fourth beads
in first group (ignoring the size 15), pass up
into the first two from next segment. Repeat
around, then step up.
makingjeweller y.com
9
PHOTOGRAPHS: LAUREL GUILFOYLE;
10
DIAGRAMS: CHLOE MANAGE
11
12
14. Pick up 5 seed beads, pass down through
two in the stack, then PU 2 seed beads, pass up
into the top bead in the next segment. Repeat
around. Pass down into the work, ensure
thread is secure and trim thread. Attach a
jumpring securely to the top of a leafy part.
Charm bracelet
15. Cut chain to your required length. Use
wrapped loops or triangle clamps to attach
the glass leaves to the chain. If you wish to
add beaded loops to either end remember to
allow for these in your calculations. To add the
loops cut a short length of strong thread and
wax well. Pick up enough size 11 seed beads to
match your chain link in size. Pass through the
last chain link and then through all the beads
again and then knot. Reinforce and repeat with
the ends. Ensure this is secure before you trim.
Add more links in the same way. Attach a clasp
and jumpring to the fi nal link on each end.
Attach the beaded fruit with jumprings and use
headpins and wrapped loops to add on polymer
clay or glass fruit beads.
RESOURCES
Crystals and seed beads are widely available
from advertisers in this magazine.
Czech glass fruit beads: crystals-and-ice.co.uk
Polymer clay fruit beads: craftjam.co.uk
CONTACT
pinkhot.co.uk
info@pinkhot.co.uk
27/05/2016 10:02
 27

MJ95_P24-27_Fruit Punch SHLGSF.indd 27 27/05/2016 10:02

 Fusion Beads, Inc.

Where your
jewellery begins.
Sleek, sophisticated and always in trend,
precious metals add a stylish touch to
any design. Explore our Amoracast st line
today to find your new favourite
sterling silver and gold vermeil
charms, focals and components.

FusionBeads.com/BeadUK

028_MAJ_095.indd 28 6/2/16 12:58 PM

 FEATURE

AE FI
L E Which materials

R
do you most enjoy
O working with?

R
PR
c Cords, yarns, threads and
fibres of all types are what I

M
love to work with because my great

N E love is kumihimo braiding. Smaller

beads of all types are worked into the

I G braids to create my favourite style of jewellery.

D E S
R U Tell us
This has led me to develop my own disk, the
Prumihimo disk, which produces a distinctive
beaded braid and takes kumihimo to a new level.

P a bit about
Have you always been
interested in craft and
making jewellery?
I come from a very artistic
and craft-loving family, so many
of my happiest times as a child were
spent sewing, knitting and crafting with
my mother and three sisters. As a mother, I
have always encouraged my sons to express
themselves through drawing and making.
your background
and training.
After studying literature
at university, my career was
in buying for a major high street
fashion chain. I have found this
commercial grounding to be very useful as
a designer because it encourages me to focus
on trends and the market, rather than just the
aesthetics of jewellery making. My jewellery
making skills have been learned here and there,
in workshops, from magazines and books and
from lots of trial and error.
Can you remember the first piece of jewellery
you made?
I remember making beads out of air-dried
clay as a child and making a necklace for
my mother. More recently, I remember the
excitement when I learned how to make
a wrapped loop and made a simple pair of
earrings. I think that might have been the start
of my obsession with jewellery making!
Where do you look for inspiration?
I find most of my inspiration in the materials
themselves. I love to work with all the new bead
shapes as they come onto the market. If I have
a bit of a block I just sort through my stash,
putting different beads and cords together until
inspiration strikes. It works every time!
How would you describe the style of the
jewellery you make?
My aim is to use traditional braiding techniques
to create contemporary styles, full of colour and
texture, topped off with a touch of prettiness.
What is the most challenging piece of jewellery
you’ve made?
I like to challenge myself with each new piece
by tackling new techniques, but a particularly
challenging design was the one that won the
Making Jewellery Braiding Britain competition
in 2012. It required nearly 500 wrapped loops!
If I wasn’t a designer I would be...
A novelist. I am currently writing a kumihimo
book, so perhaps the novel will follow on
afterwards. Fifty Braids of Grey might be
a good working title!

pru@prumihimo.com
prumihimo.com

makingjeweller y.com 29

MJ95_P29_Designer Profile SHLGSF.indd 29 27/05/2016 10:02

 PROJECT

BEYOND
BIRDS SIAN HAMILTON

T
his project shows you how to use the
foam texture plates made using the
technique on page 72.

MATERIALS & TOOLS

● Base metal clay (bronze or copper)
● Teflon sheet, roller and spacer bars
● Craft knife and tissue blade
● Cutters (of your choice)
● Pin vise and 1.5mm drill bit
● Texture plates
● 5mm bar or tube
● Baby wipes
● Small fine brush and cold water
● Old light bulb, shallow bowl
or other drying shape
● Kiln, steel pan and coconut carbon or torch
● Brass brush
● Liver of sulphur (optional)
● Polishing cloth and Renaissance wax

HOW TO MAKE
1. To make these pieces I used Prometheus
clay, also branded as Creative Clay in the UK.
It’s easy to use and dries very hard, which is an
advantage if you have butter fingers! To start
open the package and take out a small lump.
I used about 30g to make the first three birds.
Remember to pack up the remaining clay so it
does not dry out – cling fi lm is good for keeping
the clay well wrapped. Roll out a sheet using
1.5mm spacer bars.

2. Take your foam texture sheets of birds (see

page 72 for the technique) and lay them out on
the rolled out clay using as much of the clay as
possible. Place 1mm spacer bars either side of
the clay sheet and roll once away from you with
a firm pressure. I did this with the teflon sheet
still under the clay although it doesn’t show in
the picture.

30 makingjeweller y.com

MJ95_P30-32_Beyond Birds SHSF.indd 30 02/06/2016 14:03

 PROJECT

1 2 3

4 5 6

7 8

3. Gently peel the foam sheets off the clay. Clay
doesn’t stick to the foam so you don’t need to
worry about any release agent. Some brands of
clay can be a bit sticky so use a little olive oil if you
are struggling with the clay sticking to the foam.
Cut around the birds with a craft knife; be as neat
as possible as it’s less to clean up after they have
dried. Place the birds somewhere to dry.
4. You can either drill a hole through the top of
the birds and hang them with jumprings (like the
three piece copper one on the left) or make an
arch for the back for cord or chain to go through.
To make the small arches, roll out a clay sheet
using the 1mm spacers and cut little strips using
a tissue blade. Take a 5mm bar, tube or drinking
straw and lay the strips over it to dry. As the
arches dry, they like to curl up so you will need to
gently coax them down again if they do that.
5. Wet the area on the bird’s back with water
and a small brush. Wait a second for it to soak in
then wet the arch edges and place the arch on the
damp bird. Gently wiggle the clay until you feel
it grab. If it doesn’t then add more water, but be
careful not to add too much water.
6. Clean up the rough edges of the bird with a
baby wipe. This is the cleanest way to smooth the
clay edges as you don’t create any dust.
the Prometheus I used). All my pieces were fired
7. If you are drilling holes for jumprings, do this in carbon using the manufacturer’s recommended
after you smooth the edges. cycle. When the pieces have cooled and are out of
the kiln, you can simply brass brush them, like the
8. Let all the clay pieces dry completely then copper ones and the top bronze one in the main
preferably fire in a kiln with coconut carbon using image (opposite page). The middle bird’s finish is
a two stage firing. This gives the best results, how it came out of the kiln, sealed with a coat of
colour wise and in strength. You can torch fire Renaissance wax. Add jumprings to any drilled
many brands of copper and bronze clay (including pieces and hang on a chain.

makingjeweller y.com 31

MJ95_P30-32_Beyond Birds SHSF.indd 31 06/06/2016 14:55


9 10
11
13
9. To make any of the disc style pieces follow
Steps 1 and 2 to roll out and texture the clay
sheet. Cut out the disc shape – I used a 40mm
cutter for these. The swirly texture shown
here was made by drawing a random swirl
freehand on the foam sheet. The two swirly
textured pendants are copper clay and the
flower pendant (Step 13 image, also on page 31)
is bronze clay.
10. The two pendants with a hole cut out were
done with a 15mm circle cutter. Cut the outside
disc first then the inner one.
11. If you want a domed shape then an old light
bulb is the best thing going as a shaper. Place a
little olive oil or badger balm on the bulb and
place the disc on top. Prop up the bulb with a
32
MJ95_P30-32_Beyond Birds SHSF.indd 32
PROJECT
12
PHOTOGRAPHS: LAUREL GUILFOYLE, SIAN HAMILTON
water. See our website makingjewellery.com for
instructions on making flower moulds. Follow
14 Step 8 and fire the clay using the instructions
recommended by the brand you are using. After
they are fired and have cooled, brass brushing
bit of polymer clay or Blu Tack to hold it upright gives a nice final finish on any clay piece.
and level while the clay dries. Leave the clay on
the bulb until completely dry. I used an arch 14. Copper clay looks particularly nice with a
on the back of the domed pendant for the cord liver of sulphur (LOS) fi nish. To do this you will
to go through. It’s attached the same way as in need LOS and two water containers. Place hot
Step 5. The flower pendant in the Step 13 image water (not boiling) in one container and add a
has been dried on a bulb after the inner disc is few drops of LOS. In a second container place
cut out (as in Step 10). cold water. Dip the copper pieces into the LOS
solution until you like the colour fi nish. When
12. The concave pendant was made by placing happy with the finish, wash the pieces in the
the disc inside a tiny shallow bowl with the second container with cold, clean water. Finally
texture facing up. Leave to dry completely. polish with a copper cloth to reveal the high
points of the textured design. Add a chain or
13. If making the flower pendant (pictured in cord with a clasp to finish the necklace.
this step), you can add the moulded flower at
the dry stage again using water to stick the two RESOURCES
together (like in Step 5). You might need a little All materials are available from metal
paste, which can be made using a lump clay and clay suppliers
makingjeweller y.com
06/06/2016 14:55
 Flux’n’Flame
Jewellery School
At Flux n Flame we offer jewellery
DQGVLOYHUVPLWKLQJFRXUVHVZRUNLQJ
with sterling silver, gold and precious
stones using traditional jewellery
PDNLQJWHFKQLTXHV6PDOOJURXSV
friendly, informal atmosphere with
superb tuition from professional
award winning jewellers
$O -HVD0DUVKDOO
2XUJRUJHRXVZRUNVKRSLVIXOO\
HTXLSSHGDQGSXUSRVHEXLOWDQGLV
situated in the heart of the
beautiful Dorset countryVLGH
‘Humour, patience and creativity
Jess and Al have in abundance.
Nothing is too much trouble, and
everyone is treated like family.
One of the nicest places you could
wish for to learn and express yourself,
comforted in the knowledge that
each piece will be made to their
exacting standards.
I can’t praise them highly enough.’
Susan, student
For a brochure contact us at
Flux’n’Flame
Milton Abbas, Dorset DT11 OBD
Tel: 01258 881690
Mobile 07785 550771
(PDLOVPLOHDORW#ÀX[QÀDPHFRXN
ZZZÀX[QÀDPHFRXN

033_MAJ_095.indd 33 6/3/16 11:28 AM


SELLING AT FAIRS
Jessica Rose provides a useful checklist on how to sell your
jewellery at a fair or market.
F
or a lot of new jewellery businesses,
selling at a fair or market is one of the
first steps in attracting customers outside
your circle of friends and family. However,
there is a lot more to it than renting a table and
spreading out your wares, so I have put together
a checklist to help you get as much as possible
out of your first markets and fairs.
CHOOSING THE RIGHT MARKET
You can find plenty of fêtes, markets, school
events and so on at stallfinder.com. Search for
your area and the month you’re thinking of
selling. It is very easy to decide to sell at fairs
that are very near to your home. However,
they might turn out not to be suitable for your
jewellery, so it is important to do some research
before you book.
Some of the things to think about are:
● Does the event have a website with clear
information for stallholders and shoppers?
● How is it being marketed? Is it being
advertised in the local press? Will there be
leaflets in local shops? Do you think this is
sufficient to draw in a crowd?
● If it is a regular event, have there been any
reviews or social media about it, or do you
know anyone who has been?
● What does a stall cost? You need to think
about how much you would have to sell to
make a profit.
● Will it be easy for you to get there and how
much will your transport cost? People often
forget this cost when budgeting for selling
at a fair.
● See if you can find out how many jewellery
stalls there will be. If there are others, people
may attend knowing there will be jewellery
on offer, but too many could make it harder
for you to stand out.
PREPARATION IS EVERYTHING
There is a lot more to preparing for a fair than
getting your stock together (I’ll come to stock
in a moment).
● Transport: Even if you do have a car, you
may find that parking is a distance away. You
need to be able to move your stock, display
34
MJ95_P34_Business Matters SHLGSF.indd 34
BUSINESS MATTERS
items and everything else you need easily.
I would recommend a wheelie suitcase or
a folding camping trolley you can place
boxes on. Whatever way you travel, plan in
advance, including leaving time for delays,
and check you can move everything
● Displaying your jewellery: Check what
space you will have and practise at home to
ensure you know how your stall will look.
Remember you will have to transport your
display items.
● Survival pack: Pack a backpack with all the
things you might need to get through the day
including extra clothing, food and drink (food
at fairs can be expensive and you may not be
able to leave the stall to join a long queue),
pens, umbrella, drawing pins, extra labels and
packaging, to name a few. It is also a good idea
to have something to do in down time, but
make it relevant, such as polishing or beading.
Make sure it’s something that won’t stop you
noticing and talking to customers.
● Marketing materials: Make sure you have a
clipboard with a sign-up sheet so that even
if people don’t buy on the day you can follow
up on potential customers plus, business
cards or flyers to give away.
● Taking payment: Bring a money belt
or similar with lots of change. You can
guarantee that the first customer will pay
with a large note. Also consider allowing
people to pay by PayPal if you have a
smartphone or tablet and internet access.
There are also card readers that work with
mobile phones but this may be an additional
cost you aren’t ready for yet.
● Advance marketing: Make sure you spread the
word in advance that you will be at the fair.
Tell friends and family (hopefully they’ll tell
others), announce details of the fair on your
social media and on your blog or website.
STOCK
Deciding how much stock to take is tricky.
Spending a lot of time and money making stock
that doesn’t sell is a waste, but so is selling out
early and having an empty looking stall will
not attract customers. This is why planning
your display in advance is useful. You can see
how many items will look good and what works
makingjeweller y.com
PHOTOGRAPH: SKYNAVIN/SHUTTERSTOCK.COM
together. You also don’t want to display all your
items at once, for security and also you can fi ll
gaps when you sell items.
This will give you an idea of what capacity
you have for stock, but you also need to
consider how many items you need to sell to
cover the costs of being at the fair and how
much you can afford to make in advance. Set
yourself a budget for stock and stick to it.
Remember to make items with a wide range of
prices so you can appeal to different buyers.
If you take a tablet or smartphone, you
can also show pictures of other designs to
potential customers.
ON THE DAY
Because you have prepared well, arriving
and setting up should go smoothly so you
can concentrate on attracting customers. Be
friendly and approachable, making eye contact
with people but don’t crowd them if they just
want to browse – over-eager sellers can chase
customers away.
Be prepared to answer questions and
discuss whether something might be available
in different colours, for example. Every
conversation with a potential customer is
useful feedback.
Take the opportunity to get to know your
fellow stallholders during set up and in quiet
periods. That way you might hear about other
good shows and have someone to keep an eye
on your stall when you need a break.
REVIEW YOUR DAY
After the show, think about the day and what
worked or didn’t. Think beyond whether
you made money or not, although this is an
important factor. You should also consider
what items were popular, whether your prices
were right for the event and any feedback you
received (good and bad).
Don’t be discouraged if your first fair didn’t go
as well as you’d hoped; everything you learned
will help you build a more successful jewellery
business in the future.
Visit londonjewelleryschool.co.uk or call
020 3176 0546 for further details.
27/05/2016 10:03
 Caverswall Minerals MAKE YOUR OWN JEWELLERY
JEWELLERY
Set your own stones, ceramics, resins etc into our silver 925 mounts. TOOLS NOW
We have a very large selection of silver settings and mounts including AVAILABLE
inss
pendants, brooches, cufflinks, rings, lockets, earrings, bracelets, stick pins ONLINE
and tie bars etc in many different styles from modern, classic and celtic c all
a
polished and easy to set.

We supply a large range of semi precious cabochons

Tel: 01782 393838 email: phil@caverswallminerals.com

www.caverswallminerals.com

tŝƚŚŝŶŽƵƌůĂĚĚŝŶ͛ƐĂǀĞĨƵůůŽĨĮŶĞĂƌƚĂŶĚĐƌĂŌƚŽŽůƐ
ĂŶĚŵĂƚĞƌŝĂůƐ͕LJŽƵǁŝůůĮŶĚ~
• ƌƚůĂLJ^ŝůǀĞƌĐůĂLJƐ
• WƵƌĞƐŝůǀĞƌĮŶĚŝŶŐƐ
• &ŝƌĞĂďůĞĐƵďŝĐnjŝƌĐŽŶŝĂ
• Gedeo Resins
• ^ĐƵůƉĞLJƉŽůLJŵĞƌĐůĂLJƐ
• &ŝŵŽƉŽůLJŵĞƌĐůĂLJƐ
• 'ůŝƐƚĞŶŝŶŐWĞĂƌůͲdžƉŽǁĚĞƌƐ
• DŝůůŝƉƵƚĞƉŽdžLJƉƵƩLJ
• DĞƌŝŶŽǁŽŽůΘƐŝůŬĮďƌĞ
• Lustrous silk yarns
• KŝůΘĂĐƌLJůŝĐƉĂŝŶƚƐ
• ĂŶĚŵƵĐŚ͕ŵƵĐŚŵŽƌĞ͘͘͘

www.georgeweil.com
If you would like to visit our cave(!), we are open
ĕQHDUW FUDIWVXSSOLHVIURP

george weil
Mon-Fri 9.30-4.30 and Saturdays 9.30-5.00:
George Weil & Sons Ltd, Old Porsmouth Road,
Peasmarsh, Nr. Guildford, Surrey, GU3 1LZ
tel: 01483 565800 email: sales@georgeweil.com

035_MAJ_095.indd 35 5/31/16 9:42 AM

 FEATURE
10 QUESTIONS
AMY PROUT FROM FOXES & FABLES
When did your interest in jewellery first start?
I’ve always had an interest in fashion and
jewellery but I never really considered it as a
career option until I took an evening course on
jewellery-making. It was a lightbulb moment, I
loved everything about making jewellery from
the initial idea to the finished product. I knew
then that I’d found my vocation and I’ve been
designing and making jewellery ever since.
Do you have any formal training? If so, where
did you train?
My background is in Fine Art, which I studied
at Coventry University, but after graduating in
2009 I wasn’t sure what I wanted to do, except
that I wanted to work in the creative industry.
After university I signed up to a six-month
evening course in silversmithing (jewellery-
making) in Shrewsbury. After the course I
invested in some equipment and books and
developed my skills – with a little help from
YouTube videos and a lot of trial and error!
Where is your studio?
I currently work from home, where my dining
room has become my studio/office. It’s very
inspiring as I live in the country and have a
wonderful view of the garden and its wildlife
while I work.
Where do you find inspiration and how do you
decide what to make next?
I love nature and being outside and often
find my inspiration when taking a long walk
through the countryside or simply watching
the wildlife through my studio window. For
instance, my Bumble Bee necklace was inspired
by watching the bees at work in my garden.
Deciding what to make is really difficult, unless
I have a commission. I generally end up starting
with the design that is most appropriate for the
time of year. For example, during the spring
and summer I would start work on the floral
designs first. Sometimes though, if I’ve got
time, I make the design I’m most excited about.
What is your preferred medium?
I mainly work with sterling silver because it’s
available in all shapes and sizes, is very malleable
and extremely attractive. I occasionally use
36 makingjeweller y.com
MJ95_P36-37_10 Questions SHLGSF.indd 36
gold and gold leaf to add details and contrast to
certain pieces. I think that when something is
made from silver or gold it is extra special and
also it can last a lifetime.
Do you have a favourite tool?
My favourite tool would have to be my Sievert
blow torch. When I first started making jewellery
I had a small hand held torch similar to the kind
chefs use, which was fine but it meant I couldn’t
make anything that required a lot of heat. A
couple of years ago, I finally invested in a bigger
blow torch and now I can make anything
I want and I can even do my own casting.
Which techniques do you enjoy using?
One of my favourite techniques is delft clay
casting. This enables me to create beautiful 3D
pieces from my scrap silver. This process is very
satisfying and it opened up a whole new range
of possibilities for my jewellery making. For
example, my hand-cast solid silver heart range
has been extremely popular.
Do you offer workshops or classes?
I don’t currently offer any workshops because
of my lack of studio space but it is something
I hope to do in the future.
What are your goals?
Eventually, I would love to have a purpose-
built studio at the bottom of my garden. I am
also keen to learn some new techniques - the
problem is finding the time. But my main goal
is to continue producing unique pieces of
jewellery that people love to wear.
What’s your favourite thing that you’ve ever
made? Is there one project that stands out
above the others?
One of the first things I designed and made
after I finished my jewellery-making course
was my Statement Sailboat necklace. It has
been one of my most popular designs and its
popularity gave me the confidence to pursue
my dream of running my own business.
CONTACT DETAILS
foxesandfables@gmail.com
foxesandfables.co.uk
27/05/2016 10:03
 FEATURE

PHOTOGRAPHS: AMY PROUT

makingjeweller y.com 37

MJ95_P36-37_10 Questions SHLGSF.indd 37 27/05/2016 10:03

 PROJECT

WIRE
AND
STONES TANSY WILSON

T
his collection is ideal for the silversmith
who is just starting out, but also includes
options for a jewellery maker who
doesn’t have soldering equipment. The project
shows two ways to create very similar pieces
based upon beautifully coloured natural stones.

38

MJ95_P38-41_Natural Stones 2 SHLGSF.indd 38 27/05/2016 10:04

 PROJECT
1 2
4 5
HOW TO MAKE
MATERIALS & TOOLS 1. A great way to obtain thick copper wire is
● Copper or silver wire (at least 0.8mm thickness) by stripping it out of electrical cable. Simply
● Coloured wire carefully run a craft knife blade along the
● Soldering block plastic coating away from your body to reveal
● Wire wrap mandrel the copper core inside.
● Round nose pliers
● Hammer 2. Wrap a length of copper wire just over three
● Soldering block times around a circular former that you want
● Solder and flux the size of your hoops to be. For a summer vibe a
● Soldering iron larger hoop might be best, the size of an eggcup.
● Pickle Slide the wire off the former and cut through
● Assortment of natural stones: turquoise, one side, creating two identically sized hoops.
purple dyed agate, coral, peridot and
freshwater pearls 3. Wrap some more copper wire around a wire
● Headpins wrap mandrel or similar small cylindrical
● Jumprings object like a fine knitting needle to make small
jumprings. Cut them off and tweak with pliers to
make them perfectly round with the join closed.
4. Manipulate the large copper circles made in
Step 2 with your fingers so that each cut end
is perfectly lined up to form a closed circle.
Place onto your soldering block and add one of
makingjeweller y.com
MJ95_P38-41_Natural Stones 2 SHLGSF.indd 39
3
6
the jumprings made in Step 3. Make sure the
join of the jumpring touches the join of the
large circle, then you can solder them closed
at the same time. Add flux to where they both
touch and a small square (paillon) of easy silver
solder and gently heat until the solder melts,
connecting them together. Pickle and rinse.
Repeat for the other large circle.
5. You can manipulate the soldered copper wire
into a perfect circle or oval and then gently
hammer the surface evenly all over with the
ball end of a hammer to create a texture as well
as work hardening the wire.
6. Soldering is a great method for this project
as you can also make a larger wire circle and
solder the join to make simple wire bangle. You
can then hammer the wire surface all over to
texture them in the same way as the earrings.
This one has been made in silver, but you could
use copper wire as well.
39
02/06/2016 16:01

7 8
10
7. If you do not have soldering equipment you
can make this alternative in wire. Wrap the wire
at least three times around a large cylindrical
object and cut one side to create two large circles
of wire. Then with pliers, bend one end approx.
2cm from the end to 90°. Form an eye loop at the
very end. Then with the other end of the circle,
wrap the wire around the ‘stem’ of wire under
the eye loop to secure in place.
8. Now you can have fun attaching beautiful
natural stones to obtain a tropical look. Thread
a headpin through a bead and form a hook at
the top of the bead using round nose pliers.
Hook the loop onto your earring circle and
then holding the back of the loop in one pair
of pliers, take the long end of the headpin and
wrap it around the base of the loop securing
it onto your earring wire. Cut away any excess
headpin wire (see page 94).
9. You can add beads in a line or cluster them
together. You can also use teardrop shaped
beads as a central point. This is where you can
start creating your own fabulous designs.
40
MJ95_P38-41_Natural Stones 2 SHLGSF.indd 40
PROJECT
9
PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER
11 12
10. Adding jumprings in-between the beads
will give another look. Up to three jumprings
have been added here to act as spacers and this
keeps all the beads hanging apart rather than
clustering together.
11. With this style of earring, it is a nice
finishing touch to also make your own earring
hooks. You can do this simply by using a ball
headpin. At the headpin end make a small loop
with the round nose pliers and then bend the
length of the headpin around a felt-tip pen
or similar sized cylindrical object. Attach the
jumpring or eye loop at the top of your earrings
to the small loop at the headpin and close.
12. Another detail to remember is that if you
are making a pendant, you ideally want the eye
loop or jumpring at the top of your pendant
to be facing the other way (see picture) so a RESOURCES
chain can pass straight through it rather than All materials are widely available from
attaching the chain with another jumpring. advertisers in this magazine
CONTACT
tansywilson@hotmail.com
makingjeweller y.com
02/06/2016 16:01
 PROJECT

makingjeweller y.com 41

MJ95_P38-41_Natural Stones 2 SHLGSF.indd 41 27/05/2016 10:05

042_MAJ_095.indd 42 5/25/16 2:19 PM
 SHOPPING

Making
Jewellery
TOP 8
This month we have
some totally tropical- Ceramic toucan bead 62p each Hawaiian flower Czech picasso beads 14mm
perlesandco.co.uk table cut Opaque sea-green £3.50 for 10
themed delights thebeaderie.co.uk

Blue Tropics round seed bead mix £1.19 Flamingo and palm trees cameo Czech glass fruit beads 24p for 6
beadsdirect.co.uk 25 x 18 mm £1.03 i-beads.co.uk
bsueboutiques.com

Handmade in Kenya beads, Fair Trade and hand Tropical Philodindron leaf pendant Recycled paper Mzuri beads handmade
painted Caribbean collection £18.00 for 200g from £1.23 each in Uganda 48p each
kazuribeads.co.uk perlesandco.co.uk jillybeads.co.uk

makingjeweller y.com 43

MJ95_P43_Top 8 SHSF.indd 43 27/05/2016 10:05

 PROJECT

SILVER WEAVE TANSY WILSON

I
f you are a beginner, the Beadalon Bangle ● Pickle
Weaver tool can give you the confidence ● Silver solution and buffing cloth
to have a go at a different type of wire ● Filing tool
weaving. Using Sterling silver wire also means ● Sandpaper
that you can alter the weave and solder a shape ● 1mm x 1mm crimp tubes
into it to make it really unique. There are some ● Selection of beads and headpins to decorate
unsoldered designs too, making this project ● Jumprings, chain and clasp (for a necklace)
ideal for jewellery making beginners as well as
intermediate silversmiths. Using the Beadalon
tool, however, the sky is really the limit!

MATERIALS & TOOLS

● 6m x 0.6mm Sterling silver wire (22 gauge)
● 1.5mm x 1.5mm Sterling silver square
section wire
● Beadalon Bangle Weaver tool
● 2.5m of 0.6mm coloured wire,
various colours (optional)
● Roll of nylon-coated beading wire
● Cylindrical former
● Piercing saw
● Soldering block
● Solder and flux
● Soldering iron

44 makingjeweller y.com

MJ95_P44-46_Silver Weave SHLGCL.indd 44 27/05/2016 10:06

 PROJECT

1 2 3

4 5 6

7 8 9

1. Wrap a 10cm length of square section
Sterling silver wire one and a half times
around a cylindrical former. Cut through
the circle where the wire becomes double
using a piercing saw to create a circle of wire.
Manipulate the shape with your fi ngers so the
two cut ends meet perfectly. Place onto your
soldering block and add flux and a tiny square
(paillon) of easy solder. Heat gently until the
solder runs into the join.
2. Cut 1m of 0.6mm Sterling silver wire and
leave to one side. Fold the remainder in half and
add some flux at the fold. Place the central fold
over the soldered join of the circle. Heat again
so the original solder melts and joins the two
HOW TO MAKE
wires. You do not want the solder to join the
wires exiting the circle so ensure they are not
touching to avoid the solder running between
the wires.
3. File away any wire that may be overlapping
the inside of the circle and therefore visible
when viewed from the front. Then sand the
top surface of the square section circle nice
and fl at.
4. Assemble the Beadalon tool as per the
instructions supplied with it. It is very quick
and simple to do and there are three rows of
holes so you can select a small, medium or
large circumference.
5. Place your soldered circle onto the surface of
the Beadalon tool and take one of the soldered
wires coming off the circle and weave it over the
upright post and the other soldered wire round
the back of the same post.
6. Continue to weave the two wires around the
upright posts in the same manner so that one is
always crossing in front and the other is always
crossing behind. Keep pushing the wire to the
base of the tool as this helps keep the same
weave tension.
7. Continue weaving around until you reach the
desired height. Each wire is 2.5m long, which
is more than enough to make this sized bangle

makingjeweller y.com 45

MJ95_P44-46_Silver Weave SHLGCL.indd 45 03/06/2016 10:07


10
13
of 10 rows, but you should be able to make a
wider bangle if desired. Remove the upright
posts from the tool, keeping the weave on the
posts. Take the 1m length of wire left in Step 2
and thread it down and along the side of one of
the posts behind the soldered circle until half is
sticking out to the left and half to the right.
8. Take the left-hand length and pass it through
the open weave running alongside the next post
along, so it comes out facing towards the right.
Take the original right hand length and pass it
through the same open weave on this next post
along, so it crosses the fi rst wire going in the
opposite direction and comes out to the left.
Pull both wires to gather the weave together
and remove the post. Repeat this step so you
are weaving both wires alongside the next
post along, but threading through in opposite
directions. It forms a circular shape of wire
between each post.
9. Once you have gone all the way around the
bangle weaving and removing posts, you will
end up back at the circle. Gather all the loose
wires together and bind the circle flat to the
weave using binding wire so there is a good
contact of all the woven wires to the circle.
Place onto your soldering block face down and
add flux just to the back of the circle where
it touches the weave. Add a couple of small
paillons of easy solder and heat until the solder
runs along all the wires. Pickle and rinse.
46
MJ95_P44-46_Silver Weave SHLGCL.indd 46
PROJECT
11
14
10. Undo the blade of a piercing saw and put
it inside the circle. Tighten the blade back up
again and cut away the weave visible from inside
the circle. Use a semi-circular file to file all the
wires completely flush to the circle and make it
smooth from the back. Clean with some silver
solution and buff up with a silver cloth.
11. If you do not have soldering equipment, you
can follow this step as an alternative to achieve
a similar effect. Twist two coloured wires
together, both 2m in length, for approx. 15cm.
Spiral this twisted section and place the spiral
against the weaving tool. Follow Steps 5 and 6
until you reached the desired height.
12. Once you have the right height, make sure
both weaving wires end up back at the spiral.
Cut any excess wire away so you are left with
a remaining length of approx. 15cm. Twist
the two wires together and then you can form
another spiral, securing the weave in place. Of
course, the longer the length of the twist, the
larger the spirals will be.
13. Remove the upright posts from the tool
keeping the weave on the posts and cut 1m of
nylon-coated beading wire. As in Step 7 and
8 slide it so it is centrally alongside one of the
upright posts behind one of the spirals. Then
weave this wire back and forth so it crosses
itself each time going right around the bangle,
removing the posts as you go. To secure this
makingjeweller y.com
12
PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER
15
wire, use a small crimp tube and push it
behind the spiral so it is hidden. Cut away any
excess wire.
14. Instead of making spirals you can simply
make a loop of wire. This enables you to attach
other beads and charms to the piece once
woven for a more organic design.
15. Lastly, you can be inventive and weave only
halfway around the Beadalon tool. When you
get to the end you simply tightly wrap the wire
around the last post and weave back again. This
weave creates more of a definite stripe. Adding
jumprings to the top corners and a chain turns
it into an unusual pendant.
RESOURCES
Sterling silver wire: palmermetals.co.uk
Bangle bracelet weaver tool:
cjbeaders.co.uk
beadalon.com
All other materials are widely available
from advertisers in this magazine
CONTACT
tansywilson@hotmail.com
06/06/2016 14:57
 ZEN COLOURING
e ollect on
On sale now for £5.99 each from all major magazine retailers & supermarkets
HURRY WHILE STOCKS LAST!
To order a copy please call 01273 488005
Additional £2.95 (per copy) P&P cost will be charged. Subject to availability

047_MAJ_095.indd 47 6/3/16 11:32 AM

048_MAJ_095.indd 48 5/25/16 2:20 PM
 PROJECT

TROPICAL
TRANSFERS ZOË LYNHAM

M
any years ago, while on holiday in
Sri Lanka, Zoe witnessed the most
wonderful sunset. The colours in
the sky were so vibrant and for this project,
she wanted to try and capture a tropical scene
reminiscent of this, using a versatile image
transfer technique on polymer clay. Use your
own simple artwork to make a set of jewellery
that is completely unique. This project is
suitable for those with some experience
working with polymer clay.

makingjeweller y.com 49

MJ95_P49-51_Tropical Transfers SHLGSF.indd 49 27/05/2016 10:07

 PROJECT
1 2
HOW TO MAKE
MATERIALS & TOOLS 1. To make the ‘circular’ set of jewellery, start
● Pasta machine by protecting your hands, clothes and working
● Acrylic roller area, as alcohol inks stain. Take a piece of Yupo
● Ceramic or glass tile paper a little bigger than the largest circle cutter
● Copier paper and spread three or four colours of alcohol
● Greaseproof paper inks across the paper. Tilt the paper to let the
● Rigid and flexible blades inks run and create stripes horizontally. You
● Scissors will need to create backgrounds for one large
● Pencil circle and three smaller circles. Allow them
● Tracing paper (optional) to dry completely. Use a fine black pigment
● Hairdryer liner to draw your image onto the coloured
● Kato Polyclay in white, black and 2 other backgrounds. You will need to dry the ink using
colours a hairdryer as you draw, to prevent the image
● Kato Poly Paste from smudging. You could also try using a fine
● Yupo paper permanent black marker. (A copy of the images
● Alcohol inks used is provided on p91 for you to trace and
● Fine pigment liner transfer, if you prefer this to drawing freehand.)
● Permanent metallic pen Please bear in mind that your images will be
● Wet and dry sandpaper reversed, when transferred to the polymer clay.
● Fruit and vegetable cushion Make a colour copy of the finished images using
● Wooden rolling pin a toner-based photocopier.
● Hand drill and drill bit
● Circle cutters or shape templates 2. Next, take the large circle cutter and place
● Gloss varnish over your photocopied image and use a pencil
● Silver-plated copper wire, 1.5mm thick to draw round the inside edge of the cutter.
● Ball pein hammer Repeat this process three times with the
● Steel bench block smaller circle cutter. Cut out the images.
● Mini metal fi le
● Metal hole-punch pliers 3. Place the images face-down on medium thick
● Jewellery side cutters sheets of conditioned white Kato Polyclay and
● Silver-plated chain burnish well to ensure good contact, with no
● Silver-plated pendant bails air bubbles.
● Silver-plated jump rings
● Silver-plated toggle clasps 4. Lightly moisten the back of the images with
● Silver-plated earring findings water and wait a few moments for the paper to
● Black stainless steel choker absorb the water. Gently rub away the paper to
● Black stainless steel bracelet expose the image underneath. Be careful not to
rub off the image or use too much water, as this
could make the clay and image sticky. Allow all
four images to dry thoroughly.
5. Use your large and small circle cutters to
cut out the images on the clay and cure them
according to the manufacturer’s instructions.
The colours may fade a little during curing.
Let the clay pieces cool completely.
50 makingjeweller y.com
MJ95_P49-51_Tropical Transfers SHLGSF.indd 50
3
6. Roll out a medium thick sheet of black Kato
Polyclay and texture one side of the clay in the
pasta machine using the fruit and vegetable
cushion. Apply Kato Poly Paste sparingly to
the back of your cured pieces and place on
the smooth side of the black Kato clay. Trim
the clay to fit using a rigid blade. Cure the
pieces again according to the manufacturer’s
instructions and allow to cool completely.
7. Lightly sand the edges of each piece and use
a hand drill and drill bit to make the holes in
each piece for the findings. If you wish, you can
colour the edge of the pieces using a permanent
metallic pen. Apply a few coats of a polymer
clay compatible gloss varnish. This will add
more depth to the colours and protect the
transferred images.
8. Next you will need to create the textured
wire components. Cut three short lengths
and one longer length of thick wire and use
the hammer to fl atten and texture the wire.
Create paddles at each end and punch holes
using the metal hole-punch pliers. Gently
fi le away any sharp edges, taking care not to
remove the silver-plating on the wire as well.
The hammered wire should be curved for the
necklace and earrings. Keep the wire straight
for the bracelet while fl attening and texturing
it, then bend it gently around an object such
as a wooden rolling pin, to curve it and allow
it to ‘hug’ your wrist when worn. You could
also use copper wire (or Sterling silver wire),
and the texture can be highlighted further by
giving it a patina using Liver of Sulphur.
9. To make the necklace, attach the chain to
the longer wire component using jumprings.
Add the pendant bail to the largest circular
image and slide on to the textured wire.
Attach a toggle clasp to the chain. To make the
bracelet, attach the pendant bail to one of the
smaller circular images and slide on to the wire
bracelet component. Add the chain and toggle
clasp using jumprings. Use the remaining two
03/06/2016 10:08

4 5
7 8
10
smaller images to make the earrings and link
them to the metal components and earring
findings using jumprings.
10. For the ‘shield’ set of jewellery, you will need
to create a Skinner blend using your choice of
two colours of Kato clay, rolled out to a medium
thick sheet. Draw your large image and three
smaller images onto white copier paper using
your fine black pigment liner. Again you can
trace and transfer the images provided if you
prefer. There is no need to dry the ink this time
as it will be absorbed by the paper. Make a black
and white copy of these images using a toner-
based photocopier.
MJ95_P49-51_Tropical Transfers SHLGSF.indd 51
PROJECT
11
11. Follow Steps 2 to 7 to transfer your images
to the Skinner blend sheet and shape and cure
as before, this time using the ‘shield’ shape
templates or cutters instead of the circle
cutters. Alternatively, you could use a matte or
satin varnish instead of the gloss varnish, for a
different finish.
12. To finish this set of jewellery, use pendant
bails and a stainless steel wire choker and
bracelet with the largest image and one of the
smaller images. The remaining two images
were simply connected to earring findings
using the jumprings. You could also use
suede or leather cords, or strung seed beads
in a coordinating colour to give a completely
makingjeweller y.com
6
9
PHOTOGRAPHS: LAUREL GUILFOYLE, ZOË LYNHAM
12
different look to the jewellery. If you are lucky
enough to have holidayed in the tropics,
you may have a photograph that you can
take a colour or black and white toner-based
photocopy of, and follow the same instructions
to transfer this to polymer clay.
RESOURCES
Fruit and vegetable cushion: lakeland.co.uk
Kato Clay and Poly Paste: clayaround.com
Most resources are widely available from
advertisers in this magazine.
CONTACT
zoelynham@googlemail.com
51
03/06/2016 10:09
052_MAJ_095.indd 52 5/26/16 11:27 AM
 SHOPPING

ON TREND
Step into summer in style. By Lauren Goodchild

1 2 3

4 5 6

7 8
1. Sienna necklace
£59 – hobbs.co.uk
2. Oval aura ring
£19.90 – accessorize.com
3. Embroidered scarf
£39 – east.co.uk
4. Embellished clutch
£19.99 – newlook.com
5. Veronica weave tote
£55 – nica.co.uk
6. Sunglasses
£45 – next.co.uk
7. Kelby wedges
£75 – dunelondon.com
8. Pembe earrings
£20 – peopletree.co.uk

makingjeweller y.com 53

MJ95_P53_Trends SHLGSF.indd 53 27/05/2016 10:08

 PROJECT

EXOTIC
OUTLOOK LAURA BINDING

W
ire and gemstones are a natural
combination that work beautifully
together, especially when the
wire is used decoratively rather than just
functionally. The addition of leather really
makes the main piece pop – as the colour
combination is a classic tropical mix! This
is quite an easy project, so long as you take
your time. The process is quite simple; it’s just
piecing the parts together.

54 makingjeweller y.com

MJ95_P54-57_Exotic outlook SHLGSF.indd 54 27/05/2016 10:11

 PROJECT
1 2
4 5
HOW TO MAKE
MATERIALS & TOOLS 1. Take the focal stones and lay them out in a
● 1mm wire (18 gauge) nice arrangement. You will be setting them as
● 0.8mm wire (20 gauge) cabochons so you don’t need to worry about
● 0.4mm wire (26 gauge) drill holes if the stones have them. Cut a long
● 0.25mm wire (30 gauge) length (about 50cm) of 1mm wire. Take your
● Beading thread pliers and about a third of the way down the
● Findings wire form a tight bend, place your stone against
● Glue the bend and hook it around the stone in a
● Needle fi les prong setting.
● 5 x large focal gemstones
● Small 4mm pearls or other gemstone 2. Bring one of the ends of the wire back to the
● Saucer gemstones or beads front of the stone and use your pliers carefully
● Leather sheet to form another prong on the front of the stone;
● Leather hole punch squeeze the bend tight to mirror the first prong.
● Scissors Try to make the prongs similar sizes.
● Ring mandrel
● Flush cutters 3. Bring both ends of wire on the back of the
● Standard tools stone to the middle and use your pliers to make
sharp bends to create the last two prongs. You
need to make sure these prongs will securely
hold the stone. You may be using angular
stones, but if your stones are plain you may
makingjeweller y.com
MJ95_P54-57_Exotic outlook SHLGSF.indd 55
3
6
need to repeat this step to create six prongs,
which will use a slightly longer piece of wire.
Leave the two tail wires, as you will use them
in Step 5.
4. Cut a small length of 0.4mm wire and on the
back of the stone, wrap and secure the prongs
together for added security.
5. Repeat the steps on the next stone. Take two
saucer beads and thread on to the tail wires
of the first stone. Then feed the two tail wires
through the back of the frame of the second
stone. Take one of the tail wires of the second
stone and feed it through the back of the first
stone to lock the two together.
6. Repeat the process for each additional stone,
using one tail wire to secure it to the set and
the other to lock to the next additional stone.
When you set your stones you can still tweak
how the stones lay.
55
27/05/2016 10:11

7 8
10
7. Place these on the leather. Using a pen, make
an outline of the stones with a 3mm border. Cut
the shape and attach to the stones with leather
glue; this will help hide the mechanics and give
another pop of colour. Punch a hole either end
of the piece and use a tail wire to come through
and form a wrapped loop. Use this to attach a
chain or finish how you want.
8. To make a simple prong-set pendant, take
two lengths of 0.8mm wire (the length depends
on the size of the stone). Allow some excess
wire to create the bail. Leaving the bail length
of wire, start to wrap the two wires together,
then use the outer wire to form a prong, bring
it back down and continue to wrap. Do this for
the whole process and then use any additional
0.4mm wire or 0.25mm wire if you prefer to do
a basket weave around the bail wires. Fold them
over and finish.
9. To make the blue agate and pearl necklace,
keep the colours a bit more tropical sea themed;
the wire is only used decoratively. Take two
lengths of wire just longer than the size of your
stone. Bind these together with some 0.4mm
wire in the centre. Cut both ends on the same
side to go on the inside of the stone.
56
MJ95_P54-57_Exotic outlook SHLGSF.indd 56
PROJECT
9
PHOTOGRAPHS: LAUREL GUILFOYLE, LAURA BINDING
11 12
10. Add a small spot of glue on the bind and prongs and use the excess 0.4mm wire to secure
then place your stone so that bind is in the them in place by going around a wire, over to
centre on the back. It is important to make the next, around that wire, over to the next and
sure that all the drill holes are going in the so on. Repeat a few times then cut the wire to
same direction. Fold the excess wires over to form the prongs. Place the stone on the centre
form the prongs, trim if needed and use a fine and bring the wires up as in Step 10 to create
fi le to smooth the cut edges flush to the stone your own prongs. Repeat Steps 1 and 2, going
(only fi le if you are using bare or Sterling silver around the stone and wrapping to the side of
wire as these have no coatings). Repeat this the shank.
for however many stones you are using. Take
some beading thread and use a crimp and
cover, thread on the 4mm pearls, add a stone,
add more pearls and so on. Finish the piece by
adding a clasp.
11. To make the rings, create a ring shank using
0.4mm wire and three pieces of 1mm wire.
Wrap five times around one piece of 1mm wire,
then add the other two pieces. Bring the 0.4mm
wire to the front of the three wires and wrap
the top wire five times, then bring the 0.4mm
wire down the back of all three wires and wrap RESOURCES
the bottom wire five times. Repeat this for the jewellerymaker.com
length of the ring shank. wires.co.uk
12. Wrap the ring shank around the desired CONTACT
size on your ring mandrel then interlock the 6 youniqueyou.com
wires. Position them as you want them to sit as facebook.com/youniqueyoujewellery
makingjeweller y.com
27/05/2016 10:11
 PROJECT

makingjeweller y.com 57

MJ95_P54-57_Exotic outlook SHLGSF.indd 57 27/05/2016 10:11

 TIPS & TECHNIQUES

FOLDFORMING KAREN CAINE

F
oldforming is a great way to get into
working with sheet metal. With only
a few tools you can create impressive
pieces quickly and easily using the physical
characteristics of the metal itself, the way it
stretches and flows when you hit it, to build
3D structures. Because it relies on the organic
growth and displacement of metal, it often
mimics forms found in nature. That’s why
it’s perfect for creating leaves, flowers and
even rams’ horns. We touch on a few of the
basic principles for creating and forging line
folds and ruffles, but the magic comes when
you begin to combine them and skillfully
incorporate the elements they make into
your own work. But while many of the
processes may seem simple, as Charles
Lewton-Brain, the creator of foldforming,
explains, the magic comes when you begin
to combine them in your own work.

MATERIALS & TOOLS

● Sheet metal (aluminium, copper, silver, gold,

niobium and titanium) 0.3mm–0.6mm,
depending on malleability
● Resistant wire (0.9mm stainless steel)
for wire scoring
● Safety glasses
● Metal shears, aviation snips or a coping saw
● Torch for annealing
● Heat-resistant surface
● Tweezers
● Rawhide or plastic mallet
● Chasing hammer (domed, polished head)
● Forging hammer (slightly rounded cross
peen head)
● Steel block or anvil
● Vice with jaw protectors
● Pickling equipment
● Files
● Sanding tools
● Masking tape (wire scoring only)

58 makingjeweller y.com

MJ95_P58-65_Foldforming SHLGSF.indd 58 03/06/2016 10:13

 TIPS & TECHNIQUES

1 2 3
STEP PHOTOGRAPHS: KAREN CAINE, WWW.CRAFTYDWARFTUTORIALS.COM

4 5 6

7 8

Basic line fold
1. Begin by cutting a shape from your sheet
metal using metal shears, aviation snips or a
jeweller’s coping saw. We’ve chosen a square in
0.4mm copper, but any shape and metal will
do. Use a fi le to remove burrs from the edges to
make it safe to handle (you should do this after
cutting all subsequent shapes).
2. Use your hands to fold the metal where you
want your line fold to appear.
3. Flatten the fold using a mallet. This is akin to
making a crease sharper by running your finger
along a paper fold.
4. Unless you want a fold that sits up high, you
should anneal the metal with a torch before
opening it. Copper is annealed when it glows
HOW TO MAKE
red in a dim light or the ink from a permanent
marker pen disappears from its surface.
Other metals have different indicators. When
foldforming, let your metal air dry, rather than
quenching it. If you place it on or between steel
blocks, it only takes a few moments longer
and it will save your tools from becoming wet
and potentially rusting. More importantly,
you won’t risk accidentally releasing a spurt of
steam or hot water that was trapped in the fold
when you strike or unfold the metal.
5. To open your fold, slide a blunt blade inside it
and gently prise the two edges apart until you
can fit your fingertips inside. Try not to scratch
or distort the metal.
6. As soon as you can, continue opening
the fold using your fingers alone as this will
cause less damage. This applies to opening all
foldformed folds; always use your fingers when
possible. If necessary, re-anneal the metal to
make easier work of the process.
7. Place the unfolded metal on a steel block
and strike the top of the fold with a dome-
faced hammer. This causes the top and the
two areas running alongside the base of the
fold to become work hardened, effectively
fi xing the position and height of the line. This
is known as confi rming the fold. Be careful
not to hit the crease for too long or too hard.
You want to work harden the metal, but not
fl atten the fold entirely.
8. Here you can see the profi le of the confirmed
fold. The top is flat, while the two sides are
tighter and more upright than before.

makingjeweller y.com 59

MJ95_P58-65_Foldforming SHLGSF.indd 59 27/05/2016 10:14


9 10
12
15
Multiple line folds
9. If you wish, you can keep repeating the
process to add more and more lines to your
piece of metal. Anneal if necessary, then add a
new fold and flatten it with a mallet.
10. Anneal the metal, prise open the fold and
confirm its position with the hammer. The new
fold will appear to run under the first fold.
11. You can continue adding folds in this way
until you have an intricately textured piece
of metal. You can fold the metal forwards or
backwards – just make sure you always confi rm
the line by hitting the part of the crease that is
sticking up.
60
MJ95_P58-65_Foldforming SHLGSF.indd 60
TIPS & TECHNIQUES
13
16
Wire scored folds
12. You can also introduce wiggles and curves
into your work by using a wire scoring method.
To do this, you will need a resistant wire, one
that will stand up to a pounding without losing
its shape. This is a 0.9mm stainless steel wire,
which has been bent into a sinuous form and
laid on top of an unfolded piece of metal.
13. Tape the wire to the metal using masking
tape, then hit it with a dome-faced hammer.
Make sure you keep the blows vertical, so that
you get a clean imprint of the wire in the metal.
makingjeweller y.com
11
14
17
14. Remove the tape and you’ll see the shape
of the wire along the length of the metal.
15. Keep annealing as required and slowly and
gently bend the metal around the scored line.
Start at one end and move to the other. Don’t
try to bend the metal all in one go; repeated
passes work best.
16. You can get a crisper result by making the
bends quite tight.
17 . Pull it apart again for a fi nal, more
relaxed form.
27/05/2016 10:14
 TIPS & TECHNIQUES

makingjeweller y.com 61

MJ95_P58-65_Foldforming SHLGSF.indd 61 27/05/2016 10:14

 TIPS & TECHNIQUES

18 19 20

21 22 23

Pleated forged fold bangle
18. This technique combines two foldforming
processes: pleating and forging. As with clothing,
pleating offers an interesting visual effect and
adds bulk to the finished item. Forging, on
the other hand, causes the metal to take on a
different shape according to where it is and isn’t
struck. In this example, we’re making a bangle
cuff, so start by cutting then annealing 15cm x
5cm of 0.6mm copper. As the copper is thicker,
it’s helpful to use a vice to bend it.
19. The straight edges of the vice are perfect
for helping you to make the four pleats. Start
with the middle fold and then fold the two sides
in the opposite direction. Once you have an
M-shape, you can place it on a steel block and
flatten the folds with a mallet.
in the middle and work towards the ends. You
should also line up the edge of your work against
the edge of the block, so you don’t accidentally
drive sharp bits out from the edge of the metal
or damage the block or the hammer. It will also
help to make sure you only hammer half the
width in narrow spaces (like the ends) as you can
angle your hammer’s head so that it only strikes
the edge you want to forge.
22. Make sure you turn the metal over and
strike the other side in the same way. You will
soon notice that the metal is becoming work
hardened and that your hammer makes less
of an impression. At this point you need to
anneal the metal, then repeat the process.
You should soon notice that the metal is
curving. This is because the side that is being
struck is stretching, but not the other side. As
a result, the metal has no choice but to begin
to curl around on itself. Once the metal has
made a semi-oval it’s time to anneal once
more and open up the folds.
23. Begin by prising open the central fold
a little at a time, then open the outer folds.
As with the wire scored folds, take things
slowly and re-anneal as often as required.
Once fi nished, you should have a cuff that
looks something like the one below. Note how
opening the folds adds extra curvature to the
metal; it is no longer a semi-oval.

20. Cut the ends into a rounded curve; these

will form the opening in the cuff, so you don’t
want any sharp edges.

21. Place the metal on the steel block. You can

choose to forge either side of the strip – the side
with all folds (as here) or the side with one fold
and two edges. The technique is the same in
each case, but can give different results. In this
example, we want to force the metal to curve
into a circular shape. To do this, you need to use
a cross peen hammer with a slightly rounded
end. Strike the metal at right angles to the edge.
Each blow should be separate and distinct and
only cover half the width of the metal. Start

62 makingjeweller y.com

MJ95_P58-65_Foldforming SHLGSF.indd 62 27/05/2016 10:14

 TIPS & TECHNIQUES

63

MJ95_P58-65_Foldforming SHLGSF.indd 63 27/05/2016 10:14


24
27
Rueger fold
24. Named after its discoverer, the Rueger fold is
another form of forged line fold, but instead of
forming a circle, it creates a spiral. To begin, fold
and flatten a piece of metal, then cut out a half-
leaf shape with the fold as the straight edge.
25. Line up the curved edge with the edge of
the steel block and work it in the same way
as the pleated forged line fold in the previous
section. Start at the middle and, using a cross
peen hammer with a rounded face, make a
series of distinct blows at right angles to the
edge, turning the metal as you work. As before,
these blows should only cover half of the face of
the metal in order to ensure that it curls as it is
repeatedly worked and annealed.
26. Eventually, the leaf shape will curl around
entirely. If you wish, you can re-anneal the
metal at this point and open up the fold or you
can add some ruffles. To do this, you need to
create work-hardened dams in the metal by
repeatedly hammering the same spots. This
is easier if you first mark those spots with a
permanent marker.
27. Once the dams are in place, hit each of them
again once, but this time with a much greater
force. Striking them really hard will cause the
metal to suddenly stretch, but this time it can’t
push the metal round in a curve because of the
dams. Instead the metal is forced upwards to
make ruffles. You must hit the dams dead-on,
though, otherwise it won’t work.
64
MJ95_P58-65_Foldforming SHLGSF.indd 64
TIPS & TECHNIQUES
25 26
28 29
28. Once complete, anneal the metal again Inspirational pieces
and open the fold using a blunt blade followed
by finger pressure. As you open the fold, you 1. Kharisma Sommers, popnicute.com
will find that it curls around further giving
the distinctive spiral shape of a Rueger fold. As 2. Stella Rose Powell, silverfallsjewelry.com
you can see, the final form is quite similar to
a leaf and you can use this exact technique to 3. Sher Novak, shernovak.com.
make leaves in your jewellery. Simply cut out Photograph: George Post
a slightly stumpier leaf shape at the start and
stop the forging process before the metal curls 4. Elaine Rader, elainerader.com
entirely in on itself.
5. Todd Conover, toddconover.com
29. When forging line folds, you can always
choose between forging the fold edge or the 6. Kharisma Sommers, popnicute.com
open edges. Forging the open edges – especially
if you add ruffles – tends to lead to leaf-like
forms. If you choose to forge the fold edge, as we
have with this Rueger fold, the shapes are more
reminiscent of seed pods, shells or animal horns.
RESOURCES
modelshop.co.uk
palmermetals.co.uk
cooksongold.com
wires.co.uk
CONTACTS
craftydwarftutorials.com
thecraftydwarf.com
facebook.com/thecraftydwarf
makingjeweller y.com
03/06/2016 10:13
 1

MJ95_P58-65_Foldforming SHLGSF.indd 65 27/05/2016 10:15

 PROJECT

TROPICAL STORM DEBBIE BULFORD

T
he fascinating ancient technique
of Mokume Gane provides layers
of tropical swirls in this project. Its
inspiration has come from the beautiful colours
of the Bird of Paradise plant, usually seen near
clear blue water and sandy shores. Slicing into
the layers of polymer colours never fails to
impress and every slice is totally unique; perfect
for those starting out on their polymer clay
journey. Influenced by a talented polymer clay
artist Julie Picarello, her Patterns in Polymer
book shows how versatile this technique can be.

66 makingjeweller y.com

MJ95_P66-69_Tropical Storm SHLGSF.indd 66 27/05/2016 10:18


1 2
4 5
MATERIALS & TOOLS
● Premo! Sculpey polymer clay: 1 block
of black, ¼ block each of wasabi, purple,
18k gold, orange, ecru, frost white, silver,
cadmium yellow, navy blue, white
and turquoise
● Acrylic rolling pin or pasta roller
● Cutting blades
● Silver-plated pendant bezel
● 4 x pendant bails
● 5 x cord endings with toggle clasp attached
● 50cm black woven leather cord
● 150cm blue buna cord
● 50cm gold leather cord
● 50cm purple leather cord
● 50cm gunmetal leather cord
● 50cm silver-plated chain
● 2 silver-plated jumprings
● Silver-plated clasp
MJ95_P66-69_Tropical Storm SHLGSF.indd 67
PROJECT
3
6
HOW TO MAKE
1. Condition (soften) all the clay first by rolling
each slice with an acrylic roller. Mix the 18k
gold and black together, the 18k gold and
orange and finally the ecru and white frost. If
you have a pasta machine, roll through each
colour on the thickest setting. If not, use an
acrylic roller until approx. 3mm thick.
2. Stack the colours on top of each other in
the order as shown. Feed this stack into your
pasta machine on the thickest setting or use
the acrylic roller to create a long, thin strip.
Cut the strip in half and place one half on top
of the other. Repeat once more.
3. Use cutters and various tools to press into the
stack of clay. This will give a really interesting
result as long as they are pushed right into
the clay. Many of the tools used are from cake
decorating shops or hobby stores.
4. Press the stack of clay firmly onto a tile; this
will stop the clay moving. Hold your blade
firmly and start to cut the layers. The clay will
want to pull the blade down through the stack,
if this happens don’t worry, just reposition the
slice and start again. It really is just practice!
5. Roll a sheet of polymer clay for the backing
of your pendant through the pasta machine
makingjeweller y.com
on the thickest setting. This will need to be
large enough for two layers. Choose the slice of
Mokume Gane you are happy with and place
on one of the layers. Use the acrylic roller to
smooth the surface.
6. Using a flexible blade, cut a shield shape to
suit the pattern in your design.
7. Here I have shown the backing clay separate
from the top. I used coarse sanding paper to
give a slight texture to the second layer. This
will be easier for you to do before cutting it
into shape. Place the shield shape on top of
the textured second sheet and cut slightly
larger down one side and across the base of
the design.
8. Before pressing the backing layer onto the
design, lift the top edge slightly and insert
a bail. Using a knitting needle or an acrylic
roller, smooth the join between the two
layers. Bake according to the manufacturer’s
instructions. Using wet and dry sandpaper,
lightly sand the edges.
9. Measure the length of cord required, then
feed a woven leather cord through the bail and
glue a cord ending/toggle clasp to the ends.
67
27/05/2016 10:18

7 8
10
13
10. Place the second slice of Mokume Gane
onto a piece of backing clay. Next choose
a plain sheet of coordinating clay, adding
texture if you wish. Cut a strip from each to
give a straight edge. Cover the join with a
thin strip of a complementary shade, press
fi rmly using an acrylic roller then use a needle
tool to add detail. Bake according to the
manufacturer’s instructions.
11. To add stripes to your design, collect the
scraps of clay and roll into a tube of clay. Twist
to form stripes and feed either through your
pasta machine or use an acrylic roller. For this
design, place your sheet of Mokume Gane
onto a sheet of clay, cut a section of the stripes
then choose a plain colour to add contrast.
Finally cut a circle to add a bead. Then add the
68
MJ95_P66-69_Tropical Storm SHLGSF.indd 68
PROJECT
11
14
backing clay and the bail. Bake according to the
manufacturer’s instructions
12. This design is made in exactly the same
way as in Steps 1–9 but using different colours.
The shades are: cadmium yellow, a mix of
silver and black, wasabi green and a mix
of silver and purple. Bake according to the
manufacturer’s instructions.
13. Changing the colour tones to a
Mediterranean blue, the colours used are:
navy blue, cadmium yellow, white and purple
mixed with turquoise. Take two slices for this
pendant and the following pendant. Bake
according to the manufacturer’s instructions.
14. This design is slightly different. Firstly, cut a
makingjeweller y.com
9
12
PHOTOGRAPHS: LAUREL GUILFOYLE, DEBBIE BULFORD
14
long rectangle of the deepest shade in your stack.
Add the second slice of the Mokume Gane to
one half of the rectangle and smooth flat using
your acrylic roller. Trim the shape back into a
rectangle and roll the other half of the rectangle
to the front of the design to form a bail. Add a
second layer to the back for added strength. Bake
according to the manufacturer’s instructions.
15. Choose coordinating cord and glue a cord
ending/toggle clasp into place.
RESOURCES
jewellerymaker.com
clayaround.com
CONTACT
sodebbiebulford.com
27/05/2016 10:18
 PROJECT

makingjeweller y.com 69

MJ95_P66-69_Tropical Storm SHLGSF.indd 69 27/05/2016 10:18

070_MAJ_095.indd 70 5/24/16 5:23 PM

AMANDA COPE
MY DESIGNS
I design each pattern and shape myself in
my Wiltshire studio, which guarantees the
individuality of each piece through the hand
finishing process. Two special designs in my
current collection are the Daisy print, which
is a reminder of summer days walking through
fields in the English countryside, and a new
design, a Floral print that reflects the
traditional canal boat motif.
MY INSPIRATION
I find inspiration in the woods nearby my
home, the natural world and its changing
seasons. Happy birds, running foxes and
leaping hares are all part of my ever-growing
MJ95_P71_Inspirations.indd 71
FEATURE
what inspires
of MarMoo
collection of loveable adorned jewellery art. using 18th century silversmith stamps that,
As the season changes you can see the colours because of their age, give a unique, uneven,
of the collection change with it, as they do in hand finished look to the work. The acrylic
nature, from bright, crisp, spring floral patterns jewellery is crystal clear with an iridescent
to soft seamless tones that reflect an autumn touch, and my new wood finish keeps its
day. Each small piece is a mini work of art, and natural look during the making process.
this attention to detail is what I hope people
can see in my work – the labour of love that’s CONTACT
behind each individual piece. marmoo.co.uk
MY TECHNIQUES
The shapes are cut using a laser and the
patterns are applied using a combination of
hand and machine methods – this finish gives
the jewellery an unusual look and feel. My silver
collection has a wood effect, which I create by
PHOTOGRAPHS: AMANDA COPE
makingjeweller y.com 71
01/06/2016 09:51
 TIPS & TECHNIQUES

CREATING
TEXTURES SIAN HAMILTON
Whether making pieces in metal clay or
polymer clay, you will end up using texture
sheets or items to make textures on the clay.
There are lovely textures available online,
but it’s always nice to make your own. Here’s
my guide to making a texture sheet using
thin polystyrene foam sheet. In the USA this
material is referred to as scratch foam so you
may hear that name used to describe this kind
of polystyrene sheet.

MATERIALS & TOOLS

● 3mm polystyrene foam sheet

● Fine-tip biro
● Ball-end burnishers
● Scissors
● Blu Tack or polymer clay

72 makingjeweller y.com

MJ95_P72-75_Creating Texture SHLGSF.indd 72 27/05/2016 10:27


1 2
STEP PHOTOGRAPHS: SIAN HAMILTON, LAUREL GUILFOYLE
4 5
HOW TO MAKE
1. Polystyrene foam sheets are sold in packs
of 5 or 10 and they are about A4 (21 x 30cm)
in size. I work with smaller pieces to avoid
accidentally indenting the part of the sheet
you are not drawing on, so think about cutting
up the sheet before you start working with it.
This foam sheet is really easy to make marks
on and every mark will show on your clay. It’s
pretty cheap so you don’t have to worry about
making a few mistakes, but if that bothers you
then just start by sketching out your design
on paper fi rst. When you are ready, take a fi ne
pointed biro or gel pen and start to draw. Be
gentle to start with.
2. If you are creating a texture like my little bird
design, it’s best to start with the body and then
carry on fi lling in the shape. It’s a good idea to
start with a biro. Bic do a brand of fine-point
biros and they are great for this type of work.
Some people use pencils to draw the lines, but
I’ve found that a pencil pulls at the polystyrene
and tears it. The colour of the ink doesn’t
matter as it does not transfer onto the clay.
MJ95_P72-75_Creating Texture SHLGSF.indd 73
TIPS & TECHNIQUES
3
6
3. Once the texture is drawn out, use ball-end
burnishers to deepen and refine the lines. A set
of double-ended ball burnishers is not expensive
and can be purchased from eBay or Amazon.
4. Rub the ball burnisher over any recessed area
that you want to be smooth. Fine biros can
leave fine lines in the recesses, which is great if
you want them textured.
5. When you have created the first design, you
can play around with the design idea and make
up lots of different ones. I made up a range of
birds of different sizes for use in my designs.
The project on page 30 uses this range.
6. To check how the texture is looking, you can
use Blu Tack that has been softened in your
hands; you can also use polymer clay. Blu Tack
doesn’t stick to polystyrene, so it comes away
easily and gives you an impression of how your
design will look on clay. Mould the Blu Tack
into a thin flat piece and press it against the
sheet, then gently pull away from one edge to
reveal the design.
makingjeweller y.com 73
27/05/2016 10:27
 TIPS & TECHNIQUES

7 8 9

7. You can use this foam for making standard

pattern texture sheets too. You can let your
imagination run away with you and draw any
sort of pattern you want from dots to swirly
lines. The more you draw the better your
designs will get, so don’t be afraid of having a
go even if you are not a great artist!

8. This is an example of a texture sheet that I

created, then decided to split up after I rolled
it out on the clay. These pieces are bronze clay
and when I saw the design on the clay, I decided
that the inner circle would look better separate
from the outer edge design. So I cut the inner
piece out with a circle cutter.

9. These texture sheets work well with both

polymer clays and metal clays. Here you can see
examples of my bird design in different colours
of polymer clay.

Inspirational pieces

The pieces on the left are all by award winning

artist, Wanaree Tanner and use hand drawn
foam texture sheets.

Wanaree founded the MetalClay Arts

Conservatory to illuminate the mechanical and
practical process of creating art with metal clay.

For more information about her online

courses, including making the set pictured visit
metalclayartsconservatory.com

74 makingjeweller y.com

MJ95_P72-75_Creating Texture SHLGSF.indd 74 27/05/2016 10:27

 TIPS & TECHNIQUES

TOP: Copperclay textured pendant

MIDDLE: Prometheus Bronze clay daisy pendant

BOTTOM: Domed Copprclay pendant

All pieces by Sian Hamilton

makingjeweller y.com 75

MJ95_P72-75_Creating Texture SHLGSF.indd 75 27/05/2016 10:28

 W
H

25 % OFF
EN
YO
U
SI
G
N
U YO U R F I R S T
P
TO ORDER
O
U
R
EM
AI
L
N
EW
SL
ET
TE
R

W W W .B E A D H O U S E . C O.U K
HELPING YOU TO CREATE BEAUTIFUL JEWELLERY DESIGNS

BEADHOUSEUK
W: www.beadhouse.co.uk E: sales@beadhouse.co.uk T: +44(0)1484 485111
Bead House, Quarmby Mills, Tanyard Road, Oakes, Huddersfield, West Yorkshire, England HD3 4YP

076_MAJ_095.indd 76 5/31/16 9:44 AM

 NEXT
MONTH
70 PROJECTS
AND IDEAS
IN THIS ISSUE...
Macramé, metal clay,
wirework and more...
ON SALE 21 JULY

PHOTOGRAPHS: LAUREL GUILFOYLE

MJ95_P77_Next Month SH.indd 77 27/05/2016 10:32

 PROJECT

ALOHA SUE PENNICK

S
hrink plastic is a great starting place for
those wanting to experiment with the
creation of mixed media jewellery.
There are many techniques that can
be applied to this versatile medium.
A few of the more straightforward
ones are shown here along with the
different effects produced by some
of the different products available.
You should remember that pre-
shrunken plastic is brittle, and
needs careful handling; any colour
applied to the plastic will intensify
and darken during shrinkage and
any holes, or connection details, will
also shrink at the same rate as the
plastic so the initial pre-shrinkage
size needs to take this into account.

MATERIALS & TOOLS

● Shrinkles frosted shrink plastic
● Shrinkles white shrink plastic
● Creative Paper Co Inkjet shrink plastic
● Green and yellow inkpads
● Black Staz-On inkpad
● Kaisercraft Fly Free clear stamp
● Ranger Cut-N-Dry Stamp Pad Foam
● Felt-pens
● Pencil crayons
● Sharpie’s permanent pens
● Fine-tipped black permanent pen
● Computer and printer
● Foil-covered baking tray
● Oven
● Scissors
● Flat surface (acrylic stamping block)
● Rounded surface mould
● Spray matte varnish
● Brooch pin
● Hairclip blank
● 0.9mm green wire
● Earring wires
● Silver headpins
● Silver eyepins
● 5mm silver jumprings
● 7mm silver jumprings
● 6mm green pearls
● 3 crystal rose gold lines beads
● Silver chain
● Green suede effect cord
● Ribbon end findings
● Silver lobster clasps
● Chain nose pliers
● Round nose pliers
● Wire cutters

78 makingjeweller y.com

MJ95_P78-81_Aloha SHLGSF.indd 78 27/05/2016 10:37

 PROJECT

1 2 3

4 5 6

7 8

Leaf earrings
1. Use a pencil to lightly trace the template
(see page 91) onto the textured side of frosted
shrink plastic. Use a permanent green pen
to draw the veins of the leaf in place. Cut
both leaves out and remove any remaining
pencil marks. Punch attachment holes where
indicated.
2. Use blending foam to colour the centre of the
leaves with yellow ink and the outside edges
with green. Do not add too much ink as it will
not dry properly after shrinkage.
HOW TO MAKE
3. Place the leaves, individually, onto a foil-
covered baking tray and shrink in an oven by
following the manufacturer’s instructions. As
soon as the plastic is shrunk, remove it and
flatten it gently with an acrylic stamping block
or similar non-porous flat surface. Leave the
plastic to cool and harden before spraying with
matte varnish.
4. Cut two 7cm lengths of green wire. Use
round nose pliers to create coils in the end of
each piece. Thread the wire through the holes
in each leaf and flatten the wire against the leaf
so that it is pointing upwards. Create loops in
the end of each wire, attaching them to earring
wires to finish.
Stamped leaf pendant
5. Resize the leaf template to 150% and tracee it
onto the textured side of frosted shrink plastic
using a permanent black pen. Cut this out and
punch an attachment hole where indicated.
Use permanent black ink (Staz-On) to stamp
flowers across the leaf and colour them, and the
background, with felt-tip pens. Shrink in the
same way as the earrings.
6. Cut three black headpins to different
lengths and thread each with a pink seed bead.
Form a loop in the end of each and attach
all three to the hole in the plastic leaf using
a 7mm black jumpring. Thread two black

makingjeweller y.com 79

MJ95_P78-81_Aloha SHLGSF.indd 79 27/05/2016 10:37

 PROJECT

80 makingjeweller y.com

MJ95_P78-81_Aloha SHLGSF.indd 80 27/05/2016 10:37


9 10
12
eyepins with beads and form a loop in the
other end of each. Attach these to the pendant
with another jumpring. Attach the required
length of chain to each end of the beaded
wires, along with a lobster clasp, to fi nish.
Corded garland necklace
7. Download the garland image from the Pixabay
website and enlarge it to fit the width of an A4
page. Print onto paper and use a permanent
black pen to trace the image onto the textured
side of frosted shrink plastic. As you trace, make
the shapes more complete, as shown in the
photograph. Add extra leaves to the left hand
side of the image to balance the shape and fill in
any gaps. Punch attachment holes.
8. Colour the plastic with pencil crayon. Do
not add too much colour as it will rub off
when shrunken. Use a loose, light technique
with lighter colours in the middle of the leaves
and darker ones on the edges. Use a mixture
of colours and shades on the flowers. Shrink
this in the same way as above and flatten
immediately. Spray with matte varnish.
9. Attach two black 7mm jumprings to each of
the holes and thread a length of cord though
the outer ring of each set. Fold each cord in half
and tie it in a knot close to the jumprings. Place
the ends into ribbon end findings and crimp in
place. Attach a lobster clasp to finish.
MJ95_P78-81_Aloha SHLGSF.indd 81
PROJECT
13
Printed garland hairclip
10. Download the image from the Pixabay
website and resize it to fit on half of an A4 page.
Rotate the image until the flowers are in the
centre of the page. Copy this image and paste it
onto the other half of the page. Crop the images
until the red flowers are touching. Print this
onto printable inkjet shrink plastic by following
the manufacturer’s instructions.
11. Shrink the plastic on a foil lined tray in an
oven. Remove immediately and hold against a
curved mould (a colander works well) to shape
the plastic. Take care as the plastic will be very
hot. Hold in place until set and leave to cool.
Spray with matte varnish. Use strong glue to
stick a hairclip to the back of the curved plastic
to finish.
Printed necklace
12. Download the pink floral background
design from the Pixabay website and shrink it
down to fit half of the page. Copy this and paste
a second image next to the first. Download
the leaf image to about the same height as the
pink background. Lighten the colour of the
leaf before printing out onto printable inkject
shrink plastic.
13. Cut the leaf out and use the template
provided to cut the background to shape. Punch
makingjeweller y.com
11
PHOTOGRAPHS: LAUREL GUILFOYLE, SU PENNICK
14
attachment holes in both pieces. Shrink by
following the manufacturer’s instructions and
flatten immediately. Spray with matte varnish.
14. Cut six headpins to different lengths and
thread each with a green pearl. Form a loop
in the end of each wire. Attach three of these
to the hole in the leaf using a 5mm jumpring.
Also attach a small length of chain to this
jumpring. Attach the other end of the chain
to the hole in the pink background shape
with another jumpring. Use a third ring to
attach the remaining three beaded wires to
the second jumpring. Attach the two ends of
the required length of chain; also attach it to
the same ring with another jumpring. Attach a
lobster clasp to fi nish.
RESOURCES
All three varieties of shrink plastic:
amazon.co.uk
Colouring mediums and varnish:
Hobbycraft stores
Kaisercraft stamp: merlyimpressions.co.uk
Beads and jewellery findings are available
from advertisers in this magazine
Copyright free images: pixabay.com
CONTACT
supennick@gmail.com
81
27/05/2016 10:37
 PROJECT

EGYPTIAN SPIRAL
NECKLACE JAN LONEY

HOW TO MAKE

T
wist silver wire to create a design that
looks like a fancy monogram. Solder
silver snake chain, in the same diameter
as the silver wire, to the formed wire design to
create a necklace. Have fun creating a design
of your choice.
Make Links
1. Using wire cutters, cut wire into 75mm
pieces. Cut 21 pieces.
2. Mark the centre point of each wire piece
using the fine-tip marker.
4. Bend the wire in the centre with spirals
facing away from each other (see image 5).
5. Bend the centre section down over itself to
form a loop (see image 6).
Make Necklace

MATERIALS & TOOLS Form Links 6. Assemble the chain by sliding one centre
● 18-gauge silver wire loop through the preceding loop.
● Fine-tip marker 3. Roll tight spirals on the two ends of each
● Pliers wire piece, 6mm diameter each. Roll the ends 7. Polish the necklace.
● Wire cutters of the wire towards the centre, rolling one end
● Polishing compound clockwise and the other end anticlockwise 8. Add a clasp.
● Polishing cloth (see image 4).
● Clasp

5 6

4
PHOTOGRAPHS: JERRY MUCKLOW

1 2 3
BOOK DETAILS
Extracted from Metal Jewelry Made Easy
by Jan Loney, published by Lark Crafts,
Sterling Publishing 2016,
ISBN 9781454709145.

82 makingjeweller y.com

MJ95_P82-83_Book Extract SHLGSF.indd 82 27/05/2016 10:39

 PROJECT

makingjeweller y.com 83

MJ95_P82-83_Book Extract SHLGSF.indd 83 27/05/2016 10:39


BUSINESS TOOLS
This month we bring you some products to help you get your jewellery
noticed and turn your hobby into a business.
By Sue Mason-Burns
BRANDING
Craft Schmooze is a company that will help you
rebrand your business to appeal more to your
target customers. From just £35 they can build
a logo and brand specific to your business and
help your jewellery become more identifiable
and professional. Good branding will make you
stand out from your competitors and enhance
your unique selling points. Craft Schmooze
offers a range of printed and digital products to
84
MJ95_P84-85_Product Review SHLGSF.indd 84
PRODUCT REVIEW
BUSINESS
KNOW-HOW
The London Jewellery School
is well-known for its jewellery
courses, but did you know that
they also offer an extensive
range of business courses?
The range includes taster
sessions, day classes, intensive
classes and a 20-week diploma. Prices start
from as low as £50 for taster classes, and
some of the classes are available via distance
learning. The topics available include PR for
your Jewellery Business; Creating your own
Jewellery Blog; Getting your Business seen on
Google; Building a Website for your Jewellery
Business; Social Media for your Jewellery
Business and Photograph your Jewellery.
For a full list of classes available and prices,
please visit the website.
londonjewelleryschool.co.uk
help you advertise your business – from posters
and leaflets to business cards, social media
and photo editing. They can also assist with
the styling of your photos and craft displays.
They offer support for selling online, product
descriptions and organisational support
through their range of printed and digital
downloadable business planners.
etsy.com/uk/shop/craftschmooze
makingjeweller y.com
27/05/2016 10:41
 PRODUCT REVIEW
PRO W

BAGS
Also availab
available from the Tiny Box Company
array of bags for your customers to
is a wide ar
proudly carry
car away their purchases from you.
Everything from natural jute to bright magenta
paper bags are available to suit your brand and
budget. Prices start from as little as 35p
your budge
for small bags
mall baags and come in a dazzling array of
materials,
mate erials, sizes
s and colours. A discount is also
offered
red for bulk purchases.
tinyboxcompany.co.uk
boxcompany.co.uk

BOXES
Once you have that all-important sale, you will need some packaging for your handmade pieces.
The Tiny Box Company specialise in just that, the perfect box to keep the jewellery safe and give DISPLAY
your business a more professional look. With a vast array to choose from, in a profusion of styles, One of the best ways to get your handmade
materials, colours and sizes you are sure to fi nd exactly what you need, at affordable prices. jewellery noticed is with a professional
The Tiny Box Company also stocks a large selection of other packaging items, with and eye-catching display. Beads Direct has
everything you could think of from tissue paper to boxes. They also offer a bespoke everything you need to achieve this display,
printing service for you to add your branding to your packaging. Give their helpful including these beautiful textured twine
customer service people a call for a quote. display stands. The large bust stands at 40cm
tinyboxcompany.co.uk x 14cm, so there is plenty of room to display
your statement necklaces, and costs £15.95.
The beauty of the twine is that it offers a
neutral background and will not compete with
your jewellery for attention, while at the same
time adding a dash of texture to your display.
The medium bust stands 12cm x 24cm and is
£10.97, while the sturdy bracelet stand is 14cm
x 18cm and for £7.25 gives you the space to
display multiple bracelets.
beadsdirect.co.uk

makingjeweller y.com 85

MJ95_P84-85_Product Review SHLGSF.indd 85 27/05/2016 10:41

 TRIPLE RING PENDANT
This month Clair tests a great value kit from Beads Direct. By Clair Wolfe
THE PRODUCT
The Beads Direct Triple Ring Pendant, from
the Take a Make Break Kit, contains enough
supplies to make at least two beautiful
necklaces or bracelets. It also includes a
step-by-step instruction booklet to show
the CRAW stitch.
WHAT DOES IT DO?
The kit arrives with instructions for CRAW
stitch, which once learnt, allows the user to
create several different jewellery designs.
WHAT IS INCLUDED?
The kit: 10g Toho Size 8 Round Seed Beads in
Silver Lined Milky Amethyst; 10g Toho Size
8 Round Seed Beads in Transparent Rainbow
Medium Amethyst; 10g Toho Size 8 Round
Seed Beads in Silver Lined Milky Hot Pink;
50m KO Beading Thread in Rose; 5m of 2mm
Round Leather Cord in Mulberry; Pk10 Silver-
Plated Half Drilled Brass Ball End Beads; 1g
tube Fevi Kwik One Drop Instant Glue.
HOW GOOD ARE THE
INSTRUCTIONS?
I found the instructions included in the kit
really hard to follow, and had to enlist the help
of a friend to work through learning the stitch.
Once I had mastered the CRAW stitch, there
were no proper instructions on creating the
86
MJ95_P86-87_Product Test SHLGSF.indd 86
pendant. I knew that there was a downloadable
PDF on the website, so I went to refer to that.
This is where it became even more confusing
as these instructions were for a completely
different stitch (herringbone).
WHAT ELSE WILL YOU NEED?
The only additions you will need for this kit
are a beading needle and snips; everything else
is included.
CAN IT BE ADDED TO?
This is a standalone product, but there are
enough left over supplies to create further
jewellery items.
IS IT VALUE FOR MONEY?
This kit is really great value for money, even
with the confusing instructions; the supplies
are great quality and plentiful and the contents
are really well thought out.
IS IT EASY TO USE?
I really struggled with the instructions in this
kit and had to ask a beading friend for her help
in working through them, as she was already
able to do CRAW. Without her help I found it
really difficult to follow the instructions past
a certain point. I do think this is due to the
instructions being for a different creation.
makingjeweller y.com
OVERALL SCORE
I am torn when trying to score this kit, as with
the inclusion of easier to follow instructions,
this kit would have easily achieved top marks.
It is great value for money because of all of
the lovely supplies that are included in the kit.
With a little rejigging and clarification of the
instructions this kit would be great for beginners
as well as beaders who know the CRAW stitch.
As it stands, I think this kit is a little confusing
for beginners who are new to beading.
Beads Direct do have a fantastic YouTube
channel, where you can watch videos of both
techniques used in the two sets of instructions.
I suggest watching both technique video
tutorials and deciding which to use in your
jewellery designs. Both will work.
SCORE
COST
£12.97 (exc. vat)
RESOURCES
beadsdirect.co.uk
service@beadsdirect.co.uk
01509 218028
youtube.com/user/beadsdirectTV
27/05/2016 10:42
 PRODUCT TEST

1 2 3

4 5 6

7 8 9

10 11 12
PHOTOGRAPHS: CLAIR WOLFE

1 Contents 2 Instructions 3 Beginning 4 Beaded sections 5 Join 6 Joining ends 7 Correct tension 8 Link 9 Links 10 Adding ends 11 Finishing 12 Glue
LEFT AND ABOVE The results

makingjeweller y.com 87

MJ95_P86-87_Product Test SHLGSF.indd 87 03/06/2016 10:18

 intermediate projects

advanced projects
easy projects
techniques

regulars
features
Reasons to subscribe...
• Projects for all skill levels
• Learn new techniques in our simple guides
• Tips & tricks from jewellery professionals
• Free delivery direct to your door
• Never miss an issue

%
30
&
UP

E SAVE TO

BSCRIB
SU You pay just £3.50 an issue! by Direct Debit

3 EASY WAYS TO SUBSCRIBE Please quote order code A4725

☎+44 (0) 1273 488005 www.thegmcgroup.com ✉ FREEPOST RTHA -TGLU -CTSK, GMC Publications Ltd,
166 High Street, Lewes, BN7 1XU (please affix a stamp if posting from overseas)
✁
YES! I would like to subscribe to Making Jewellery!

Subscriber details Payment methods (please tick and fill in chosen option)

Title Initial Surname I enclose a cheque made payable to GMC Publications Ltd, or Please debit my credit/debit card

Address Card No.

Start date Expires Security code

Postcode Country
Signature Date
Telephone Email

Subscription options (please tick the appropriate price) Direct Debit Instructions to your Banks or Building Society

Name of account holder Originator’s identification number 6 5 9 9 5 7

Pay by cheque/card 12 issues SAVE 10% 24 issues SAVE 20%
Reference number (office use only)
UK £53.89 £95.81 Bank or Building Society
account no.
Europe £67.37 £119.76
Instruction to your Bank or Building Society:
Rest of World £75.45 £134.13 Bank or Building Society
sort code Please pay GMC Publications Ltd Direct Debits from the account detailed
in this instruction subject to the safeguards assured by the Direct Debit
Pay by Direct Debit (UK only) SAVE 30% guarantee. I understand that this Instruction may remain with GMC
Name and full postal address of your Bank or Building Society Publications Ltd and, if so, details will be passed electronically to my Bank/
UK only £20.96 every 6 issues £41.92 every 12 issues Building Society.
Name
Banks and building societies may not accept direct debits for some types of accounts.
The Direct Debit Guarantee: This guarantee is offered by all Banks and Building Societies that take part in the Direct Debit Scheme. The efficiency
and security of the Scheme is monitored and protected by your own Bank or Building Society. Please see your receipt for details. Guild of Master Address
A4725

Craftsman Publications will ensure that you are kept up to date on other products which will be of interest to you. If you would prefer to not to be
informed of future offers, please tick this box
Postcode Signature Date
Offer expires 30/09/2016 Plus free gift with some issues; sorry not available overseas

14-504 MJ subs ad 2015.indd 88 6/3/16 11:50 AM

 CLASSIFIEDS

Jewellery Making tools, Gadgets & Gizmo’s

Precious Handmade Jewellery
plus Beads, Findings, Stringing and Wires
Quality products, competitive prices & speedy delivery Silver and glass courses, beading
Tel: 01743 791853 workshops, Hen Days and more!
Email: enquiries@thecrystalphoenix.co.uk www.thecrystalphoenix.com
The Trading Post, The Boardwalk,
Port Solent, Hampshire PO6 4TP
Tel: 07979 597471

To advertise on these pages please call Russell Higgins on 01273 402841

h Magic
The i Ingredients
edi
e
edients
Ingre dients
nts ffor Making Jewellery !
Jeweller
g Jewellery! www.preciousjewellery.glass
www.alchemyandice.com ~ UK Craft Shop Email: karen@preciousjewellery.glass

Write for Us Resin, Efco enamels,

Findings, Gemstones,
Writing books about Crafts Beads & more!
Have you ever thought of writing, or have you
written, a book about your passion for crafts?
Do you long to fill the gaps of your existing library?
Then why not contact us with your original idea
or fresh approach to your specialist subject? ZZZEHDGLQJIDQWDVWLFFRP
New and inexperienced writers will be given
6 Lyles Court, Lees Yard, Holt, Norfolk. NR25 6HS
expert advice and guidance by our friendly and
professional team.

JOIN US ON
FACEBOOK
Write to:
Like our page
Emma Foster, Publishing Coordinator, for regular
The Guild of Master Craftsman Publications Ltd,
86 High Street, Lewes, East Sussex, UK, BN7 1XN updates!
Telephone: +44 (0) 1273 477374
Email: emmaf@thegmcgroup.com MakingJewellery
Website: www.thegmcgroup.com @GMCbooks

makingjewellery.com 89

MAJ_095.indd 89 6/3/16 2:15 PM

 Missed
an issue

YOU CAN STILL OBTAIN BACK

ISSUES DIRECTLY FROM US!

A back issue of Making Jewellery magazine

costs £5.99 in the UK and £6.49 overseas.
To check availability and to order:

CALL OUR SALES TEAM ON

+44 (0) 1273 488 005 OR

VISIT OUR WEBSITE:

WWW.THEGMCGROUP.COM

14-139 Back Issues_MJ.indd 90 6/3/16 12:12 PM

 ESSENTIALS

TEMPLATES
ALOHA SU PENNICK (PAGE 78)
Printed at 100%

TROPICAL TRANSFERS ZOË LYNHAM (PAGE 49)

Printed at 100%

makingjeweller y.com 91

MJ95_P91_Templates.indd 91 03/06/2016 10:47

 IT’S A JEWELLER’S LIFE
We share life behind the scenes with blogger Anna Mcloughlin, who is a gold
and silversmith with a passion for using environmentally friendly and ethically
sourced materials in her designs.
V
ery few designers, whether they’re
jewellers, painters, sculptors or graphic
designers can just magic up a finished
piece without being inspired by something –
even if they don’t realise what that inspiration
is. So, I thought I would talk about where I
get my inspiration and how I start to design
a piece of jewellery. I thought the best way to
do this would be to break up the process into
the different design stages that I go through in
order to end up with a finished piece.
INSPIRATION
Inspiration can come from anywhere! I’m very
lucky. I live on the edge of the Malvern Hills in
Worcestershire and have acres of woodland and
beautiful countryside within a couple of minutes
walk from my front door, so this is usually where
I’ll see something that will make me think, ‘That
could be a ring!’ and out will come my iPhone
to photograph a twig, a bit of bark, some ivy
tangling around a branch or just the skyline of
the hills. Quite often, I’ll have forgotten about
that magical moment of inspiration by the time
I get home and that photograph will stay as just
that. But sometimes, the idea will stick, and those
are the ones that develop into a piece of jewellery.
92 makingjeweller y.com
MJ95_P92-93_Blog SHLGSF.indd 92
FROM AN IDEA TO
A DRAWING
Getting an image from inside my brain to look
like what I think it looks like on paper isn’t
always as straightforward as it may sound.
In my years spent teaching both adults and
children, one of the most difficult things to
get someone to do is let an initial idea in their
head develop and evolve. It’s all too easy to
quickly scribble down an idea on the back of
an envelope and think ‘That’s it! That’s what
I’m going to make!’ The fi rst drawing might be
the fi nal design, but most of the time it isn’t.
By drawing an idea again, I can make small
changes and turn the design into something
that may well be a little different to how I
originally thought the piece would look, but
it will be much more refi ned. It will almost
always be a design that I think is much better
than the fi rst one.
I should probably be doing everything in
CAD (Computer Aided Design), but I’m a
traditionalist and love my sketchbooks too
much! My current preference is for a big thick
A4 pad. I usually draw with a 2B clutch pencil
as I find the thicker lead allows me to be a bit
freer with tone and shading. It’s all personal
27/05/2016 10:43
 1 2

1. The inspiration for my Walk on the Hills rings

2. Walk on the Hills ring set 1
3. Walk on the Hills ring set 2
4. A page from my sketchbook and my trusty clutch pencil

choice though, and if you’re looking for
advice, I’d say go to your local art shop, pick
up pens and pencils, hold them in your hand
and go for the ones that feel nicest to you
(that’s what I do anyway). Then have some
fun and experiment until you find the style
and medium that suits you best.
2D TO 3D
I’ve been doing this job for a long time now
and experience means that I can pretty much
always visualise whether something that I’ve
created in 2D will actually work in 3D or not.
But sometimes I still get a commission where
I need to make a model, or practice version
fi rst. When this is the case, I’ll usually make
an actual size (which is usually tiny!) paper
or card model to test what it’ll look like in 3D.
Obviously it’s not exactly the same, but it’s a
fair bit cheaper and more importantly quicker
that making a metal version. I very rarely get
to make something for myself these days, as
every bit of time I spend designing has to be
chargeable to the client or be costed in the
wholesale price of a piece. Being able to work a
2D design straight up into a fi nished piece can
save pounds.
Experience has given me the skills to be able 4
to do this, but when I was fi rst starting out
making jewellery, if I was planning to make
something in silver or gold, I would probably
have made a base metal (brass or copper)
version fi rst. Doing this also helped me to
know how much silver or gold to actually
buy when I used to wander across the road
from Birmingham School of Jewellery into
Cookson’s trade counter. Things are so much
easier these days, though, when it comes
to ordering your materials. Everything is
online, so no more looks of horror when you
realise what you’ve designed is going to cost
you thousands of pounds in materials that
you can’t afford, as you can do it all from the
comfort of your own laptop!
MAKING THAT FINAL
MASTERPIECE
So, the gold or silver and gemstones are bought,
my bench is freshly dusted off, I have tea in my
big special workshop mug and I’m ready to start
making. More on that part next month!
Find out more about Anna’s jewellery at
annafinejewellery.co.uk

makingjeweller y.com 93

MJ95_P92-93_Blog SHLGSF.indd 93 27/05/2016 10:43


BASIC TECHNIQUES
Thread a bead onto a head or eye
pin. Grip the wire with round nose
pliers next to the bead.
Keep pushing the wire around the
jaw until you meet the bead.
Thread the bead onto a head or
eye pin and cut the pin about 1cm
above the bead. Bend the wire to a
right angle above the bead.
94
MJ95_P94-96_Basic Techs.indd 94
TIPS & TECHNIQUES
HOW TO MAKE A WRAPPED LOOP
Bend the wire above the plier jaw
to a right angle. You will need
about 2mm of wire above the bead
before the bend.
Move the pliers around the loop and
continue to bend the wire around
until it is facing out at a right angle
and you have a complete loop.
MAKING A SIMPLE LOOP
Using round nose pliers, grasp the
wire at the very end and curl it
around the plier jaws.
makingjeweller y.com
Move the plier jaws to sit at the top
of the bend.
Use a pair of chain nose pliers to
hold across the loop firmly.
Roll the wire around to meet the
bead. If it does sit centrally move
the plier jaws around the loop
to sit by the bead away from the
open end. Bend the loop back to sit
directly above the bead.
With your thumb push the wire
back around the pliers, keeping it
tight to the jaw.
Wrap the wire around the neck of
the loop until it meets the bead.
Snip off any excess wire and push
the end against the coil to finish.
PHOTOGRAPHS: SIAN HAMILTON
Use chain nose pliers to tighten
the loop by twisting it from side
to side. Do not pull it outwards as
that will distort the shape.
27/05/2016 10:47

USING A CALOTTE
Take a calotte and pass the thread
or wire through the hole from the
outside in. If using thread, make a
double knot. If using nylon coated
wire, use a crimp bead. Add a dab
of glue.
With chain or fl at nose pliers,
close the cups until they are
tight together.
Make a loop with round nose pliers.
MJ95_P94-96_Basic Techs.indd 95
TIPS & TECHNIQUES
CRIMPING A BEAD
To show this process clearly it is
being shown without using thread;
the thread or wire should be inside
the bead.
Hold the crimp bead in the pliers
with the bead sat in the hole that
has a round side opposite
a ‘W’ shape.
Before closing the pliers, check
that the bead is sat straight. When
you close the pliers the thread
should fall either side of the bend.
Move the ‘U’ shape crimp to
the other hole with two round
sides. Turn the crimp so the ‘U’
faces sideways, press the pliers
closed tightly.
makingjeweller y.com
ADDING A COVER
Take a crimp cover and place it
over the crimped bead, making
sure the bead is completely inside
the cover.
Take a pair of chain or flat nose
pliers and carefully grasp the cover.
Gently press the cover closed.
The finished bead should be closed
into a perfect bead shape. Nylon
nose pliers do this job very well as
they won’t mark the cover.
USING JUMPRINGS
Take a jumpring in two pairs of
pliers with the opening centred at
the top.
Hold the jumpring either as shown
in Step 1 or this step.
Whichever way you hold the
jumpring, the opening motion is
the same. Twist one hand towards
you and the other hand away;
never pull apart. Reverse the
action to close.
95
27/05/2016 10:47

BASIC TOOLS
ROUND NOSE
These are a must-have for a basic kit. When
making jewellery, being able to create loops and
rings is essential.
NYLON NOSE
Another similar style to flat nose, these pliers
have jaws that are covered in nylon to stop them
marking the metal.
CRIMPING
These pliers are used with crimp beads. If you
want to have a nice finish to your crimping
then these pliers are a good investment.
96
MJ95_P94-96_Basic Techs.indd 96
TIPS & TECHNIQUES
TYPES OF PLIERS
CHAIN NOSE (SNIPE)
Also called half round, these are the most
versatile. They are used for many jewellery
applications, so are another must-have for the
basic kit.
BENT NOSE
Used for getting into small tricky spaces where
a straight nose pair cannot reach.
CUTTERS/SNIPS
These pliers are also called side cutters. They
come in a vast range of prices and styles. Be
careful what you cut as they can blunt easily if
used with hard or large dimension wire.
makingjeweller y.com
FLAT NOSE
Similar to chain nose, these pliers have a wider
jaw that is completely fl at. Good for holding
jumprings/findings as the wide jaw grasps a
large area.
BAIL MAKING
These pliers have fixed sized jaws, with each
jaw being a different size, usually with a 2mm
difference (such as 3mm and 5mm). They come
in a wide variety of sizes and are great if making
a lot of the same size jumprings or coils.
MEMORY CUTTERS
Used exclusively for cutting memory wire. If you
are going to use memory wire you must invest in
these; the wire will damage standard cutters.
27/05/2016 10:47
 STARMAN CZECH GLASS
‘Colonnade’ reversible bracelet featuring CzechMates® 2-Hole Crescent™ beads, 3mm English BEAD SHAPES
Cut, and 3mm Melon Round beads by TrendSetter Nichole Starman. Tutorial available via Etsy.

ASK YOUR LOCAL BEAD STORE FOR STARMAN BEADS OR ORDER FROM:
3/10mm CzechMates Crescent
CJ Beaders Kadoro Robin’s Beads
www.CJBeaders.co.uk www.Kadoro.pl www.Robins-Beads.co.uk
Creative Beadcraft Ltd Les Perles De Paline The Southampton Bead Shop
www.CreativeBeadCraft.co.uk www.LesPerlesDePaline.fr www.TheSouthamptonBeadShop.co.uk
Fru Parla Natascha Kralen Stitchncraft Beads
www.FruParla.se www.NataschaKralen.nl www.Stitchncraft.co.uk 3mm English Cut
Glitzerperlen Pärltorget Tanzee Designs
www.Glitzerperlen.de www.Parltorget.se www.TanzeeDesigns.co.uk
Gyöngysziget Perlenexpress.de WirWar Kralen
www.Gyongysziget.hu www.PerlenExpress.de www.WirWarKralen.nl
I-Beads Perles & Co
www.I-Beads.eu www.PerlesAndCo.com 3mm Melon Round

Bead Stores–register as a reseller:

EUROPE: Koralex Wholesale: +420 483 360 288 · www.CzechBeads.eu · Sales@SeedBeads.eu
US, ASIA: Starman Wholesale: +1 888 683 2323 · www.StarmanInc.com · Sales@StarmanInc.com

IBC_MAJ_095.indd 1 5/25/16 2:20 PM

 The newest way
to clay….
soufflé
®

Lightweight – perfect for jewelry

Exceptionally strong and will not
crack in thick pieces
Amazing for mokume gane,
caning and more!
22 Trendy colors

www.sculpey.com Design by Julie Picarello

Find us on:

search Polyform Products ©2016 Polyform Products Co. Inc. | 1901 Estes Avenue | Elk Grove Village, IL 60007 USA

OBC_MAJ_095.indd 1 6/1/16 9:48 AM