Jewellery MAKING FREE BEADS!

MAKING JEWELLERY • SUMMER 2017 • ISSUE 108

The UK's best jewellery magazine

60
PROJECTS
& IDEAS
TECHNIQUES
Wire weave in a vice
Polymer clay faux
gemstones effects

Inside
this issue SUMMER 2017
ISSUE 108

Silver clay, £5.99

27 >

wirework,
9 771756 406033

polymer clay,
and much more...

MJ108 Cover 03 SH.indd 1 31/05/2017 15:20

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MJ108_P01_Ed's Letter SH.SD.indd 1 30/05/2017 12:13

 ISSUE 108 • SUMMER 2017

CONTENTS
REGULARS
5 JEWELLERY TALK
The latest news, reviews and information

18 EVENT REVIEW
We review YCMI 2017

20 COLOUR & STYLE

Inspiration for exotic escapism

42 10 QUESTIONS
Interview with jeweller Tania Manerova

65 WHAT INSPIRES
Find out what inspires Becky Morgans

81 TOP 8
Designs with a tropical flavour

82 PRODUCT TEST
Sue reviews an enamel kit for novices

86 PRODUCT REVIEW
We review essential tools

92 IT’S A JEWELLER’S LIFE

The latest installment of Anna
Mcloughlin’s column

TECHNIQUES
12 VICE WEAVE
Learn how to make your own sturdy woven
forms for bracelets or rings

74 POLYMER CLAY CABOCHONS

Make faux stone effects with clay

94 BASIC TECHNIQUES
Beginners’ techniques to get you started

81

2
12
makingjeweller y.com

MJ108_P02-03_Contents SH.indd 2 25/05/2017 14:40

 PROJECTS
8 PARADISE SUITE
Fabulous pieces inspired by nature’s birds
of paradise and palm trees

23 NATURE INSPIRED
Combine different techniques to create
a range of mesmerising jewellery

28 BRICK STITCH BEADS

Fashion elabourate-looking pieces using
this simple technique

35 SUMMER NIGHTS
Use silver clay and glass paint to make
pretty jewellery featuring dolphins

40 BEACH STYLE
Gorgeous necklace inspired by pop
star, Shakira

45 TROPICAL COLOUR SPIRALS

Use paper and casting resin to make tiny
spirals to decorate a range of bezel trays

52 CRYSTAL PEACOCK BROOCH

Create a beautiful brooch using wire and

23
multi-coloured crystals

60 TUBULAR BELLES
Capture the essence of summer with these
easy-to-make, easy-to-wear bangles

66 DREAM CATCHERS
Embrace the trend for dream catchers with
these bright, zesty net pendants

70 WILDLIFE
Copper wire is used to create a stunning
collection of colourful jewellery

84 GOLDEN EARRINGS
Make earrings with
your free beads

70

52 45 3

MJ108_P02-03_Contents SH.indd 3 30/05/2017 12:15

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004_MAJ_108.indd 4 5/25/17 9:36 AM

 NEWS

JEWELLERY TALK News, reviews and all the gossip

MARKS & SPENCER PRESENTS

SKIN KINDTM JEWELLERY
Marks & Spencer (M&S) and AnchorCert Group have teamed up to
launch Skin Kind, a new standard in hypoallergenic jewellery, a first on
the UK high street and a direct response to the fact more than one in
four customers told M&S they don’t wear fashion jewellery because of
fears of an allergic reaction.
M&S are changing the specification and manufacturing process
of its jewellery – minimising the effect of the most common metal
allergens. For example, earring posts are now made of titanium – one
of the most non-reactive metals. Strict weight limits are set for fashion
earrings to make them easier to wear all day and smooth edge clasps
and connectors are used on all fastenings to
minimise any irritation.
Victoria Gallant of M&S and Nyasha Pitt
of AnchorCert Group helped design the
jewellery to be both stylish and comfortable.
Victoria says: ‘We were surprised to hear so
many customers were worried about buying
jewellery because of allergy fears and we
wanted a solution to put their minds at rest.’
She adds: ‘Now Skin Kind is the standard
across our entire range – all customers can
wear M&S jewellery with confidence.’
From May, all M&S fashion jewellery will
meet Skin Kind standards and customers
should look out for the new Skin Kind
labels on products. Prices range from £5 for
earrings to £29.50 for a necklace.
Visit marksandspencer.com to explore
the collection.

ALTERNATIVE BIRTHSTONES
Most people are aware of the gemstones most commonly associated with their birth month,
but what about the slightly more obscure? Five out of 12 months are linked to alternative
birthstones, so take a look below and see whether your birthday falls into this category.
IMAGES: SHUTTERSTOCK

JUNE AUGUST OCTOBER NOVEMBER DECEMBER

Alexandrite Spinel and Sardonyx Tourmaline Citrine Tanzanite and Zircon
(Sardonyx shown) (Tanzanite shown)

makingjeweller y.com 5

MJ108_P05-07_News SHLGSD.indd 5 25/05/2017 10:34


What’s on
JULY, AUGUST & SEPTEMBER
Find out what’s happening in the jewellery world near you
JULY
22 JULY – LONDON
ENAMELLING ON COPPER FOR
JEWELLERY
A one-day workshop learning the craft of
kiln enamelling with tutors from Eleanor
Designs. £130, jewelleryboat.com
25 JULY – WEST SUSSEX
ONE-DAY JEWELLERY WORKSHOP
This one-day course will help you develop
your drawing design skills for making
jewellery, near Chichester.
£111, westdean.org.uk
29-30 JULY – HEREFORDSHIRE
STONE SETTING 1
On this two-day jewellery workshop, you
will use a variety of techniques to make
a range of stunning stone settings. £220,
melissahuntjewellery.co.uk
6 makingjeweller y.com
MJ108_P05-07_News SHLGSD.indd 6
NEWS
AUGUST
3-6 AUGUST – OXFORDSHIRE
KAREN’S JEWELLERY WORKSHOP
Make a bespoke Sterling silver ring as a
festival keepsake, for a friend, for your
wedding or to propose, at the Wilderness
Festival. £40, wildernessfestival.com
6 AUGUST – SCOTLAND
ANODISED ALUMINIUM JEWELLERY
Learn an array of techniques for adding
colour and texture to aluminium during this
one-day workshop in the heart of Edinburgh.
£85, summerhallschoolofjewellery.co.uk
11 AUGUST – WALES
CARVE A SILVER RING WITH
MAGGIE CROSS
Make your own silver ring using jewellers’
wax and a selection of tools in Bara Menyn.
£55, makeitinwales.co.uk
18-20 AUGUST – SCOTLAND
ADVANCED ENAMELLING
TECHNIQUES
Design and make your own enamelled
jewellery piece with simple fittings during
this three-day workshop in Fife.
£200, carolinefinlay.co.uk
SEPTEMBER
6-8 SEPTEMBER – EAST YORKSHIRE
FREYA’S TEARS AMULET
– MASTER CLASS
Create a beautiful necklace influenced by
the Viking era and Norse Mythology at
Craftworx Studio. £295, craftworx.co.uk
9-10 SEPTEMBER – COTSWOLDS
FABRIC & RESIN BANGLE WORKSHOP
Enjoy this two-day course converting a strip
of fabric into a resin bangle: you will also
have the opportunity to make a matching
pendant and pair of earrings.
£139.95, resin8.co.uk
12 SEPTEMBER – HAMPSHIRE
JEWELLERY WORKSHOP
Discover how to make beaded bracelets,
earrings and handbag charms during this
one-day beginners’ workshop at Sandham
Memorial Chapel. £15, nationaltrust.org.uk
14-17 SEPTEMBER – GEORGIA, USA
2017 OLD SOUTH BEAD RETREAT
This retreat gathers like-minded people
to enjoy beaded jewellery making in the
beautiful city of Savannah.
$625, socialbeadia.com
24 SEPTEMBER – SUFFOLK
RING MAKING WORKSHOP
On this one-day workshop, you will use a
variety of equipment to make a range of
stunning silver clay rings.
£99, silverclayworkshop.co.uk
25/05/2017 10:35
 NEWS

MASTER METAL CLAY ONLINE

Yorkshire-based Tracey Spurgin of
Craftworx has launched an Online
Distance Learning Course so you
can learn how to use metal clay
from the comfort of your own
home. The four-week course
aims to help those who don’t
have time to travel to one of her
workshops or would like to try
out metal clay before committing
to attending a workshop – and is
run via a private Facebook group.
This is how the course works.
Once you have signed up and
paid your fee, you are invited to the
Facebook group. Only course members are
able to view the information published in the group and have
access to illuminating written notes, images, short step-by-step
instructions and videos. Its brilliant structure means you can NEW PIGMENTS FOR RESIN8
make four charming metal clay project pieces with a professional Resin8 has added metallic colours and acrylic tints to its popular
and secure finish! pigments and dyes range.
Tracey also intends to release frequent standalone online The resi-METAL Pigments come in a small plastic tub and are
project videos – for a fraction of the cost of joining a one-day shimmering pre-polymer pigments that can be added to clear resin to
workshop at the Craftworx studio. The first is Tracey’s Fuchsia create stunning effects.
Earrings workshop that demonstrates how to make a pair of The resi-TINT Pigments come in a plastic dropper bottle so you can
earrings out of metal clay – the fab full-length video is now dispense small droplets to suit the desired colour effect, you will only
available to purchase and download at craftworx.selz.com. require a very small amount to transform clear resin into vibrant colours.
The Online Distance Learning Course costs £55. To fi nd out The tints are fully intermixable colours, so you can make up your
more and sign up visit craftworx.co.uk. perfect colour combination – the latest additions are Copper Rush,
Aluminium Oxide and Blue Steel. Find out more at resin8.co.uk.

Your Essential Jewellery WORKSHOPS WITH METAL CLAY LTD IN

Making Accessory
Keep your beadwork organised with the
Bead Board at Beads Direct. The useful craft
surface features a soft padded side, perfect for
securing your needles and pins to, while the
other side features a flat, sturdy base in deep
purple fabric, ideal for when you’re working
with lighter, white or silver beads! Find your
bead board at beadsdirect.co.uk
WAREHAM, DORSET
MAKE YOUR OWN NIGHTSCENE PENDANT
Anna will show you a variety of techniques for
creating wonderful textures and interesting
shapes, as well as lots of handy tricks for working
with small and intricate forms in metal clay
(pendants are around 2cm). You will leave with a
fabulous pendant of your own design.
£195 – 23 September

MAKE YOUR OWN FINE SILVER TWIG RING

Learn how to make a delicate, organic, romantic
ring with sparkling cubic zirconia stones and
precise, tiny ornaments during a one-day
workshop led by Anna Mazoń from Poland. You’ll
use silver clay to create petite twigs, which you’ll
decorate with bark textures, extremely detailed
tiny leaves and other embellishments – plus, learn
how to set faceted stones directly into the silver
clay. These skills can easily be adapted to your
own style, merged with your favourite techniques
and used with different metal clays. Some previous
silver clay experience is necessary.
£195 – 24 September
For more information on how to book, visit:
metalclay.co.uk/courses

makingjeweller y.com 7

MJ108_P05-07_News SHLGSD.indd 7 30/05/2017 12:23

 PROJECT

PARADISE
SUITE SAMMI FLETCHER

C
reate this fabulous collection of
jewellery, inspired by nature’s amazing
birds of paradise, palm trees and all
things tropical. Beautiful and fun, suitable for
day or night wear, these are perfect for a gift
designed to bring a smile.

MATERIALS & TOOLS

● 0.8mm (20 gauge) bronze colour wire
● 0.8mm (20 gauge) gold colour wire
● 0.4mm (26 gauge) bronze colour wire
● 0.4mm (26 gauge) gold colour wire
● 0.4mm (26 gauge) turquoise colour wire
● 0.4mm (26 gauge) red colour wire
● 6mm red beads (red quartz)
● 8mm green beads (Amazonite)
● 4mm Baltic amber beads
● Gold colour earring findings
● Gold colour jumpring
● Gold colour chain
● Wire cutters
● Round nose pliers
● Nylon jaw pliers
● Chain nose pliers
● 6 step bailing pliers
● Ring mandrel
● Bracelet mandrel (optional)

8 makingjeweller y.com

MJ108_P08-11_Paradise Suite.indd 8 25/05/2017 10:36


2
PHOTOGRAPHS: LAUREL GUILFOYLE, SAMMI FLETCHER
4 5
1. For the collar, cut two 64cm lengths of
0.8mm bronze wire, and three 64cm lengths of
0.8mm gold colour wire. At 6cm from the end
of each wire, bend the end of the wire around
your thumb into a paddle, 4cm in length, with
a 2cm overlap. Cut around 90cm of 0.4mm
bronze wire and attach it to the top of the
paddle, winding it round and round to cover
the top of the curve.
2. Start weaving the paddle in an hourglass
motion. Taking your weaving wire diagonally
from one side of the paddle to the other. If the
weaving wire is coming from underneath, take
it over the top of the wire opposite, then all the
way around that wire once, then diagonally back
across to the other wire, and all the way around
again. (If your wire is coming from the top, take
it underneath the wire opposite and all the way
round once, then diagonally back across to the
other wire, and all the way around.)
3. Continue weaving until you reach the base
of the paddle where the wires cross over. Kink
the wire that crosses over gently, so it now
MJ108_P08-11_Paradise Suite.indd 9
PROJECT
3 6
7
HOW TO MAKE
points away from the other wire at about 45°.
Do the same with the other bronze length.
Repeat with one gold length using gold
weaving wire on both ends, one gold length
using the turquoise weaving wire, and the
fi nal gold length using the red weaving wire.
You should now have five wires with a woven
paddle on one end.
4. Make a spiral on the short end of the wire at
the base of each paddle. Take a long length of
0.4mm gold wire (around 2m) and attach it to
one of the bronze paddles three times. Make
sure the spiral is facing outwards. Pick up the
gold paddle making sure your spiral is pointing
inwards, and bring your weaving wire twice
around the wires at the base of both paddles.
Wires 1 and 2: Take your wire up between these
two wires, then pick up the red paddle and
wrap this third wire to the second wire twice.
Bring your wire up between wires 2 and 3.
5. Pick up your turquoise paddle and sit it on
top of the red paddle, fanning the paddles out,
and wrap wires 3 and 4 together twice, then
makingjeweller y.com
bring your wire up between wires 3 and 4.
Now pick up your final bronze paddle with the
spiral sitting outwards and wrap wires 4 and 5
together twice. Fan the paddles out.
6. Take your weaving wire behind and up
between wires 3 and 4, and wrap wires 3 and
4 together twice. Take your wire up between
wires 1 and 2, and wrap wires 2 and 3 together
twice. You should see the start of the zigzag
weave forming. Continue weaving up and down
in this fashion until you get to 8cm from the
other end of the wires.
7. Form the paddle shapes as before, weaving
them as before in the same colours. Finish the
diagonal weaving of the collar right up to the
base of the woven paddles, and trim. Attach
another piece of gold wire to one edge wire at
the base of the paddles, and thread on an 8mm
green bead. Take the wire up through a gap in the
edge wires to secure and finally attach two red
6mm beads in a similar fashion, secure and trim
the wire. Form the collar into shape using your
▼
thumbs, mould the wire to fit the collarbones.
9
25/05/2017 10:36

8 9
11 12
14
8. For the matching bracelet, weave everything
as above, only starting with 34cm lengths of
wire, and making the paddles 2cm in length.
Finish with a single 8mm green bead. Form
the bracelet around your wrist, or bracelet
mandrel, or jar. The bracelet is adjustable so
should fit any wrist, (although you may need
longer lengths for very large wrists). Play
around with wire lengths for different looks,
with both sides meeting, or cupping the wrist,
or moving past each other.
9. For the half beaded bracelet, start with five
28cm pieces of wire, and make 2cm woven
paddles on one end as before. Weave for 14cm,
and carefully spread the wires apart. Slide on
a 4mm red bead onto each wire so they form a
V-shape, and make a wrapped loop just above
each of the red beads. Finish by threading five
headpins with three amber beads each, and
attaching them with a wrapped loop.
10. For the beaded pendant, cut two 6cm x
0.8mm bronze wires, two 6cm x 0.8mm gold
wires and one gold 8cm x 0.8mm wire. 2cm
from the end of each wire make a 45° angle, and
form a wrapped loop. Thread a 6mm red bead
10
MJ108_P08-11_Paradise Suite.indd 10
PROJECT
10
13
15
onto each. With the 10cm wire in the centre,
fan the wires out as above. Attach a 0.4mm gold
weaving wire just above the fan shape, weave
as before, up across the five wires, down across
them, then up again.
11. Use your bailing pliers to make a loop with
the second smallest mandrel on the bronze
wires at either side. Taking the smallest
mandrel on the bailing pliers, make a loop on
each of the gold wires either side of the central
one. Make a wrapped loop using the smallest
mandrel on the central wire.
12. Attach a 0.4mm gold weaving wire to one
bronze loop. Wrap around the loop until you
reach the gold loop, then wrap both together
twice. Now wrap around the gold loop until
you reach the central wire, take your weaving
wire around the central wire one, then wrap
the other side as before and trim. Take five
headpins, place three amber beads on each
and attach to the wrapped loops. Attach the
pendant to a chain with a jumpring.
13. For the earrings, follow Steps 10–12 above.
Make two pendants, but attach them to earring
makingjeweller y.com
findings instead of chain. The use of amber
beads means that these will not be too heavy to
wear on the ears.
14. For the ring, cut three 12cm x 0.8mm gold
wires and two 12cm x 0.8mm bronze wires.
3.5cm from the end of a bronze wire, attach
a gold 0.4mm wire and weave the five wires
together as before, bronze wires flanking the
gold, until 3.5cm from the other end. Bend
this around a ring mandrel with the two ends
parallel to each other and fan them out.
15. Remove from the ring mandrel. Thread one
red bead and one amber bead onto each wire
at one end, forming a V-shape as before. Make
sure all the ends are the same length, then
finish each end off with a spiral. Repeat on the
other side. Place the ring back on the mandrel,
and carefully curve it into shape.
RESOURCES
Widely available from
advertisers in this magazine
CONTACT
sammifletcher.com
30/05/2017 12:29
MJ108_P08-11_Paradise Suite.indd 11 25/05/2017 10:37
 TIPS & TECHNIQUES

VICE
WEAVE KAREN CAINE

V
ice weave differs from the basket-weave
style usually seen in wire weaving in
four fundamental ways. First, it is
formed using a vice with straight edges rather
than being held in your hand. This enables
the bends in the wire to be crisper and the
resulting weave to be denser. Second, it is the
warp wires that are bent to form the woven
structure rather than the weft wire. This
results in a different texture. Third, the weft
wire does not loop from back to front around
the outer warp wires. Instead, it makes a
sideways turn, generating a scalloped edge.
Finally, the warp and weft wires are the same
size rather than having the typical thick frame
wires and a thin weaving wire.
Vice weave is a rare wire weaving technique,
perhaps because it takes more effort to produce
and the fact that its dense form and the need
to keep it in the vice makes it difficult to shape
or add embellishments. It is a wonderful way of
forming bands and strips though, and should
not be overlooked if you want to create sturdy
woven forms for bracelets or rings or if you
want to incorporate an unusual and beautiful
technique into your work.

MATERIALS & TOOLS

● Vice with flat sides (with plastic or felt jaw
protectors)
● 0.6mm (23 gauge) wire
● Flush cutters and nylon-jaw pliers
● Plastic or rawhide mallet and block

FROM TOP:
Blue and pink strip: Basic weave
Purple and gold strip: Double warp
Green and silver strip: Double crossover weft
Red and silver strip: Double parallel weft
Green and blue strip: Skipping weft
Bronze strip: Switching the weft

12 makingjeweller y.com

MJ108_P12-17_Vice Weave SHLGSD.indd 12 25/05/2017 14:42


1 2
PHOTOGRAPHS: LAUREL GUILFOYLE, KAREN CAINE
4 5
Basic vice weave
1. To begin, cut seven 30cm lengths of 0.6mm
wire (the warp wires) and one 75cm length of
0.6mm wire (the weft wire). This will create a
length of weave long enough to make a bangle-
style bracelet. Straighten the wires and stick
them to a piece of masking tape with the warp
wires at the top and the weft wire at the bottom.
Try to make sure they are tightly packed, but not
overlapping one another. Fold the masking tape
over to hold the wires in place.
2. Clamp the taped end of the wires into your
vice, making sure that you have first fitted it
with square-edged jaw protectors (if not you
will damage the surface of your wire when
you start weaving). The taped edge should run
exactly along the top edge of the jaws. Splay the
warp wires out to the sides in an alternating
pattern as shown, pushing firmly to make a
sharp fold. Leave the long weft wire where it is.
MJ108_P12-17_Vice Weave SHLGSD.indd 13
TIPS & TECHNIQUES
HOW TO MAKE
3. Bring the weft wire up the channel left by
the splayed warp wires. Starting from the
point where you bent the weft wire (at the
bottom in this instance), bring the warp wires
across the weft wire. Take the wires in order,
one at a time, pushing each one fi rmly against
the weft wire. Once you have switched the
position of all the warp wires, open the vice
very slightly and push the crossing point of
the wires to move the whole arrangement back
and deeper into the vice’s jaws. Make sure that
it doesn’t tilt and that the taped edge remains
lined up along the top of the jaw.
4. Bring the weft wire down the front, so that it’s
back in its starting position. Once again, starting
from the bend in the weft wire (this time at the
top), cross the warp wires over the top in an
alternating pattern, then open the vice slightly,
push the whole thing back and repeat until you
run out of wire. See the basic weave in the blue
and pink strip on the opposite page at the top.
makingjeweller y.com
3
6
5. Remove the woven strip from the vice
and use a plastic or rawhide mallet to gently
straighten out any undulations that may have
been caused by tilting in the vice. Use a soft
surface – like a paper towel – to protect the
surface of the wire on the underside. Remove
the masking tape and the strip is ready to be
used in your project. You can use this same
technique to tidy up the alignment on all the
subsequent weaves.
Double wires
6. Once you have mastered the basic technique,
there are plenty of variants you can try. Here
we’re folding the warp wires over in sets – in
this case two by two. You can compare the
result of the double warp to the basic weave in
the purple and gold strip, opposite page second
▼
from the top.
13
25/05/2017 14:42

7 8
10
13
7. Another approach involves having two
weft wires coming from opposing directions.
Start by cutting six short warp wires and two
long weft wires. Set the weft wires on either
side of the warp wires, then fold them in
masking tape and set them in the vice as you
did in Step 1. Then fold the warp wires out as
you did in Step 2. Next bring the left weft wire
down the central channel and the right weft
wire up it, making sure that the two wires
don’t cross.
8. Bring the warp wires across and then push
the whole strip back deeper into the vice as you
did in Step 3.
9. Switch the weft wires over, so that the left
one goes up and the right one goes down. Keep
repeating this until you run out of wire. The
14
MJ108_P12-17_Vice Weave SHLGSD.indd 14
TIPS & TECHNIQUES
11
14
resulting pattern, the double crossover weft is
shown in the green and silver strip on page 12.
10. The next variation is very similar to the one
described in Steps 1 to 4, but instead of having
a single weft wire you have two. Simply bring
the two weft wires across all the warp wires...
11. …cross the warp wires over starting from
the bend in the weft wires, move the woven
strip back deeper into the vice’s jaws...
12. …and repeat. The trick with this weave is
to keep the weft wires on top of one another,
rather than beside each other. You can do this
by coaxing them into position with nylon-jaw
pliers. As you can see from the red and silver
strip on page 12, the double parallel weft
produces a distinct wave pattern.
makingjeweller y.com
9
12
15
Skipping
13. The skipping variation follows the same
basic technique and is not difficult to do, but you
do have to concentrate as it’s very easy to lose
track of which weft wire should be crossing next.
To begin, cut seven short warp wires and two
long weft wires. Place the weft wires on either
side of the warp wires, wrap them in masking
tape and place them in the vice. Fold the warp
wires out in the usual way and bring the top weft
wire down. Cross the warp wires over again and
push the woven strip back deeper into the vice.
14. Bring the same weft wire back up...
15. …and cross the warp wires again. Push the
woven strip back and release the as-yet-unused
▼
weft wire.
25/05/2017 14:42
 TIPS & TECHNIQUES

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MJ108_P12-17_Vice Weave SHLGSD.indd 15 25/05/2017 14:43

 TIPS & TECHNIQUES

16 17 18

19 20 21

22 23 24

16. Bring the second weft wire around the
outside edge and up...
17. …and cross the warp wires again. Push the
woven strip back...
18. …and bring the second weft wire down
again. Both weft wires have now made one
journey up and down.
19. To restart the pattern, bring the warp wires
across the second weft wire...
20. …and push the woven strip back into the
vice’s jaws, release the first weft wire and bring
it around the outer edge and down again. Keep
repeating this pattern to create a skipping weft,
shown in the green and blue strip on page 12.
Switching the weft
21. The fi nal technique doesn’t have a
dedicated weft wire. Instead, the warp wires
switch position throughout, with the bottom
one always acting as the weft wire. Cut seven
30cm lengths of wire, wrap them in masking
tape and place them in the vice as usual.
Fold the top six wires out and then take the
bottom one, which is acting as the weft wire,
up the channel.
22. Separate the bottom wire (the one on the
bottom left) and then fold the others over the
weft wire in the usual way. Push everything
back deeper into the vice, then fold the weft
wire down so that it becomes the top warp wire
(the one on the top right).
23. Bring up the new weft wire (the one on the
bottom left you separated in the last step).
24. Separate a new weft wire (the one that is
now in the bottom left position) and repeat
Steps 22 and 23 until you run out of wire. The
result of this weave, switching the weft, is
shown in the bronze strip on page 12.
RESOURCES
Wire: wires.co.uk
CONTACT
thecraftydwarf.com
craftydwarftutorials.com
facebook.com/thecraftydwarf

16 makingjeweller y.com

MJ108_P12-17_Vice Weave SHLGSD.indd 16 25/05/2017 14:43

MJ108_P12-17_Vice Weave SHLGSD.indd 17 25/05/2017 14:43

YOU CAN MAKE IT, 2017
Sian Hamilton reports back on the You Can Make It event, the metal clay
conference held in the UK earlier this year
There are times when you find out about an
event and you immediately get excited; this
happened to me last year when the information
about a new metal clay conference being set up
in the UK by Metal Clay Ltd hit my desk. Called
YCMI – You Can Make It, it took place back
in the spring in a wonderful rural hotel near
Wareham, Dorset.
I’m a big fan of silver clay and more recently the
development of base metal clays, but have never
had the opportunity to attend a conference;
most are held in the USA and it has been years
since a big event had taken place in the UK. So
when I read about this one I was probably as
excited as most kids are at Christmas!
From the first initial information you could see
the conference was going to be a major event
as most of the best Masters of metal clay from
across the world were coming to teach classes.
From the outset it became the event of the year
(some would say decade!) for the UK metal
clay community. Aida Chemicals, who make
Art Clay, sponsored the event, provided all the
clay for classes and also sent over an amazing
designer to teach about metal clay.
18
FEATURE
I waited, with probably not as much patience
as I should have, until the booking opened,
then went straight for the full conference
experience. They had a good range of options
available. The full experience was to arrive on
Thursday evening for dinner, then a Master
class on Friday followed by two days of morning
and afternoon talks and hands-on sessions. At
the booking stage you could choose what you
wanted to do by picking your Masterclass and
two hands-on sessions over the weekend. The
demos/talks were drop-in events, so you just
picked which ones you wanted to attend on
spec. There were also options available to arrive
on Friday morning for a Masterclass or just to
attend on Saturday and Sunday.
It felt like forever and 5 minutes all at the
same time waiting for the conference to come
around! The event took over the whole hotel for
the weekend, which was great, as you knew you
could just walk up to anyone and start talking
about metal clay. There is no experience that
comes close to being at an event with a bunch
of other people who totally love the same thing
as you do; the outside world disappears and
you are immersed in the creative world of your
makingjeweller y.com
chosen craft. Folks came from all over of the
globe to attend with the majority of people
choosing to arrive on Thursday for the full
conference experience.
It was lovely to arrive, drop my bags and head
to the bar to meet old friends, new friends
and those who feel like friends as you’ve been
connected on Facebook but you’ve never
actually met face to face until now! With all
meals provided in the ticket price, we headed
to dinner and then off for an early night in
preparation for the Masterclasses on Friday.
The Friday Masterclasses were varied with
choices for making chains, a nightscene
pendant, mokume gane, colouring metal,
marine mammals and spinning mandala
earrings. I choose to attend the class with
Wanaree Tanner, who had brought over her
new range of die-cut tools from the USA
to demonstrate and make the spinning
mandalas. The day was spent playing with her
wonderful tool range with everyone making
a pair of deliciously detailed earrings. By the
end of a full and busy day, we all had a fi red
pair to show off.
 Friday evening comprised of the welcome
reception and a short keynote speech by
Petra Cameron (the owner of Metal Clay Ltd),
followed by a lovely dinner. The weekend was
full of hands-on sessions and demos or talks
on a vast variety of subjects. The demos and
talks were one hour long and the hands-on
sessions about 3 hours. On Saturday I chose a
hands-on session with Anna Mazoń, making a
beautiful 3D butterfly, which was tiny, but so
PHOTOGRAPHS: JASON MARDELL AND PETRA CAMERON, COPYRIGHT METAL CLAY LTD
satisfying to make.
Though technically not metal clay, I chose to try
out Efco cold enamels for my Sunday hands-on
session and that was quite an eye opener. If I’m
honest, I had dismissed cold enamel as a resin-
based cheats’ version of glass enamels, but how
wrong I was! I’m a complete convert, the Efco
range is wonderful to use and you can create an
amazing range of effects on metal blanks. I came
away from that session with a crazy swirl of
ideas for cold enamels buzzing in my head.
All in all the long weekend event was amazing
with Petra and her team working incredibly
hard to make the event something to
remember. Along with the classes, sessions,
demos and talks, there were raffles, a meet the
masters evening, a charm swap, presentations
and a market to stock up on all the tools you
just need to have!
It went way too fast with most attendees
dragging themselves away on the Sunday, late
afternoon. No one quite wanted to leave the
metal clay bubble we had been in for the last
three days! As I departed I heard whispers about
next year; would Metal Clay do this again?
As I write, my excitement is building as Petra
has confirmed that they are already working
on an event for 16–18 March 2018. So folks, get
those diaries out and pencil in YCMI2018; you
won’t be disappointed.
For more information about YCMI2018
(this event is suitable for everyone from the
complete metal clay novice to the professional),
visit the website at youcanmakeit.co.uk or sign
up for the newsletter at metalclay.co.uk.
makingjeweller y.com 19
 This month’s inspiration for your wardrobe comes from tropical destinations,
including show-stopping g sunsets and
ping nd the beauty of nature. By Rachelle Bell

Laurie Tassel To
te Bag £59.95
BEACH BAZAAR Sk ye Embroide
ry Cover Up £3
5,
,
This look is inspired by handicrafts that both whitestuff
.com
you see vendors selling on the beach. Eleanor Espadr
illes £59,
These pieces are fun, quirky and look hobbs.co.uk
lovingly handmade. Pom-poms, tassels Capri Filigree Ta
ssel Earrings
and embroidered details add an artisan £8, accessorize
Eliana Embroide .co.uk
quality to your summer wardrobe. The red Trousers
great thing is you can add these designer £79, monsoon
.co.uk
touches to pieces that you already
own. Raid your local haberdashery and
add a pom-pom trim to a plain tee or
hand-stitch your favourite quote onto
a pair of canvas shoes. Add handmade
tassels to earrings and necklaces,
make friendship-style bracelets or try
your hand at weaving. The best thing
about this look is that it doesn’t have
to be perfect. Enjoy the process of
customising and creating your own
clothing. You can always say that you
bought it from a bazaar on your travels
and no one would ever know!

TROPICAL OASIS
Florals are always on trend when the
summer comes around. This time busy
digital prints take centre stage. A bold
swimsuit will be a statement piece for
your suitcase, you could always wear a
maxi skirt over the top to get two looks in
one. Alternatively, a printed kaftan is the
perfect cover-up to take you from beach
to bar. Team with a set of bright wooden
beads in a sunshine yellow for an extra
pop of colour. It’s proven that wearing
5, figlle
5 es.com
eaavve yellow makes you feel happier so even if
Anjuna Dress £4 im su it £32,
t Sw it’s not a shade you’d usually go for, try a
Floral Placemen
om yellow bracelet or necklace and see if your
cottontraders.c
Dress £36, mood improves! A patterned smock dress
Printed Smock
e.co.u k is a key piece for any summer wardrobe;
simplyb
cklace £19, wear it on its own with a pair of sandals
Yellow bead ne
east.co.uk and it’s an effortless outfit. If it’s a British
summer we’re talking about and it’s a
little breezy, wear with a denim jacket and
trainers for a casual outfit.

makingjeweller y.com 21

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022_MAJ_108.indd 22 5/25/17 9:37 AM
 PROJECT

NATURE INSPIRED DEBBIE KERSHAW

T
his is a set of jewellery that puts ● Mod Podge or similar RESOURCES
together different crafting techniques ● Waterproof craft varnish in gloss or matt Paper, Mod Podge or similar, wooden shapes,
for a multimedia approach to jewellery ● Brooch back stickers, paints, markers, pencils:
making. It is suitable for any level and can be ● Earring wires amazon.co.uk
adapted to your style and skill level. I have ● Jumprings All other materials are widely available from
recently spent time doing lots of painting and ● Selection of clasps advertisers in this magazine.
thought it would be fun to incorporate this into ● Ring shank (optional)
my jewellery designs. Don’t worry if you can’t ● Carnelian 4mm and 6mm round beads CONTACT
draw as I have included lots of alternatives. ● 0.4mm (26 gauge) and 0.6mm (22 gauge) DebbieJKershaw@gmail.com
copper wire
MATERIALS & TOOLS ● 4mm copper spacer beads
● Selection of wooden shaped blanks (birds, ● Selection of pearls
flowers and butterflies) ● Dremel drill or similar
● Butterfly stickers or stamps ● Round nose pliers
● Colourful papers (such as origami paper) ● Chain nose pliers
● Selection of paints, markers, pens ● Wire cutters
and pencils ● Sharp scissors
● Glues (such as Gorilla glue) ● Craft knife

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MJ108_P23-26_Paradise SHLGSD.indd 23 25/05/2017 14:44

 PROJECT
1 2
4 5
PHOTOGRAPHS: LAUREL GUILFOYLE, DEBBIE KERSHAW
HOW TO MAKE
Hummingbird brooch
1. Find a wooden bird shape you would like to
work with. Start by covering your shape in clear
or white Gesso. This will form a base for the
7 paint or markers to adhere to. It will also add
to the longevity of the piece. You do not have to
do this step, but your colours could be dull and
need extra layers if you choose to skip it. Let
the Gesso dry thoroughly before continuing.
You may use a heat gun or hairdryer for this if
you wish to speed up the process.
2. If you are going to paint or draw your bird it
is handy to have a reference image to refer to.
I drew my image in pencil fi rst and then added
colours in layers with paints and markers,
adding highlights at the end. Alternative
methods for those who prefer not to paint are
applying stickers, collage or stamping on an
image and colouring it in (these methods
are covered in the other steps of this
project). Once you are happy with your
image, apply a couple of layers of
sealer such as Mod Podge or similar
and allow to dry.
3. For the back of the
bird, I added colourful
paper. Draw around
the bird and cut out
your shape. I find it useful to colour in the bird
first with paint or a marker. This way if any
of the corners show you have a vibrant colour
showing through instead of the plain wood. As
before, add a couple of layers of sealer. Once
dry, paint the whole thing with two layers of
waterproof varnish (one side at a time). There
24 makingjeweller y.com
MJ108_P23-26_Paradise SHLGSD.indd 24
3
6
are some very good décopatch varnishes that
are great for this.
4. To finish off the brooch, add a brooch back
with a strong, flexible glue. I used Gorilla
glue as it is very strong, but also allows some
flexibility. Please refer to the manufacturer’s
guidelines for use.
Tropical birds necklace
5. Take the wooden template and draw around
the bird shapes carefully. I used some lovely
Origami paper. Be very careful with your shape
– the more intricate the design the more flimsy
the shape. So until you wire wrap the frame you
need to be very gentle with the branches.
6. Carefully cut out your bird shapes. If you find
this difficult, you can add an overlapping piece
of paper to the birds, stick it on and cut around
it once dry with a craft knife. You can use Mod
Podge to stick the paper down to the wood.
Use a discarded bank/store card to press out
any bubbles in the paper. Run it along the birds
until they are smooth. Add a couple more layers
of Mod Podge or a similar sealer to the birds
and leave to dry.
7. For the back of the piece, I applied green
permanent marker to the whole thing in
a couple of layers. For the front, I used a
combination of Pro Markers in different colours
to decorate the branches and leaves. Once
completed, add a layer of sealer to the rest of
the piece on both sides. Then continue with
waterproof varnish layers as before. Make sure
▼
to dry all layers in between applications.
30/05/2017 12:31
 PROJECT

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MJ108_P23-26_Paradise SHLGSD.indd 25 25/05/2017 14:45


8 9
11
14
8. Take a workable length of 0.4mm or 0.6mm
copper wire and twist together two lengths.
You don’t want the twists to be too neat as
you are aiming for the organic feel of branches.
This step serves two purposes; to reinforce the
frame and to add decoration and interest. Wind
your twisted wire around the branches and
leaves. Finish with a wrapped loop on each end.
You can add two equal lengths of chain and
a clasp with jumprings.
Butterfly necklace
9. You can use stickers as an alternative to
painting if you want to. If you would prefer
to draw/paint your butterflies, you can do
this by using the same steps I used for the
hummingbird brooch. Take three butterfly
wooden shapes that are a good fit for your
stickers (I used two smaller shapes each side
of a larger one). Colour both sides of the
butterflies with black/paint or marker. Glue on
the butterflies and seal and varnish them as in
Step 6. (Don’t just rely on the stickers; you still
need to glue them.)
26
MJ108_P23-26_Paradise SHLGSD.indd 26
PROJECT
12
15
10. Decide where you want your holes to be
for assembly. Put a mark on the back of the
butterfly to mark these areas. Attach the
butterfly down to a scrap piece of wood with
masking tape and drill your holes. Repeat this
process for all of the butterflies. For both sides
of the necklace I used a carnelian wrapped loop
chain and attached the chain and focal bead
to each side with 0.6mm wire, continuing the
wrapped loop across the focal bead to secure for
added decoration.
11. To join the butterflies together in the
middle I used 0.6mm wire. Wrap loop one
end of the wire to your butterfly. Add a 4mm
copper bead, 6mm carnelian and 4mm copper
bead. Then wrap loop the other end to the next
butterfly. The wire can be manipulated when
finished to ensure the necklace hangs correctly.
Pearl butterfly bracelet
12. For this piece, I used a wooden shape with
a butterfly outline already on it. You could also
rubber stamp an image on if you like. Colour
makingjeweller y.com
10
13
in the butterfly with permanent paint markers.
Seal and varnish your butterfly as before and
drill two holes. Using wire to wrap loop or
beading thread crimped on, add the pearls and
spacer beads to both straps of the bracelet and
finish with a clasp of your choice.
Wire butterfly ring
13. Use the steps from the butterfly necklace
from Step 9 to decorate a single butterfly for
a ring. Drill a hole in the centre of the butterfly
from the back. You can make your ring shank
out of wire or use a ready made one as I did.
Wrap one end of 0.6mm wire around the
ring base and thread the other through the
centre hole.
14. Add on your butterfly to the wire, followed
by a 6mm blue round and 3mm spacer bead.
Thread the wire back down the 6mm round,
through the butterfly and wrap around the
base to secure. I continued wrapping my wire
around my butterfly and finished by securing
and tucking in my wire at the base.
Flower earrings
15. These earrings are nice and simple to
make, but just as effective. Take two wooden
flower blanks and decorate each side with
paint or markers. Seal and varnish as we have
before and wait to dry. Use 0.6mm wire to
wrap loop your earring wires to the flower and
a jumpring to add the drop to the bottom of
the flower.
25/05/2017 14:45
027_MAJ_108.indd 27 5/25/17 9:37 AM
 PROJECT

BRICK STITCH
BEADS
TANSY WILSONE

MATERIALS & TOOLS

B
rickstitch is the name of a beadworking
technique and although it is a simple ● 30cm x 1mm (18 gauge) silver wire
beading stitch, it creates elaborate- for pendant
looking results. The technique is ideal for a ● 30cm x 0.8mm (20 gauge) silver wire
beadworking beginner as all you need are the for earring hoops
beads, a needle and thread, some wire and ● 20mm diameter circle connectors
some patience. I have used black thread so you ● 30mm diameter brass washers
can see it in the photographs, but I recommend ● Fireline
you use a transparent or smoke colour so it is ● Beading needle
not visible in your designs. ● Assortment of size 8 Miyuki seed beads
● Earring hooks
● Jumprings
● Chain and clasps
● Emery paper
● Cylindrical former
● Round nose pliers
● 2 x flat nose pliers
● Side cutters

28 makingjeweller y.com

MJ108_P28-32_Brick stitch SHLGSH.indd 28 31/05/2017 12:55

 PROJECT

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

1 2

HOW TO MAKE
Large earring hoops (p31)

1. Wrap 0.8mm wire four times around a

cylindrical form approx. 25cm in diameter. I 3 4
have used a glue stick as a former.

2. Slide the wire off the former and cut off two

lots of one and a half coils.

3. Bend the very tip of the wire so it’s nearly a

90° angle, as shown in this image. Sand the tip
of the wire so it’s not got any sharp edges.

4. Now bend the other end of the coil using

round nose pliers to form a small hook that
the wire bent in Step 3 can catch under. This
hook will probably not be at the very end of the
wire. Form it so you do not change the size of
the hoop. Cut away any excess wire and repeat
5 6
Steps 3 and 4 to make the other earring hoop.

5. Cut a 100cm length of Fireline and tie one

end to your earring hoop, leaving a short tail of
thread and then thread the remaining Fireline
through the eye of a beading needle.

6. Pick up two seed beads and slide the beading

needle under and up through the earring hoop.

7. Pull the thread so the two beads snuggle up

to the hoop, then pass the beading needle up
through the second bead added.

8. Pull the thread tight so the two beads rest

▼

flat next to each other on the top of the wire. 7 8

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MJ108_P28-32_Brick stitch SHLGSH.indd 29 31/05/2017 12:56


9 10
12
15
9. Pick up one bead and again put the needle
under and up through the hoop.
10. Pull the thread so the bead pulls close to
the wire and thread the needle back up through
the bead.
11. Pull the thread tight and this one bead
added will rest flat and snug against the two
beads first added in Step 6. You will notice that
a line of thread spans each bead. I shall later
call it a ‘bridge.’
12. Keep picking up one bead at a time and
taking the needle under and up through the
hoop and back up the same bead until you
have added enough beads to go around half
of your hoop.
30
MJ108_P28-32_Brick stitch SHLGSH.indd 30
PROJECT
13
16
13. Now pick up another bead and thread the
beading needle under the thread bridge directly
under this bead.
14. Take the needle and go up through the same
bead you picked up in Step 13.
15. Pull the thread and the bead will sit directly
on top of the row of beads below.
16. Pick up another bead and thread the
beading needle under the thread bridge directly
under it.
17. Take the beading needle and go back up the
same bead used in Step 16.
18. Pull the thread tightly so the bead rests flat
on the row below. Keep repeating Steps 16 and
makingjeweller y.com
11
14
17
17 until you come to the end of the row. You
can then go back again the other way to form
another row. As you work round the hoop you
may need to use the same thread bridge twice
so you do not get any large gaps between beads.
Finally, pass the beading needle down through
a few beads and tie a knot, cutting away any
excess Fireline. Repeat Steps 5–18 to make the
other earring hoop.
Pendant (right)
19. You can use thicker wire for a pendant,
as obviously it won’t need to fit through your
pierced ears – and this makes a more stable
base for your beads. Bend the wire 5mm
from one end. Then make an eye loop twice
bending the wire back down to match the
▼
5mm initial stem.
31/05/2017 12:56
 PROJECT

18

19

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 PROJECT

20 21 22

23 24 25

26 27 28

20. Take the remaining wire and bend it
around a large cylindrical former at least 5cm
in diameter. Finally, wrap the wire around the
stems under the two eye loops to secure the
shape and cut away any excess wire.
21. Follow Steps 5–18 to add three rows of beads
to your pendant. You can go more than halfway
round with this design or even add more rows!
However, do not take the thread back down the
beads and cut just yet as you can add a pretty
edge for an extra detail in the design.
coloured bead rests snugly on the end bead.
24. Pick up another different coloured bead
and thread the needle back down through the
same bead that the thread is coming out of and
pull tightly. Keep repeating Steps 23 and 24 to
add beads all the way along. When you get to
the end take the beading needle back down a
few beads and secure cutting away any excess
thread.
Small silver earrings on hooks (p28)
Gold earrings (p28)
26. This brass washer makes a lovely large
circular base. This time I decided to go all the
way around the circle for a different design.
27. By adding the layers of beads and an edging
detail you can achieve a slightly different look.
28. Add an earring hook, linking it under
one of the thread bridges as central to the top
as possible.

22. Pick up a bead of a different colour to your
beaded rows and take the beading needle back
down through the bead that the thread is
coming out of.
23. Take the beading needle up through the
next bead along. Pull tightly so the different
25. If you do not feel confident making your
own wirework earring and pendant bases,
you can buy a whole assortment of textured RESOURCES
circular connectors or washers to use instead. All materials: highlystrungbeads.co.uk
I have found these lovely textured silver circles
and used exactly the same stitch then added a CONTACT
jumpring to link to an earring hook. tansywilson@hotmail.com

32 makingjeweller y.com

MJ108_P28-32_Brick stitch SHLGSH.indd 32 31/05/2017 12:57

033_MAJ_108.indd 33 5/25/17 9:39 AM
 Flux’n’Flame READ
Jewellery School
At Flux n Flame we offer jewellery
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with sterling silver, gold and precious
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034_MAJ_108.indd 34 6/1/17 10:09 AM

 PROJECT

SUMMER
NIGHTS JULIA RAI

S
unshine, flowers and a dolphin feature in these
pieces of jewellery are perfect for dressing up to
enjoy balmy, tropical nights. PMC Flex or Art
Clay Silver 950 both allow you to roll them thin and
once dried, they are flexible enough to be used in a
paper punch to create layered metal clay pieces. The
resulting cells can then be used to add colour in a
wide variety of ways including hot and cold enamel,
paints and inks or as I’ve used here, glass paint. These
can easily be made by beginners using simple themed
punches. A little more skill may be required if the
punches have multiple cutouts.

MATERIALS & TOOLS

● 25–30g PMC Flex or Art Clay Silver 950
● Silver clay paste, any brand
● Paste Maker
● Glass paints
● Sterling silver chain
● Earring wires
● Paper punches
● Cutters including small
nesting round cutters
● Jumprings
● 1mm drill
● Tissue blade
● Emery board
● Sanding sponge
● Paintbrushes
● Firing tools
● Polishing tools
● Cutters and pliers

35 makingjeweller y.com 35

MJ108_P35-38_Julia Rai SHLGSD.indd 35 31/05/2017 15:21


1 2
PHOTOGRAPHS: LAUREL GUILFOYLE, JULIA RAI
4 5
1. When you have chosen the punch for the
pendant, roll out PMC Flex or Art Clay Silver
950 two cards (0.5mm) thick onto a sheet of
Teflon. This panel needs to be large enough
for your punch plus a border around the edges
at least 5–10mm wide, depending on your
design plus some extra so you can handle it
in the punch. Trim it with a tissue blade so it
is square or rectangular and put it to one side
to dry naturally. Do not apply heat to dry it as
this can make the panel brittle and trickier to
use with the punch.
2. When the panel is dry, use a ruler to
draw lines on the surface in pencil from corner
to corner creating a cross showing the centre
of the panel. Turn the punch upside down
and put it on a fl at, stable surface. Slide the
dry metal clay panel into the slot and line up
the centre of the punch design with the cross.
Holding the panel in place with one hand,
press down fi rmly on the cutter so you get a
good, clean cut. Turn it over to release the
cut out design and carefully remove the panel
from the slot. Save any cut out pieces
for other designs.
36
MJ108_P35-38_Julia Rai SHLGSD.indd 36
PROJECT
3
6
HOW TO MAKE
3. Trim the edges of the cut out panel with a
tissue blade so it is the correct size for your
pendant. Roll out some more silver clay three
cards (0.75mm) thick onto a sheet of lightly
oiled Teflon, leather or another shallow texture
of your choice. Dampen the back of the cut out
panel with water and the surface of the clay
with thin paste. Press the cut out panel gently
onto the rolled out clay, ensuring it makes good
contact at the outside edges and around all
parts of the cut out design. Use the tissue blade
to trim the clay slightly larger than the cut out
panel to allow for shrinkage of the wet clay.
4. While the pendant is drying, make some
donuts for a bail. Roll out silver clay six to
eight cards (1.5–2mm) thick. Use small round
nesting cutters to cut donut shapes out of the
clay. Brass tubes in a variety of sizes make
good small cutters. Make more than you need,
dry them and then keep them in a box for
future projects. When they are dry, refi ne the
inside and outside with small files and sanding
sponges so they are smooth. File one side of one
donut to create a flat platform, which will stick
to the back of the pendant.
makingjeweller y.com
5. When using transparent colour like glass
paints, it’s fun to have a texture on the base of
the cell. This can be achieved by using a texture
plate when rolling out the clay initially or by
adding a subtle, stippled texture with paste after
the pendant is assembled. Use medium thickness
paste and a good quality paintbrush to create a
stippled texture down in the cells. Paint the paste
in, then using the tip of the bristles, dab down
and lift to create the texture. You can also add
this texture to the surface of the panel for a more
unified look to the finished pendant.
6. Once the pendant is completely dry, refine the
edges with an emery board if the piece has flat
edges or a sanding sponge if they are curved. File
enough to ensure the back and front layers are
flush and you cannot see the join between the
two. Always file along the length of the edge, not
across it. This is particularly important when
you are working with layers as filing across can
dislodge the layers if they are not really well
stuck down. If you can see a line, add some thick
paste to the edge, making sure it is pushed into
the join. If the layers completely separate, stick
them together again using paste.
▼
30/05/2017 12:33
 PROJECT

makingjeweller y.com 37

MJ108_P35-38_Julia Rai SHLGSD.indd 37 25/05/2017 10:54


7 8
9 10
7. Earlier this year I was teaching at the You Can
Make It event in the UK organised by Metal
Clay Ltd. American metal clay artist Wanaree
Tanner was also teaching and she had a great
tip for sticking dry pieces together, which is
perfect for attaching a bail to the back of the
pendant. Wanaree has found that using Paste
Maker alone sticks pieces together really firmly
and with none of the mess that can result from
using paste. Mark where you want the bail to go
with pencil, then dispense a little Paste Maker
onto your work mat and dip the fi led side of
the donut into it. Place it on the back of the
pendant, press firmly and leave to dry.
8. To make the earrings, charm and other
pendants, use the same process of punching
out the shapes from a dry panel, sticking this
to a back piece and after drying, refining the
edges. You can add a texture to the bottom of
the cells or leave them smooth. Use a 1mm drill
bit to drill a hole for earwires or jumprings or
add a bail using Paste Maker as before. I have
also added another hole to the bottom of the
38
MJ108_P35-38_Julia Rai SHLGSD.indd 38
PROJECT
dolphin pendant to add a drop bead later. When
drilling holes in dry clay, support the piece from
behind with your finger where you are drilling.
Use no pressure; just let the drill do the work.
You can also put the piece on a rubber block
to drill.
9. There are various ways to finish the edges of
these pieces. You can simply leave them fi led
smooth so you can burnish the edges after
firing for a high shine finish. You can also add
a texture to the edges using paste stippled on.
This is a good option if you can still see a line
where the two layers meet. Carefully paint
medium to thick paste on the edges and stipple
with the paintbrush. Make sure there is no
paste on the back or front of the piece; clean
it off before it dries. You can also add a fi led
groove texture to the edges. If you like things
ordered, measure and mark the position of each
fi led groove with a pencil.
10. When everything is ready, fi re the pieces
following the manufacturer’s instructions for
makingjeweller y.com
the brand of clay you used. Polish the pieces
using any method you like. Adding the colour is
the final step. Dispense some of the glass paint
onto a glass or ceramic tile and using a small
paintbrush, add the colour into the bottom of
the cell. Make sure you clean off any paint that
gets in the wrong place immediately. Mixing
colours is also possible with glass paints. Allow
the paint to dry following the manufacturer’s
instructions. Add jumprings, earwires and
chains to finish the pieces.
RESOURCES
Art Clay Silver 950, silver clay paste, glass
paints and Paste Maker:
metalclay.co.uk
Earring wires, chain and jumprings:
cooksongold.com
CONTACT
juliarai.co.uk
csacj.co.uk
info@csacj.co.uk
25/05/2017 10:54
 Diploma in Creative Jewellery

Study options
1 year - one day per week (starting September 2017)
Intensive - 7 weeks - five days per week (starting 10th July 2017)
Visit www.londonjewelleryschool.co.uk for more information, or call 0203 176 0546

039_MAJ_108.indd 39 5/31/17 12:28 PM

 CELEBRITY STYLE

BEACH
STYLE TANSY WILSON

40 makingjeweller y.com

MJ108_P40_41 Celebrity Style SHLGSD.indd 40 31/05/2017 15:22


1 2
PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER
4 5
I
have made this necklace
for Shakira, based upon her
Colombian roots, which are
colourful and vibrant. She also has
recently purchased a Caribbean
island and I think she would look
great on the beach wearing this!
MATERIALS & TOOLS
• Block of white polymer clay
• Texture mat
• Glue
• Metal leaf
• Emery paper
• 10m x 1mm waxed cotton cord
• 2 x large end caps
• Toggle clasp
• 2 x 4mm jumprings
HOW TO MAKE
1. Break off about one quarter from
the polymer clay block and knead
it until soft and malleable. Roll it
to approx. 1mm in thickness. You
can use blocks or playing cards
either side to be exact, but it is not
essential. Finally, roll or press a
pattern all across the surface. You
want the pattern to have a good
depth to it.
2. Cut out a perfect circle from the
rolled clay. I used a drinking glass
that was approx. 5cm in diameter.
Then using a craft knife, cut out
MJ108_P40_41 Celebrity Style SHLGSD.indd 41
CELEBRITY STYLE
two small rectangles towards
the top of the circle, making sure
the post is central on the circle.
Finally, place the shape over a
domed surface. I used a light
bulb to shape the piece. Leave
on the light bulb and bake in the
oven, following the polymer clay
manufacturer’s instructions.
3. Once the shape has completely
cooled, apply a layer of glue all
over the convex surface of the
dome. Leave to air-dry for about
10 minutes. Then carefully pick up
your metal leaf using a paintbrush
and layer all over the surface.
Use the paintbrush to push the
metal into the texture. Leave to
completely dry.
4. Place the shape onto coarse
emery paper and rub back and
forth to sand a perfect flat bottom
edge. Then cut the emery paper
into manageable strips and
holding these one at a time in
your hand, gently sand across the
textured surface. You will sand
away the top edges of the texture,
leaving the gilded imprint. You can
also wrap the emery paper around
a lolly stick and sand the inner
edges of the cutout rectangles for a
perfect finish.
makingjeweller y.com
STYLE
PROFILE
SHAKIRA
3
PHOTOGRAPH: FEATUREFLASH PHOTO AGENCY / SHUTTERSTOCK.COM
6
5. Cut your 10m of 1mm waxed
cotton cord into 20 lengths, all Shakira is a singer, songwriter,
approx. 50cm long. Thread each dancer and record producer
one through one cut out rectangle, who shot to fame with the best
over the central post and back selling single of 2002 called
down through the other cutout ‘Whenever, Wherever’. Her
rectangle. official song for the 2010 FIFA
World Cup ‘Waka Waka (This
6. Working on one side only, Time for Africa)’, also became
gather all the cords together and the biggest-selling World Cup
glue them into a large endcap. I song of all time. She has won
used a two-part adhesive. Leave to many awards, was a coach on
completely dry. Then you can pull the American version of The
and tweak all the cords so you get Voice and is listed among the
the right length as well as them top 100 most powerful women
not being too twisted before gluing in the world.
the other side. Trim the cords if
required, then glue into the other
large endcap. Finally, once dried,
add a clasp using jumprings.
DESIGNER TIP
You can get glue especially
designed to use with metal leaf,
but an alternative that you may
PHOTOGRAPH: BY OKSANA STOCK /SHUTTERSTOCK.COM
already have in your workbox is
a spray adhesive, which works
equally as well for this project.
RESOURCES
All materials can be sourced from
advertisers listed throughout this
magazine
CONTACT
tansywilson@hotmail.com
41
31/05/2017 15:22
 10
QUESTIONS
TANIA MANEROVA
When did your interest in jewellery first start?
I started making jewellery spontaneously in 2011, having had experience
of selling other makers’ work in my own shop. I fell in love with stones
and beading from the start, but then took a risk and tried silversmithing
because readymade findings seemed too simple and weren’t sufficient for
my ideas.

Do you have any formal training? If so, where did you train?
I was trained by Olegs Auzers in his jewellery school in Riga and as a
result was awarded a degree certificate by the Baltic Jewelry Association.

Where is your studio?

It is located in Riga, Latvia. I work here together with my husband, who
left his office job and joined me in this exciting jewellery adventure.

Where do you find inspiration and how do you decide what to make next?
Honestly, I don’t know how exactly designs appear in my head. But
nature certainly inspires me greatly: it’s the best artist and an eternal
source of shapes, lines, movement and colour combinations. I’m a
fan of the visual arts and of travelling: both open new doors and give
me a breath of fresh air. I can inspire myself too: the right mood,
good intuition, a double espresso and I’m ready for long, productive
brainstorming. My schedule often determines what to make next. But,
given free time or an open brief, I’m always in a hurry to realise ideas
which materialise fully-formed in my imagination, and just need to be
brought to life. Of course, there are impromptu pieces: these are made
with neither my control nor my decisions. On these happy days my
hands work independently from my head and this is actually the best
part of the process.

What is your preferred medium?

We don’t use moulds, wax, casting, 3D design or printing. Every piece
starts from metal sheet or wire. I draw details on a sheet, then it needs
to be cut, fi led, formed, engraved and soldered with other details. This
sounds simple, but it takes plenty of time. It’s a long, difficult labour of
love, but worth it for the result.

42 makingjeweller y.com

MJ108_P42-43_10 Questions SHLGSD.indd 42 25/05/2017 14:46

 Do you have a favourite tool?
I like using my jeweller’s saw a lot.

Which techniques do you enjoy using?

Soldering is my favourite. I like to control fire, to feel how metal behaves,
to risk using high temperatures when detail can be burned in a moment or
promptly soldered. For me, it’s still a kind of magic. Silver reticulating is a
very exciting process too, since you don’t know exactly how it will turn out.

Do you offer workshops or classes?

We don’t and there are lots of reasons why. The main one is that
we’re still learning, too. It’s a very long process to become a really
good professional. It’s not only a question of technique, there’s a lot of
philosophy in our work too.

What are your goals?

I don’t set goals. Life is encouraging when it’s spontaneous – though I do
have a wish, which is to have more freedom and time to create anything I
have in mind. At the moment I realise about 20% of my ideas, as I have to
work hard to make a living. To have an agent who would care about how
to find the right buyer for my original pieces sounds like a dream, but I
believe we’ll meet one day.

What’s your favourite thing that you’ve ever made? Is there one project that
stands out above the others?
I have two series that are still growing as I add new pieces. The first
is inspired by ancient Fayum portraits: I try to show that we are all
connected through generations and time, born from stardust we will
turn to stardust again. The second is my ‘Paradise Lost’ series: it’s about
PHOTOGRAPHS: TANIA MANEROVA

a place we lost but all remember; myths, senses, humanity and nature are
the main elements of this collection.

CONTACT
manerovs.com
themanerovs.etsy.com
Instagram: manerovatania

43

MJ108_P42-43_10 Questions SHLGSD.indd 43 25/05/2017 14:46

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044_MAJ_108.indd 44 5/25/17 9:40 AM

 PROJECT

TROPICAL COLOUR
SPIRALS TANSY WILSON

S
ometimes it’s fun to combine other materials to soldered pieces
to make bold statement jewellery, as in this collection. Not only is
the metal wire spiralled, but the paper embedded inside the bezel
trays is spiralled too, then coated with casting resin. The soldered pieces
are for a more competent metal worker, but if you are unable to solder
there are also some ideas using readymade bezel trays to achieve a similar
▼

effect, which any level of jewellery maker can try.

makingjeweller y.com 45

MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 45 25/05/2017 14:46

 PROJECT
1 2
PHOTOGRAPHS: LAUREL GUIFOYLE, TANSY WHEELER
4 5
HOW TO MAKE
MATERIALS & TOOLS 1. Cut approx. 15cm of 1mm Sterling silver wire
● 30cm x 1mm (18 gauge) Sterling silver wire and at the halfway point of the wire make a
● 30cm x 0.8mm (20 gauge) Sterling silver wire small complete circle using round nose pliers.
● 30cm x 0.8mm (20 gauge) copper wire Bend the two 7cm lengths left either side of the
● 30cm x 30cm x 0.2mm copper sheet small circle around a large cylindrical former
● 3 x 5mm copper jumprings approx. 4cm in diameter. Make sure the two
● Assorted chain and clasps 7cm lengths of wire just cross each other.
● A4 pad of coloured card
● Resin 2. Place the entire wire shape into the jaws of
● Assortment of beads and headpins a vice so the two curved wires that cross each
● Craft knife other are just exposed. Using a piercing saw, cut
● Cutting mat through both pieces of wire at the same time.
● Metal edge ruler This will create a perfect join. Remove from the
● Files vice and manipulate the shape in your fingers
● Cylindrical former so the two wires meet perfectly.
● Piercing saw
● Reverse tweezers 3. Place onto your soldering block and add
● Soldering torch, flux, easy solder, acid pickle some flux and a small square (pallion) of
and water hard solder to the join. Heat gently so the
● Brasso polish and soft cloth flux bubbles and sticks the solder and then
● 2 x flat nose pliers intensify the heat so the solder melts and runs
● Round nose pliers into the join. Pickle and rinse.
● Mixing cups and sticks
● Cocktail sticks 4. Cut approx. 20cm of 0.8mm Sterling silver
● Glue wire and make a tiny loop at one end using the
very tip of your round nose pliers. Start to form
a spiral around this loop. Keep going until the
spiral is approx. 1cm in diameter. Bend the wire
90° from the spiral and form a wrapped loop at
the top. Cut away any excess wire.
46 makingjeweller y.com
MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 46
3
6
5. Place your large soldered circle back onto
your soldering block and now add the spiral
made in Step 4 directly on the opposite side
to the tiny loop made in Step 1. Add some flux
and a pallion of hard solder. Heat gently to start
and then intensify the heat so the solder melts
joining the spiral to the wire circle.
6. Cut a strip of 0.2mm copper sheet approx.
5mm wide and bend it around the inside of
the large wire circle to form a wall. Mark where
the join is and cut so you obtain the perfect join.
7. Place this copper wall onto your soldering
block and add a drop of flux and a small pallion
of hard silver solder onto the join. Heat so the
flux bubbles and then increase the heat so the
solder melts and runs into the join. Remove the
heat, pickle and rinse. Now sand the copper
wall using emery paper so you get a smooth,
flat top and bottom edge.
8. Place the wall back inside the silver wire circle
and make sure it fits snugly. Carefully remove and
place on top of a sheet of thin copper as you now
need to solder on the base. Add flux and pallions
of easy solder all around the outside of the wall.
When you heat the solder you want it to run all
along the join. You will see quite a distinctive line
once the solder melts. Keep heating the solder so
there are no gaps. Pickle and rinse.
25/05/2017 14:47

7 8
10
13
9. Cut away the base using snips and fi le using
a coarse hand fi le so the base is flush to the
wall with no sharp edges. It is crucial there are
no holes so you need to re-solder if there are
any before proceeding to the next steps. Place
the soldered circular tray back inside the silver
wirework so it sits flush to the edge of the silver.
Add flux and pallions of easy solder around the
join. Much like Step 8, you want to heat the
solder so it runs along the join between the
copper wall and the silver wirework. This time
is doesn’t matter too much if there are gaps in
the solder. Pickle and rinse.
10. An alternative is to make a simple
rectangular tray without the need for a silver
wirework frame. Cut a copper strip again approx.
5mm wide and bend into a rectangle. Solder the
MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 47
PROJECT
11
14
join, sand the top and bottom edges, and place
onto a sheet of copper to make the base.
11. Solder the base and trim any excess copper
away and fi le smooth as in Step 9. Make a
spiral of copper wire in exactly the same way
as Step 4. When you solder it onto the top of
the rectangular tray, place the spiral on a 1mm
sheet of steel so you are soldering it away from
the join on the tray.
12. Make three 5mm copper jumprings by
coiling wire around a wire warp mandrel and
add them evenly spaced along the bottom wall
of the rectangular tray. Again, place them
on the 1mm sheet of steel. Solder, pickle and
rinse. Clean both your soldered trays using
metal polish.
makingjeweller y.com
9
12
15
13. To make a simpler version of this idea, you
can use ready-made bezel trays. These come in
a variety of shapes and sizes, but the deeper the
tray the better.
14. Using a craft knife along a ruler’s edge on
a cutting mat, cut strips of thin coloured card
so they are all the same width. The width is
dictated by the height of your trays. If the
copper soldered trays are 5mm in height you
can cut the card strips all 4mm wide. Ready-
made trays are much shorter in height so you
can cut the strips for those all at 2mm high.
15. To also make a colourful feature of the
spirals you can glue random colours together.
This means you can also make larger coils.
▼
Leave to completely dry.
47
25/05/2017 14:47

16
18
16. Take one of your strips and tightly coil one
end around a cocktail stick. Continue to spiral
the coloured card around itself so the coil gets
larger. Once it’s approx. 1cm in diameter, glue
the end so the coil stays in place.
17. Make all different sizes of coils and pack
tightly into each bezel tray, so there are no large
gaps. Place your trays in a clean, dust-free dry
area that has good ventilation. Mix your casting
resin following the manufacturer’s instructions.
I used a resin that needs a separate hardener,
which is mixed by weight ratio. Make sure you
wear gloves and eye protection!
18. Mix your resin and leave to stand for
approx. 5 minutes so most of the air bubbles
48
MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 48
PROJECT
17
19
20
have escaped. Then carefully pour into each crystal to each loop to keep it all geometric in
tray. Resin has a good surface tension so you design. Finally, add a chain and clasps to the
can fi ll it right to the top so it creates a nice tops of your spirals.
dome covering all your paper coils. Leave to
set hard.
19. To make a decorative bead feature add
a length of chain to the silver loop on the
bottom of the round soldered tray and then
cluster beads onto it to create a dangle of
colour at the bottom. The premade bezel trays
often don’t have additional loops other than RESOURCES
the top one for the chain however you could All materials are widely available from
add beads to this too! advertisers in this magazine
20. You can make a more minimal look with CONTACT
the rectangular tray and add a 6mm bicone tansywilson@hotmail.com
makingjeweller y.com
25/05/2017 14:47
 PROJECT

makingjeweller y.com 49

MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 49 31/05/2017 15:23

050_MAJ_108.indd 50 5/25/17 9:41 AM

RACHEL NORRIS
Have you always been interested in craft and
making jewellery?
I have always enjoyed art and design, painting
and drawing as a hobby rather than craft
and making jewellery. I had dabbled with
silversmithing in my early 40s, but my teacher
sadly became ill after only a few weeks. I became
busy with family life and I never continued it
further. I discovered wirework jewellery making
relatively late in life; seven years ago I was on
maternity leave with my youngest child when a
jewellery making channel started broadcasting.
I was immediately captivated. This was a hobby
that I could pursue in my living room and still
be around my family. I could see the wonderful
design possibilities and I started making pieces
of jewellery. I was clumsy at first, but we all have
to start somewhere!
Tell us a bit about your background and training.
I am a vascular ultrasound specialist, scanning
at several hospitals in the South-west of
England. I have no formal training in jewellery
making. I am mainly self-taught, but gained
early inspiration from wonderful wireworkers
MJ108_P51_Designer Profile SHLGSD.indd 51
designer profile
like Linda Jones and Abby Hook and their
fantastic publications.
Can you remember the first piece of jewellery
you made?
When I was silversmithing I made a bezel-set
labradorite ring. I did enjoy the whole process,
but I wish I could make it again as I understand
wire and metals so much better now.
Which materials do you most enjoy working with?
I enjoy working with copper, silver wire
and sheet. I also like working with natural
gemstones and manmade high-quality crystals.
Where do you look for inspiration?
Natural forms, designs from historical periods
such as Art Nouveaux, the Renaissance period,
William Morris; even line drawings, stone
carvings and tattoos! I don’t use other wirework
artists’ work as inspiration as I have set myself
a strict rule that I do not want to copy or gain
from their work. I need to feel my designs are as
originally from me as possible as I then would
feel it was right to claim a design as my own.
makingjeweller y.com
How would you describe the style of the jewellery
you make?
Visually pleasing, made for the body, designed
to create happiness for the wearer and the
observer. My designs are ornate representations
of natural forms.
What is the most challenging piece of jewellery
you’ve made?
All of them have their own specific challenges,
but if I had to pick out one it would be a little
3D gecko. Cabochons are set onto cabochons in
this little design.
If I wasn’t a designer I would be...
I am already a vascular ultrasound specialist
with a whole other life in this field – I have
written and illustrated six vascular ultrasound
books. But if I were to live my life again, I would
train to be an astronaut or a geologist.
CONTACT
facebook.com/RachelNorrisJewelleryDesigner
51
25/05/2017 14:49
 PROJECT

CRYSTAL MATERIALS & TOOLS

White peacock
● 1mm (18 gauge) round

champagne gold copper wire

PEACOCK
● 0.8mm (20 gauge) wire

(alternative for some

components)
● 0.4mm (26 gauge) round

champagne gold copper wire

BROOCH
● 0.25mm (30 gauge) round

champagne gold copper wire

(or similar)
● 5 x 6mm/48pk Swarovski

Aurora Borealis (AB) crystal

RACHEL NORRIS bicone beads
● 9–13 x 3mm/48pk x Swarovski

T
his little peacock brooch is made with AB crystal faceted round beads
champagne gold-coloured copper ● 8 x 4mm/48pk Swarovski AB

wire featuring freshwater pearls crystal faceted round beads

and Swarovski crystal details; but also looks ● 10mm x 10.3mm Swarovski AB

wonderful made in copper with multicoloured crystal heart pendant

crystals. The finished piece is 8cm x 5cm. ● Approx. 5mm x 3mm white

freshwater cultured pearls

rice beads
● 5 x approx. 7mm x 8mm

white freshwater cultured

potato pearls
● Any fl at-backed small heart-

shaped cabochon will work

in this design

Blue peacock (alternative)

● 1mm (18 gauge) round
copper wire
● 0.8mm (20 gauge) wire

(alternative for some

components)
● 0.4mm (26 gauge) round

copper wire
● 0.25mm (30 gauge) round

copper wire
● 8 x approx. 3mm rose gold plate

brass seed beads

● 10mm x 10.3mm Swarovski

crystal heart pendant,

Bermuda blue
● 5 x 8mm Swarovski crystal,

round beads, light turquoise

● 5 x 6mm Swarovski crystal,

round beads, capri blue

● 7 x 4mm Swarovski crystal,

round beads, emerald

● 8 x 4mm Swarovski crystal,

bicones xillion, blue zircon

● Pen, paper, ruler

● Flush cutter pliers

● Round nose and chain nose

pliers
● Rubber bead mat

● Flush/wire cutters

● Jeweller’s hammer and steel

block

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 PROJECT

1 2 3 4
PHOTOGRAPHS: RACHEL NORRIS, ANDREW PERRIS

5 6 7 8

HOW TO MAKE

1. Make the setting for the cabochon. Draw
around the heart-shaped Swarovski crystal
with a 1mm gap around it, to allow for
wire-wrapping space in later stages. If your
cabochon is different, draw your own heart
template using this one as a basis.
2. Take a 16cm length of 1mm wire (better
too much than not enough). Make a bend in
the midsection of the wire to form the tip of
the heart shape using the diagram in Step 1
as a template. Don’t make the bend too acute;
use the wire’s natural curve to form the
heart shape.
3. Pull and shape the 1mm wire gently around
one side of the heart shape with your fingers and
pliers so the wires cross at the top of the heart.
4. Bend the wire at the top of the heart sharply
upwards. Try to keep the main heart shape flat
in one plane using pliers.
7. This stone has a pointed cullet at the back
and does not sit flat. Therefore, curve the 1mm
wire tails slightly diagonally so they touch the
sides of the heart frame. Make a very soft bend
at this point (not too much, as you may need
to reshape later). Here I placed the stone on
my finger and am holding the frame around to
show how it all fits together. The setting allows
light to pass around the stone and is not a tight
fit around the stone. Put this heart shape aside
for the moment.
8. Shape the bird’s head and body. Use the bird
template to help, using the heart frame as a
core shape. There are solid lines for the head,
neck, inner tail feathers, and inner backing
frame wires. There are dotted lines for the eye,
face, head crest frame, shoulder and outer tail
feathers frame.

5. Do the same for the other side. Crystal Peacock

Brooch extract from
6. Grip the wires where they emerge from Mastering Wirework
the top of the heart with the tips of the pliers Jewelry: 15 Intricate
(about 3mm width). Press the wires down so Designs to Create
they will eventually lie flat over the heart- by Rachel Norris,
shaped stone. The 3mm width will allow for text © Rachel Norris,
the depth of the stone. If your stone is a flat first published in
cabochon, do this on a rubber mat, pressing 2017 by GMC, £16.99.
down on the stone to mould the wire over the Available from TEMPLATE
▼

stone to prevent stone fracture. gmcbooks.com Printed actual size

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 PROJECT

9 10 11 12

13 14 15 16

17 18 19 20

21 22 23 24

25 26 27 28

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 PROJECT

29 30 31

9. Shape the head, neck, and inner tail feather
section. Take 50cm of 1mm wire and make a
little beak shape. Make a little ‘V’ in the wire first.
10. Form the bend to mark the base of the beak/
start of the head. Squash either side of the beak
with pliers to sharpen the beak angle.
11. Shape the head, neck, and body section
using the bird template. Form the top of the
head and back of the neck first.
20. Wrap along each side of the heart for about
3mm until the wraps reach a level where they
can be bound onto the main neck and head
frame. Stop and check against the neck frame
to gauge this level. Take another 1m of 0.25mm
wire and wrap around the tip of the heart
on either side until this wrap also reaches a
level where it could be bound to the two wires
leading down from the neck frame. You can
now bind the heart frame to the head, neck and
body frame at four points. 32

12. Make a little curve for the lower jaw,
creating a bend at the base of the jaw.
13. Form the front of the neck and body. Do not
shape the tail feathers yet.
14. Join the heart shape to the body. Take 2m
of 0.25mm wire and wrap twice around the
top of the heart (using the midsection of the
0.25mm wire) to start to bind the top of the
heart together.
15. Bind on a 3mm Swarovski crystal to this
point with a crisscross bead attachment: one
wire through one side of the bead and the other
through the other side of the bead.
16. Pull the 0.25mm wire ends to attach the
3mm Swarovski crystal into place and wrap
either wire end around either side of the top of
the heart.
17. Take your heart-shaped Swarovski crystal,
turn the heart body setting upside down, and
pass the 0.25mm wire ends through the hole in
the top of the Swarovski crystal on either side.
18. Holding the stone level in the centre of the
heart setting, pass the 0.25mm wires back to
the side of the top of the heart that either wire
originally came from and bind around the
heart frame.
19. Repeat this binding wrap on both sides to
make this attachment stronger. Make sure you
21. Place the heart shape over the head, neck and
body frame, referring again to the bird template
to help. You will need to hold everything in
place with one hand while making the binding
attachments with the other.
22. As you wrap around the heart frame, with the
0.25mm wrapping wire, bind the heart frame to
the body frame at four points using three wraps
at each level (see arrows in image). Continue to
wrap around the heart frame for a few wraps.
Wraps need to be mirror-image symmetrical and
in the orientation shown. Do not let the wraps
overlap and place them carefully into position.
23. Using chain nose pliers, make a little bend
in the 1mm wires lying over the heart stone
where they cross over the bottom edge of the
heart frame.
24. Leave the 0.25mm wires at the bottom for a
moment and work around from the top of the
heart using the 0.25mm wire. Wrap around the
heart frame. When you reach the point where
the wires lying over the heart stone cross the
frame, wrap the 0.25mm wires three times
around the 1mm wires where they cross on
either side. Wraps need to be mirror-image
symmetrical and in the orientation shown.
Wrap once or twice at the inside edge of the
heart frame, then cut and tuck in the 0.25mm
wire ends. Now cut the wire ends running over
the heart stone from the edge of the heart to a
length of 4cm on either side.
26. Hammer the back of the spirals on a
steel block.
27. Now work on the eye, face and head crest.
Again refer to the bird template to help shape
the eye and face. Take 12cm of 0.8mm wire
and form the eye section. Make one acute bend
halfway along the wire and two bends a little
further along to form the upper and lower eye.
Then form a little diamond shape by making
two outward bends at the other end of the
diamond to form the corner of the eye.
28. From the corner of the eye, shape the
0.8mm wire over the head of the bird.
29. Cut the wire tails to a length of 3.5cm for
the upper wire and 3cm for the lower wire,
measured from beyond the limit of the head
frame line.
30. Check this shape against the head of the
bird. Make any adjustments so that the shapes
fit each other.
31. Take 1–1.5m of 0.25mm wire. Bind around
the corner of the eye three times at the midline
of the 0.25mm wire, then wrap along the front
of the face until you reach a point where you
can bind onto the head frame.
32. Bind around the head and face frame at the
two points shown (see red arrows in image)
▼

don’t bind the heart too tightly to the top edge of 25. Spiral curl the wire ends to make loose with several wraps around both frames.
the frame. Try to bind leaving a 1mm gap at the spirals on either side to represent the peacock’s
top edge of the stone and the heart frame and wings. Keep the curls as mirror-image
evenly on both sides so the heart is balanced. symmetrical as possible.

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33 34 35 36 37

38

42 44

40

39 41 43 45

46 48 49 50

51 47 52 53 54 55

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56 57
33. Start a basket weave along the chin and
forehead sections until you reach the top and
bottom corners of the eye, halfway along the
eye socket, making sure you have the 0.25mm
wires wrapped to the eye socket at this level.
Use a weave ratio of three wraps around the face
relative to two around the eye frame as there is a
relatively longer distance along the face frame.
34. Bind on a 4mm Swarovski crystal using a
crisscross attachment.
35. Continue the basket weave up to the corner
of the eye top and bottom.
36. Wrap the top and bottom wires along the
head frame without weaving, wrapping the
bottom head wire over the head frame three
times (see red arrow in image), so they meet
in between the two head crest wires as shown
(blue arrow).
37. Thread a seed pearl onto one or both of the
0.25mm wires, bind to the corner of the eye and
cut and tuck in the wire ends.
38. Curl the head crest as in Step 25 and hammer
the back carefully. Use a small-faced hammer to
avoid damaging the rest of the design.
39. Start making the shoulder and outer tail
section using the diagram from Step 8 to help
shape this frame. Take 30cm of 1mm wire and
bend in the middle, curving the sides running
away from the bend into a leaf shape.
40. Using the main bird frame and the drawing
from Step 1, bend the wires so they start to
form the tail, but do not form the whole tail yet.
41. Make a brooch pin for the bird about 4cm
in length (see page 58 for an example of a
brooch pin).
42. Cut the 0.25mm wire tails from Step
24 at the base of the heart. Wrap a 30cm
length of 0.4mm wire around the brooch pin.
Positioning the main frame over the shoulder
and outer tail section, place the brooch pin
beneath these other two frames. Bind the
brooch pin, shoulder, and main bird frame
together using the 0.4mm wire ends a few
times around the inner and outer wire tails
just beneath the heart tip, three times on each
side (red arrows in images).
MJ108_P52-59_Peacock Brooch SHLGSD.indd 57
PROJECT
58
43. Thread
on a 3mm
Swarovski
crystal to the
0.4mm wire
on either side
wrapping
to the wing.
Wrap along the
wing curl on either side for eight to nine wraps,
then cut and tuck in the wire ends around the
wing curls. Be aware this step is fiddly until the
binding wraps are firmly in place.
44. Decorate the neck section. Bind a 1m length
of 0.4mm wire at the midsection around the base
of the neck frame three times. Wrap up along the
neck frame on that side, three to four times. Stop
wrapping here for the moment (see green arrows
in image). Turn the peacock over and wrap the
other end of the 0.4mm wire around the brooch
pin (see red arrow), in a similar way to the brooch
pin attachment in Step 42. Hold the pin in place
with one hand while you wrap with the other.
Then, with that same 0.4mm wire end, wrap
across to the other side of the frame, binding at
the base of the other side of the neck frame three
times (see blue arrow). Wrap up the neck frame
three to four times. Do not bind to the shoulder
section. Bind once around both the neck frame
and the shoulder section where it crosses at the
back of the neck section once (see black arrow).
45. Add a 6mm Swarovski crystal in a crisscross
bead attachment, and wrap up the neck to a
level where you can add the next bead.
46. Add a 4mm Swarovski crystal in a crisscross
bead attachment, wrap up the neck frame
again, add a 3mm Swarovski crystal with a
crisscross wrap, and wrap up to the jawline,
cutting the 0.4mm wire tails and tucking in the
wire ends neatly.
47. Shape the tail feathers, making four
teardrop loops of wire using the bird template
as a guide. Shape the inner two tail feathers
(originally from the head and neck frame) from
inside edge to outside edge, making a little
bend in the wire tail (on the outside edge of the
feather) about 8mm below the tip of the heart.
48. Cut the wire tails to a length of 15mm.
Shape the outer two-tail feather frames using
the wire tails from the shoulder section.
makingjeweller y.com
49. Make the bases of the wings slightly higher
than the inner two feathers with a wire tail
after the little bend you make at the base of the
feather 20mm in length. Carefully curl the wire
tails using round nose pliers.
50. Bind a 4mm round Swarovski crystal to the
central tail just under the wire curls, wrapping
on one side around the two right-hand tail
feather bases and around the two left-hand tail
feathers on the other side. Bring the wire ends
up the base of the tail so they project inside the
two outer tail feathers but on the outside edge
of the outer tail curls. Wrap one wire twice
around all the base wires of the two outer tail
feathers on that side (see red arrow in image)
and the other 0.4mm wire around all the base
wires of the two outer tail feathers on the other
side (blue arrow). The wire tails should project
out of the front of the base of the tail.
51. Bind on a 6–7mm pearl with a crisscross
bead attachment of the 0.4mm wire.
52. Wrap around the side of the tail to fi x the
pearl into place. Pass the 0.4mm wires to the
back of the peacock and wrap them around
the shaft of the brooch pin below the other
two brooch pin attachments to make another
anchor point for the pin.
53. Work on the tail. I started with one of the
central feathers. Take 2m of 0.4mm wire and
wrap at the midsection of the 0.4mm wire
around the tip of the feather until you reach
a point where you could add in a pearl with a
crisscross wrap.
54. Use a pearl reamer if the hole is not large
enough, or use 0.25–0.3mm wire.
55. Continue in the same way, adding in
a 6mm, 4mm and 3mm Swarovski crystal
working from the tip to base of the feather. Add
in another 3mm Swarovski crystal if there is
room. Cut and tuck in the 0.4mm wire ends
at the base of the feather.
56. Repeat for the other tail feathers, making
sure the additions of middle and side feathers
look the same in mirror image.
57. It may be difficult to wrap around the bases
of adjacent feathers, so just lift them slightly
away from the others and then move them back
after attaching the weaves. You don’t have to
wrap all the way to the base. This image shows
the back of the bird.
58. Thread a 4mm and 3mm Swarovski crystal
onto a ball headpin and attach with a wrapped
loop to the tip of the peacock’s beak. Gently
adjust the tail feathers and wing swirls with
▼
your fingers. The brooch is now finished.
57
25/05/2017 14:56
 TIPS & TECHNIQUES

BROOCH PIN RACHEL NORRIS

HOW TO MAKE

A
brooch pin is a simple fi xing for a
brooch, such as the Crystal Peacock
brooch on page 52. You can use wires
from the design to bind to the pin, or you can
wrap 0.25–0.4mm (30–26 gauge) wire along the
back wire of the pin and use that to bind the
pin onto the design. Here I am using 1mm (18
gauge) round wire; 0.8mm (20 gauge) wire to
make the pin. You should make the brooch pin
to fit your design: the total length may need to
be smaller or larger than the one made here.
MATERIALS & TOOLS
● 0.25–0.4mm (30–26 gauge) wire
● 1mm-0.8mm (18–20 gauge) gauge round wire
● Flush cutter pliers
● Round nose and chain nose pliers
● Rubber bead mat
● Flush/wire cutters
● Jeweller’s hammer and steel block
● Nail fi le or jewellery needle fi le
Brooch Pin extract
from Mastering
Wirework Jewelry: 15
Intricate Designs to
Create
by Rachel Norris,
text © Rachel Norris,
first published in
2017 by GMC, £16.99.
Available from
gmcbooks.com
1. Take a 14cm length of 1mm wire (less wire
will be used for a small brooch pin and a little
more for a longer pin). Start to make a 180°
loop 7cm along the wire using round nose
pliers just under halfway along the cone tip of
the round nose pliers. Moving the loop around
and perhaps onto the other cone tip of the
round nose pliers, and making sure you stay
at the same width/level on the pliers so your
loop stays even, pull one wire end around the
round nose pliers so it makes a 360° loop. Both
wires should now be in the same direction
lying parallel on opposite sides of the cone of
the pliers. Stroke the wire fi rmly away from
the loop along both parallel wires with your
thumb and forefi nger to start to straighten
it out. Measure it against your design to
ascertain the length of the brooch pin you
require. Make sure the fi xing wires you have
left in the design can attach near either end of
the pin you are making.
2. Bend the end of longer wire, 3cm away from
the edge of the loop end sharply at 90° to the
plane of the wire you are bending.
3. Using chain nose pliers, make a sharp turn
in the lower pin’s projecting wire about 18mm
along from the 90° turn that you made in Step 2
to make a 180° sharp reverse turn in the wire.
4. Squash this 180° turn (side to side) with the
chain nose pliers, repeating this little squash
moving from the tip of the turn down to the
base. This action will make the 180° bent wires
lie as close together as possible.
5. Make a 90° bend in the bottom wire just
beyond the 180° turn, so that it lies in line with
the main pin.
6. Bend the tip of the 180° angular section away
from the plane of the brooch. You may need to
hold the wire/brooch firmly at the base of the
180° section with flat nose pliers or fingers to
stop the bottom line of the pin frame distorting
out of its plane.
7. Squash this little curved tip front to back
using chain nose pliers to neaten the curve.
8. Place the chain nose pliers back on the 180°
section 5mm below the first curve you made.
Start to curve this section in the other direction
so it curves gently around the upper pin of
the brooch.
9. Move the pliers further down the 180°
section and make the bend more curved.
Gradually move the pliers down this section,
making little curves in the same direction until
the loop bends around the upper pin. This
curved loop will form the secure catch for the
brooch. Cut the end of the lower wire of the
brooch pin to a 25mm length.
10. Make a loose spiral using round and chain
nose pliers to act as a pin guard for the brooch.
11. On a steel block, hammer the spiral section
only, not the rest of the pin. Use flush cutter
pliers to cut the upper brooch pin at a sharp
angle to create a pin end. Cut the other side of
the pin to make the point even sharper. You can
use a nail fi le or jewellery needle file to fi le the
end at an angle all around to create a beautiful
sharp point. Move the brooch pin inside the
curved loop securement/catch to check that
the sharp point is not longer than the guard (or
it may cause injury) or shorter than the catch
(otherwise it won’t secure properly).
12. The total length of this brooch pin is 4cm.

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 TIPS & TECHNIQUES

1 3 4

5 7

6 8 10
PHOTOGRAPHS: RACHEL NORRIS

11 12

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 PROJECT

TUBULAR BELLES KAREN CAINE

F
ill it, join it, wear it! That’s all there is to
it with these easy-to-make, easy-to-wear
bangles. They’re made from clear plastic
tube, which is a brilliantly practical choice for
holiday jewellery, and can be customised in so
many ways. You can even make them as part of
a cool holiday project with the kids. Enjoy!

MATERIALS & TOOLS

● Clear plastic tube 4mm and 6.5mm
diameter
● Filler materials (craft/nail glitter
and beads, water)
● Findings: tube terminals, plastic earring
backs, stick-on diamantés (optional)
● Sharp scissors or craft blade
● Small funnel
● Masking tape
● Paper towels
● Syringe
● Pin vice
● Nylon-coated pliers, round nose or needle
nose pliers (optional)
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1 2
4 5
PHOTOGRAPHS: LAUREL GUILFOYLE, KAREN CAINE
7 8
Glitter and water bangles
1. Use sharp scissors or a craft knife to cut a
2cm length of the 4mm diameter tube and
around 20cm of the 6.5mm one. Slide the thick
tube over the thin one, so that it covers half
its length. (20cm makes a standard adult-size
bangle, but you can vary the length, according
to the hand size of the recipient.)
2. Place a small funnel over the other end of
the thick tube. If necessary, use paper towel as
wadding to get a tight fit.
3. Secure the funnel with some masking tape.
4. Put a little masking tape across the hole
in the thin tube and then pour your fi ller
material – we’re using glitter fl akes – into the
funnel. Use a scrap piece of wire to de-clog
the funnel’s neck if necessary. You can also
fl ick the tube with your fi ngernail to help the
material go down.
MJ108_P60-63_Tubular Belles SHLGSD.indd 61
PROJECT
3
6
9
HOW TO MAKE
5. Fill a clean bowl with fresh water. Making
sure the filler material can’t fall out, remove
the masking tape covering the hole in the thin
tube before re-covering it with your finger.
Submerge the thin end in the water and keep
it there. Remove your finger from the thin end
and suck the water up through the tube. (If
you are concerned about getting filler material
in your mouth, put a piece of cheesecloth over
the mouth end to act as a filter.) Once you taste
water, place your finger over the end of the thin
tube without removing it from the water. Then
take the thick tube from your mouth and put
another finger over that end. Now lift the thin
end out of the water and bring it up level with
the thick end. You should now be able to lift your
fingers from both ends without losing water.
6. Carefully form a circle shape and slide the
exposed part of the thin tube into the open end
of the thick tube. Don’t worry if you introduce
a small air bubble at this point – they actually
add to the finished effect.
makingjeweller y.com
7. You can also use this liquid syphoning
technique to create bangles fi lled with just
liquid. Here we used a small diameter tube,
sucked in clear water until it was full and then
used a syringe of dyed water to push the clear
water back out of one end. This two-tone effect
isn’t permanent as we used dyed water that
eventually mixes evenly with the clear water
(as you can see from the photos on the page),
but you could retain this effect if you used oil
and water. To finish, we used some off-the-shelf
tube terminals and a clasp.
Micro bead bangles
8. The micro bead bangle is made in a slightly
different way. Begin by cutting around 20cm of
thin tube and push a plastic earring back into
one end.
9. Attach a funnel to the other end as you did
in Steps 2 and 3. Pour in micro beads, or other
▼
solid fi ller material, until the tube is full.
61
25/05/2017 14:58
 PROJECT

10 11

12 13

14 15

10. Carefully remove the funnel and push in
another earring back to seal the tube. Cut a
short length of thick tube and slide it over both
ends of the thin tube to form the bangle.
Variations
11. You can adapt this technique for the blue
bangle. Cut a 17cm length of coloured 4mm
tube and put an earring back in each end,
leaving the tube empty. Cut a 5cm length of
clear, 6.5mm tube and slide around 1cm onto
one end of the coloured tube. Add a little fi ller
material – we used glitter fl akes – and then
push the other end of the clear tube onto the
coloured tube until it covers around 1cm.
Job done.
12. Another option involves using these
special double-ended terminals. Here we’ve
fi lled a 20cm length of 6.5mm tube with a
large-glitter mix that we made up from several
different colours.
Twisted wire bangle
13. You can also use long strand shapes to fill
your bangle. Here we’ve opted for a twisted-wire,
wrap-around style bracelet. To start, cut three
50cm lengths of different coloured wires. Put all
three in a pin vice and then hold them together
with nylon-coated pliers. (For photo purposes
we are holding them close to the pin vice, but
in reality you should hold the ends of the wires,
meaning the pliers would be 50cm from the pin
vice.) Place your hand flat on top of the pin vice,
then roll it across your work surface, keeping the
other ends still. Once you have rolled it as far as
you can, pick up the pin vice and put it back in its
start position and repeat until the wire is twisted
to your satisfaction.
14. Trim the wire to remove any parts that were
damaged in the vice, then use nylon-coated
pliers to feed the wire a little at a time into a
40cm length of 4mm-diameter tube until it is
just under 2cm from the end.
15. Trim the excess wire and use round nose or
needle nose pliers to push the wire inside the
tube so you can fit the terminals in each end.
Here we’ve chosen special ends that enable
you to add stick-on, flat-back diamanté stones,
which add a nice finishing touch.
RESOURCES
Clear plastic tubes and terminals:
perlesandco.co.uk
All other supplies: ebay.co.uk
CONTACT
thecraftydwarf.com
craftydwarftutorials.com
facebook.com/thecraftydwarf

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 63

MJ108_P60-63_Tubular Belles SHLGSD.indd 63 25/05/2017 14:59

064_MAJ_108.indd 64 5/26/17 10:51 AM
 INSPIRATIONS

PHOTOGRAPHS: GUY HENSTOCK

WHAT INSPIRES
BECKY
MORGANS
Find out what inspires the unique
organic style of Becky Morgans.
MY DESIGNS
My designs are best described as organic in style – simple, yet elegant. I
like to make jewellery which the wearer can wear every day, not just for
special occasions.

MY INSPIRATION
My inspiration comes from my travels in Asia, especially India – I love
the jewellery of this country very much. Some of my inspiration has
come from wallpaper designs; I like to look through pages of them and
find earrings and ring designs within them. I also lived on a small Thai
island for three-and-a-half years where I first started collecting seaglass
and turning it into jewellery. These days I collect it from the northeast
coast of England, where a Victorian glass factory use to be.

MY TECHNIQUES
Some of the techniques I use are texturising metal using hammers. I
love to go to car boot sales and pick up old rusty hammers or other bits
of metal, which will give the silver a wonderful organic surface. Saw
piercing designs out of sheet silver is also a favourite of mine, as I find
it very meditative. I love gold but it’s so expensive so I use a technique
called Keum Boo which is Korean and means ‘attach gold leaf to silver’.

CONTACT
beckyjewellery.com
etsy.com/uk/shop/beckymorgans

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MJ108_P65_Inspirations SHLGSD.indd 65 30/05/2017 12:39

 PROJECT

DREAM
CATCHERS CHLOE MENAGE

I
just love the look of dreamcatchers and
have always wanted to recreate one from
beads. This intermediate project shows
you how to stitch dreamcatcher-inspired
components using bright summer colours to
create dazzling earrings or pendants. It makes
the most of 2-hole brick beads, which help to
create a sturdy ring. You’ll use this as a base
to weave a colourful net of seed beads from.
The bright, zesty colours of these pieces makes
them perfect for summer – but why not play
with colour and try one in natural tones such
as tan and turquoise for a more authentic look?

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 PROJECT
1 2
PHOTOGRAPHS: LAUREL GUILFOYLE; DIAGRAMS: CHLOE MANAGE
4 5
HOW TO MAKE
MATERIALS & TOOLS 1. Cut 1m of thread and run through your
For each component: wax. Thread a needle. Pick up a brick bead, a
● 16 x 2-hole CzechMates brick beads 3mm glass bead, a brick bead, a 3mm crystal.
● 8 x 3mm faceted Czech glass beads Repeat until you have 16 brick beads on your
● 8 x 3mm Swarovski Xilion beads thread. Pass through all of the beads again
● 0.5g x size 11 (2.1mm) Japanese seed beads (working through the same hole of the brick
(Miyuki Galvanised Duracoats) bead) and pull snug until they form a circle.
● 0.5g x size 15 (1.5mm) Japanese seed beads Make a knot and reinforce by passing through
(Miyuki or Toho) them all again.
● 3 x 15mm Czech glass dagger beads (optional)
● Toning beading thread (KO, One-G 2. Exit out of a brick bead and step into the
or Fireline) second hole in the same bead; this will change
● Size 12 beading needle the direction you are working. Pick up a size 11
● Thread conditioner or wax seed bead, pass into the second hole in the next
● Sharp scissors brick bead along. Repeat around, until all of
● Earring fi ndings, jumprings the second holes of the beads have been joined
or chain (optional) with a size 11 in between. Reinforce by passing
through them all again.
3. Exit out of a seed bead. Pick up three size
15 seed beads, one size 11 seed bead and three
size 15s. Skip the next size 11 along and pass
into the one after. (If you are using Miyuki seed
beads you may find you need to pick up four
makingjeweller y.com
MJ108_P66-69_Dreamcatchers SHLGSD.indd 67
3
6
size 15s instead of three either side of the size
11 as they are narrower than Tohos.)
4. Pass back up into the last size 15 added. Now
pick up two size 15s, a size 11 and three size 15s.
(If using Miyuki you’ll pick up three size 15s, a
size 11 and four size 15s). Skip the next size 11 and
pass into the one after, as on the previous step.
5. Repeat Step 4 to work around the inside of
the circle. When you reach the beginning again
you’ll only need to pick up two size 15s, a size 11
and two size 15s. (For Miyuki beads, it will be
three size 15s, a size 11 and three size 15s.) Pass
into the first size 15 from the first swag and into
the size 11 seed bead, but from the opposite size
to where you exited from at the start of Step 3.
6. Pass back through the size 15 and the next
two (or three) size 15s and the size 11. Pick
up two size 15s, a size 11, two size 15. (You
shouldn’t need to change your quantities for
Miyuki beads from now on). Pass into the size
▼
11 in the next swag along.
67
25/05/2017 15:04

7 8
10
7. Pass back into the last size 15 added. Pick
up a size 15, a size 11 and two size 15s. Pass
into the size 11 in the next swag. Repeat this
step around.
8. On the final swag pass through the last size
15 added, pick up a size 15, a size 11 and a size
15. Pass into the first size 15 added in this
round. Pass into the size 11 from the opposite
side, and pass back up through the size 15.
9. Work through the next size 15 and size 11. *
Pick up a size 15 bead. Pass into the next size
11 bead. Repeat around from * to add a size 15
between each of the eight size 11 beads to draw
the centre together. Reinforce this circle by
passing though all the beads worked through in
this step. Alternatively, you can leave this step
out to create a more open centre, as in the teal
and green version.
68
MJ108_P66-69_Dreamcatchers SHLGSD.indd 68
PROJECT
9
11
10. Work your thread through to the outer RESOURCES
of the ring again to exit from a glass bead Glass beads, seed beads and crystals widely
(not a crystal). Pick up enough size 15 beads available from advertisers in this magazine
to go around your chain or earring wire – Brick beads: robins-beads.co.uk or
depending what you wish to make. Pass back thesouthamptonbeadshop.co.uk
into the glass bead again from the opposite
direction. Reinforce two or three more times. CONTACT
Once secure, work your thread through the pinkhot.co.uk
outermost beads. Make a few half-hitch knots info@pinkhot.co.uk
and when your thread feels secure, then trim it.
Repeat with your tail thread.
11. Optional: Add glass dagger beads to the
bottom using two of the faceted beads to work
off. You could also create a more statement
necklace by adding several of the dream catcher
components to a chain using jumprings or split
rings through the beaded loops.
makingjeweller y.com
25/05/2017 15:04
 PROJECT

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 PROJECT

WILDLIFE

JAYNE
RIMINGTON

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 PROJECT

1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE, JAYNE RIMINGTON

4 5 6

HOW TO MAKE

S
ummer holidays are a great time to wear 1. Working from the spool using the 0.9mm the shapes together at the base, and cut wire
brighter colours teamed with statement wire, start to coil by making a loop using the when secure. Use chain nose pliers to separate
necklaces and accessories. If you have a round nose pliers. Then, using flat nose pliers, the coloured wires and round nose pliers to
stash of coloured wires then these projects give grip the loop and twist the wire around the make loops and flatten at base of the feather.
you the perfect excuse to put them together loop and continue by keeping the tension of
to create stunning pieces. Taking inspiration the wire until you have the size of coil required. 5. Make a series of seed bead dangles to
from exotic birds and fish, even with two or After approx. seven spirals of the coil (or until complement the wire feathers by cutting
three colours it’s possible to make something you have the size you prefer), use chain nose approx. 10cm of 0.3mm wire for each piece.
striking. Some previous experience of working pliers to make a bend in the wire above the coil. Use a stopper bead at the bottom of the wire by
with wire is helpful. Use chain nose pliers to pinch the bend and threading approx. 1cm of wire and twisting the
create a tip to the feather. short end together with the long end. Once the
MATERIALS & TOOLS stopper bead is secured, thread on seed beads
● 0.9mm (19 gauge) enamelled copper wire 2. Bring the wire around the shape again and until the desired length of dangle is reached.
(black, dark green, lime green, light blue, form a second bend above the first and use Using the round nose pliers make three loops
violet and dark blue) chain nose pliers to squeeze to a point. Repeat and then wrap beneath the loops and above
● 0.3mm (28 gauge) enamelled copper wire for a third time, then bring the wire down to the beads. Cut the wire and use chain nose
(black and dark green) the bottom and centre of the feather shape and pliers to tuck in the ends. Experiment by using
● Selection of seed beads in size 8 and size 11 make a bend downwards. Leave approx. 5cm different colours, shapes and combinations of
and farfalle shaped beads of wire and cut. To work-harden the feather seed beads.
● Czech glass spacer beads shape, gently hammer on the steel block.
● Druzy agate focal bead to 6. Lay out the wire feathers, beaded dangles
complement wire colours 3. Decide what other colours you wish to use and focal bead and measure how long you
● Chain nose pliers in your design. Make further feather and coil would like the neck wire to be. Cut the required
● Flat nose pliers shapes by repeating Steps 1 and 2 – and reduce length and allow extra to accommodate a clasp.
● Round nose pliers in size so that they can be displayed together Here a 60cm piece of 0.9mm wire has been
● Wire cutters in layers. used. At one end of the neck wire make a bend
● Steel bench block and wrap the short end against the neck wire
● Whammer or hammer 4. Place the layers of feathers and coils on top with 0.3mm wire. Cut and tuck the ends in.
(with slight domed face) of each other with the smallest on top. Using Using round nose pliers, make a fish hook clasp
Wire coiling gizmo (or mandrel) 0.3mm wire and working from the spool, wrap with the wrapped end.
▼

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 PROJECT
7 8
9 10
11
7. Using a mandrel or wire coiling gizmo, use
0.9mm wire and work from the spool to create
springs to cover the neck wire. Measure and
cut two springs for the required length either
side of the wire feathers and beads. If you have
made more coiled springs than you need they
won’t go to waste as they can be cut and used as
jumprings.
8. Assemble all the components of the necklace
and start threading on. Use a decorative
spacer bead to start and then add one of the
coiled springs, followed by the beaded dangles
and wire feathers. If the necklace is to be
symmetrical then count out components and lay
them out in the order they are to be threaded.
Add the final spacer bead and make a wrapped
loop to finish the clasp and necklace. To make
earrings make up the feather components and
attach an ear hook with a jumpring.
72 makingjeweller y.com
MJ108_P70-73 Wildlife SHLGSD.indd 72
12
Wire fish set
9. The fish are constructed in a similar way to
the wire feather shape. Start by making a coil
for the required size from 0.9mm wire. For the
outer shape make a bend at the top of the coil
as in Step 1. Use chain nose pliers to pinch into
a point and then twist by a 45 degree angle.
This creates the mouth of the fish and a loop,
which allows for a jumpring to be attached.
10. Use the chain nose pliers to bend the wire
around the outside of the coil and form a
‘T’-shape, which will become the fish tail. The
excess wire can be trimmed and looped to form
an eye of the fish when bent back against the
coil. Shape the tail by using the chain nose
pliers, but leave the tail shape partially open to
allow for a jumpring.
72
25/05/2017 11:19

13
14
15
11. Decide on the quantity, size and colour of
the fish required and attach the components
using jumprings. Attach jumprings on the
mouth and tail section of the shape. To
complete the necklace, either use a ready-made
chain and a clasp, or make your own chain.
12. Measure the chain length required. To
create the chain links, use a mandrel of approx.
1cm and make a coiled spring. Each of the coils
of the spring can be cut to make a jumpring.
Each jumpring can become a chain link by
using round nose pliers and making a loop on
the outside of each end.
13. Using flat nose pliers, twist the loops at a
45 degree angle so they line up and squeeze
together. Use the round nose pliers to open up
the loops slightly, ready to attach.
MJ108_P70-73 Wildlife SHLGSD.indd 73
PROJECT
14. Attach chain links to each other by placing
the large loop inside the smaller loops and
closing up the smaller loops with chain nose
pliers. Ensure each link is facing the same way
so it will sit well when worn.
15. To create a toggle clasp for the chain make
an additional link slightly bigger than the rest.
For the toggle cut approx. 3cm of 0.9mm wire.
Make a small loop at each end with round nose
pliers and a further loop in the centre of the RESOURCES
wire where a jumpring can be attached. Add the beadsdirect.co.uk
clasp to the chain and the chain to each side wires.co.uk
of the fish necklace. A bracelet can be made in
the same way as the necklace but on a smaller CONTACT
scale, or make a chain bracelet and attach fireball-lily.co.uk
the fish as charms with jumprings. To make facebook.com/fireball.lily
earrings make the fish components, attach with jaynerimington.com
jumprings and add ear hooks. facebook.com/JRDesignerMaker
makingjeweller y.com 73
25/05/2017 11:19

POLYMER CLAY
CABOCHONS
U
sing Polymer clay to
make your own cabochon
faux semiprecious stones
is really easy. You can acheive
beautiful results and make them
any shape you like with just a little
effort. One of my favourites is the
Abalone paua shell effect! You can
do this with any colour of clay as
it’s the metallic striations that
work well with this one.
74
MJ108_P74-79_Sian tech.SD.indd 74
TIPS & TECHNIQUES
SIAN HAMILTON
MATERIALS & TOOLS
● Polymer clay
● Gold-coloured foil
● Old polymer canes
● Liquid clay
● Tissue blade
● Pasta machine
● 25mm square cutter
● Roller and thin acrylic rod
● Telfon non-stick sheet and clingfilm
● Shaping tools like a doming block
● Fine grit sanding block
● Foil tray and bicarbonate
of soda
● Oven for baking
m aa kk ii nn g j e w e l l ee rr yy .. cc oo m
m m
31/05/2017 15:26
 TIPS & TECHNIQUES

1 2 3

4 5 6

7 8 9

Making the cabochon blanks
1. The first thing to do is make a bunch of scrap
clay blanks. These will form the base that you
place the faux stone effect sheets over, but it
will not be seen. To make the blanks, soften the
scrap clay by either rolling it in your hands or
using a pasta machine. When the clay is soft and
malleable, pinch off as much as you need for the
cabochon size you want. Roll the clay into a ball
and press it into a domed shape. I use my doming
block to make cabochons as it’s got a wide range
of dome sizes. Use clingfilm between the clay
and the doming block so you can get the piece
out easily. If you don’t have a doming block, just
press the shape against a flat surface and use
your fingers to make it a nice domed shape.
2. As soon as you have the shapes you desire,
HOW TO MAKE
instructions. When baked, give the shapes a
quick sand-over with a sanding block. This will
create a scratched surface for the fresh layer of
polymer clay to adhere to. In this step picture
you can see that one shape is a teardrop. To
make this kind of shape, first make a domed
cabochon and then press on either side with
your fingers until it forms a nice teardrop shape.
Abalone paua shell effect
3. Condition four different colours of polymer
clay. Roll them into sheets on the thickest setting
of a pasta machine (about 2–3mm). Cut as many
25mm squares as you can from each sheet with
the cutter.
4. Place the clay squares in a random pattern
on to a gold-coloured foil sheet and press them
5. Pull the squares apart; you don’t need to cut
them as the foil will rip quite easily. Stack the
squares with different colours together. It really
doesn’t matter what order you stack in; just
make sure the colours are not the same ones.
6. Roll the stack to flatten it a bit and then
poke something like a pen or pencil or acrylic
rod into it. It doesn’t really matter what
you use.
7. Roll the sheet flat again and repeat Step 6.
You are trying to achieve a mix of layers.
8. Keep going until the foil has become mixed
into the clay and the layers are broken up. Roll
the sheet until it’s about 3mm thick.
9. Take a tissue blade and cut a sliver from the
▼

bake them following the manufacturer’s down so the foil sticks. middle of the sheet to check the effect.

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MJ108_P74-79_Sian tech.SD.indd 75 25/05/2017 11:21


10
13
16
10. If you are happy with the effect that the
sheet is producing, then continue to cut slivers
and place them on a non-stick sheet. If you don’t
like the effect yet, keep rolling to combine the
layers more. Cut as many slivers as you can from
the sheet. Keep spare pieces around to patch bits
and use on the sides of flat sided shapes.
11. Roll out another sheet of polymer clay at
setting No.3 or 4 (1.5mm) on a pasta machine
using one colour. The colour isn’t really going
to show much, but do choose a colour that
matches. Lay the slivers from Step 10 onto this
sheet, covering the whole sheet.
12. Using baking paper and your roller, roll
over the whole sheet to make the slivers stick.
Do this gently as you want the clay to stick
together but you don’t want to stretch out the
76
MJ108_P74-79_Sian tech.SD.indd 76
TIPS & TECHNIQUES
11
14
17
shell effect. Hold the roller at the end and use
it to burnish over the sheet until the surface
looks smooth.
13. Choose the cabochon blank you want to use
and make sure your sheet of faux abalone fits
over the whole cab. Cover the domed side of the
cab in a layer of liquid clay and place the sheet
over the top.
14. Gently push the sheet against the shape
until it’s covered the whole domed side. Check
there are no air bubbles and cut off the excess
with the tissue blade.
15. Using an acrylic rod smooth over the
cabochon so the finish is as uniform as you can
get it. Doing this now will mean you have to do
less sanding work on the piece after baking.
makingjeweller y.com
12
15
18
16. To make flat-sided shapes, roll out sheets of
clay on the thickest setting of a pasta machine.
Cut and stack the sheets until you have a block
at the thickness you want. Place a sheet of
Abalone effect on top and cut out your design.
Here I’ve used a flexible tissue blade and cut out
a long teardrop.
17. If making fl at-sided shapes it’s nice to put a
layer of the same effect on the sides as they will
show. For this you just need a few slivers (Step
10). Attach the slivers before you bake the piece.
18. Though not essential, I like to bake polymer
clay on a bed of bicarbonate of soda in an old
foil food tray. I cover this tray with a sheet of tin
foil so the bicarbonate doesn’t blow around in
the fan oven and it stops any smells of cooking
▼
polymer too!
25/05/2017 11:21
 TIPS & TECHNIQUES

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MJ108_P74-79_Sian tech.SD.indd 77 25/05/2017 11:21


19
22
25
Agate effect
19. To start an agate effect, cover a cabochon
blank in a thin sheet of pearl clay. If your blanks
are made with a pale clay you can skip this step.
20. Chop up two different coloured clays into
tiny pieces using a tissue blade. This effect works
best if one clay is metallic. Here I’ve used gold
with red.
21. Roll out a sheet of translucent clay on the
thickest setting on a pasta machine (about
2mm). Scatter the chopped coloured clay pieces
over the sheet.
22. Roll the sheet through the pasta machine
at the same setting to bed the coloured clay
in. Here’s where you can make a choice and
continue to make the sheet thinner if you wish.
78
MJ108_P74-79_Sian tech.SD.indd 78
TIPS & TECHNIQUES
20 21
23 24
26
I rolled down to setting No.3 (about 1.5mm) and 25. This image shows the difference between
cut off half the sheet to make the cabochon on a cabochon made with the thicker agate effect
the left in the Step 25 image. The other half of sheet (left) that’s rolled on the thickest setting
the sheet I rolled down to setting No.7 (about and the one rolled on setting No.7 (right).
0.5mm). This is the agate effect and stretches the
coloured clay into striations. 26. Bake and sand the polymer cabachons as you
would normally. To create a satin sheen you need
23. Rolling a sheet this thin makes it harder to sand using a very fine grit (like 800) and then
to handle, but also makes a really nice effect. rub vigorously on a piece of old denim.
To cover a cabochon blank (coat the blank
with liquid clay first), place the sheet over the
cabochon while it’s sitting on the work surface,
as it’s less likely to tear if you don’t handle it too
much. Press down the sides with an acrylic rod
to smooth it and get rid of any air bubbles.
24. When you have pressed it down you can
then pick the cab up and make sure the sides are RESOURCES
smooth. The thin sheet can pucker up so you All tools and materials are widely available from
may need to press it down with the roller. advertisers in this magazine
makingjeweller y.com
25/05/2017 11:22
 1 2

Cabochon inspiration

1. Square, matt finish with a rounded pyramid dome

Translucent clay with mica powder and chopped old pearl clay cane

2. Round, layered Abalone effect, matt finish

Layer of plain clay sheet with Abalone sheet laid over with a flat top
and slanted edge

3. Long teardrops
Abalone effect with gold foil edge added before baking. Surface polished
to a satin sheen with a denim cloth

4. Domed teardrop
Agate effect using translucent clay with red and gold clays polished with
an electric mop to a high shine

5. Flat round pendant with cutout

Abalone effect top, cutout shape is a teardrop cutter, twisted at the points
using a pair of round nose pliers

4 5 79

MJ108_P74-79_Sian tech.SD.indd 79 25/05/2017 11:22

 SHOPPING

Making Jewellery

TOP 8
TROPICAL FLAVOUR
This month’s
must-have items
13 x 26mm Fuchsia AB Sparkly Resin Marquise for your jewellery kit. Wood Flower Beads, £2 per pack of 50
Flatback Cabochon, £1.79 per pack of 10
beadsdirect.co.uk
By Sue Mason-Burns she-beadz.com

Fimo Soft Tropical Green 28mm Antique Gold Bird 8mm Round Cat’s Eye Glass Beads,
56g Polymer Clay Block, £1.79 Perch Charm, 15p each £5.50 per 40cm strand
cooksongold.com bigbeadlittlebead.com beadhouse.co.uk

Shibori Silk Ribbon Tropical Czechmates 2-Hole Tile, Neon Shimla Bracelet Kit,
Pink Borealis, £2.08 per 10cm Electric Blue, £4.24 per 9g tube £12.95
i-beads.co.uk potomacbeads.com spellboundbead.co.uk

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EFCOLOR
COLD ENAMEL KIT
This month, Sue Mason-Burns tests a very clever
and simple way to add enamel to your designs.
THE PRODUCT
The Efcolor Cold Enamel – Complete Starter Set
from Metal Clay Ltd provides everything you
need to apply enamel to your jewellery pieces.
The powders can be fired in a normal oven at
just 150°C, but also included with this kit is
a brilliant little stove that is heated by three
tealights, which does the job to perfection.
WHAT IS INCLUDED?
This very generous kit includes an Efcolor
stove, three tealights, a firing plate, a firing
stand, a pair of tweezers, two U-shaped bars
(holds your piece while sifting the powder on);
an Efcolor extra tool set with a large and small
U-strip, firing stand and a spatula; at least five
copper blanks, five 10ml enamel colours and
five small sieve tops.
HOW GOOD ARE THE
INSTRUCTIONS?
As well as the comprehensive full-colour
illustrated instructions that come with the
Efcolor stove set, Metal Clay Ltd have a very
helpful video tutorial on their website to help
you get started. The printed instructions also
include hints and tips to help you get the best
out your designs as well as ideas for how you
can progress with other products in the range
once you have mastered the basic skills.
82
MJ108_P82-83_Product Test SHLGSD.indd 82
PRODUCT TEST
WHAT ELSE YOU WILL NEED?
There is nothing else you will need in order to
use the kit.
CAN IT BE ADDED TO?
There is a vast array of other products to
complement this set, including copper blanks
and a dizzying array of enamel powders. As well
as a huge range of colours, Efcolor also produce
powders that give different effects. My favourite
are the textures and there are also glitter
powders available.
IS IT VALUE FOR MONEY?
This kit is extremely generous, giving you
everything you need to make many pieces of
jewellery – you will find yourself looking for
things to apply enamel to. Each piece only
uses a small amount of the powder, so a 10ml
bottle is plenty. You can also save on wastage
by making sure to return any unused enamel
powder to the bottles for use in other projects.
HOW EASY IS IT TO USE?
It’s actually quite astounding just how easy
this kit is to use. The little stove does a brilliant
job of heating the pieces up to the right
temperature to achieve a smooth, enamelled
finish. In fact, I was surprised at how much
heat the tealights provide. You also have the
makingjeweller y.com
option of firing the pieces in your oven if you
have a lot of pieces to fire. You just need to be
aware that if you have a fan oven, this won’t
work because it will blow the enamel powder
away. All in all, it really couldn’t be simpler.
OVERALL SCORE
I couldn’t really fault this kit. The little stove
is brilliant and made the whole process very
simple. Applying the powders couldn’t be
easier and you can keep applying more powder
to achieve different effects or even if you’re
not happy with the original result. If you’re
looking for a way to add unique effects to your
jewellery pieces, then you can’t really go wrong
with this kit.
SCORE
★★★★★★★★★★
COST
£34.50
RESOURCES
metalclay.co.uk
support@metalclay.co.uk
01929 554771
25/05/2017 11:23
 PRODUCT TEST

1 2 3

4 5 6

7 8 9

10 11 12

1. The Efcolor Starter Set 2. The full kit 3. Heating up the tealight stove 4. Preparing a blank
5. Adding a sieve top 6. Sprinkling the enamel powder 7. Preparing to fire 8. Checking the progress
9.The fired piece 10. Removing from the stove 11. Cleaning up 12. Adding effects

makingjeweller y.com 83

MJ108_P82-83_Product Test SHLGSD.indd 83 25/05/2017 11:23

 PROJECT

GOLDEN
EARRINGS SIAN HAMILTON

U
se your free Preciosa seed beads to
make these really quick and easy
earrings. You just need a few supplies
and about 30 minutes to complete them.

84 makingjeweller y.com

MJ108_P84-85_Preciosa.indd 84 30/05/2017 15:04


1 2
PHOTOGRAPHS: SIAN HAMILTON
4 5
MATERIALS & TOOLS
● Preciosa Free beads
● Gold-coloured nylon-coated wire
● 2 x gold-coloured crimp beads
● 2 x 50mm gold-coloured headpins
● 2 x gold-coloured calottes
● 2 x gold-coloured jumprings
● Crimping pliers
● Flat nose or chain nose and round nose pliers
● Side cutters
MJ108_P84-85_Preciosa.indd 85
PROJECT
HOW TO MAKE
1. Cut a 30cm length of nylon-coated wire, this
will give you a good amount of wire to play
with. Thread on as many beads as you wish, I
used 18 on the smaller loop. Feed on a crimp
bead and bring the opposite end of the wire
through the crimp bead from the other side.
2. Thread more beads onto one of the wire
ends. For the larger loop I used 25 but you can
use as many as you want. When you have an
many beads on the wire as you desire feed the
wire through the crimp bead again from the
opposite side again so you make a second loop.
3. Play around with the size of the loops until
you are happy with how they look. One should
sit inside the other. When you have them where
you want them to sit, hold onto the wires at one
side of the crimp and with the crimping pliers
carefully crimp the bead in place.
makingjeweller y.com
3
6
4. You can manipulate the two loops as long as
you are careful not to kink the nylon-coated
wire. When you are ready add a calotte with the
crimp bead sitting inside the calotte cup. Press
the calotte closed over the crimp.
5. Make two earwires using the 50mm
headpins. Hold the headpin in the very tip of
round nose pliers, right up against the flat end
of the pin. Wrap the wire around the plier jaw
until the flat piece meets the pin. Then make
the whole wire into a U shape. This can be done
with bailmaking pliers or by wrapping the pin
around a pen.
6. Pick up a jumpring and attach the loop on
the calotte and the earwire. Close the jumpring
to finish. Make a second earring in the same
way keeping an eye on the wire loops to make
sure it’s a matching pair.
85
31/05/2017 13:00
 PRODUCT REVIEW

ESSENTIAL TOOLS
This month we bring you a roundup of those essential
tools you need to get the job done. By Sue Mason-Burns
n-Burns

STORE IT
Beadalon are at the forefront of products that help you
organise your workspace. The Beading Station has two
wooden dowels to give easy access and storage for all
of your beading tools, hooks allow you to store strung
beads, or play around with different colour combinations,
another wooden dowel in the bottom provides space
to store and dispense spooled materials, two trays hold
supplies, findings or even projects in progress. This space-
saving wonder will cost you around £37. For beading on
the go, or just a convenient place to keep your bead stash,
this tough poly-nylon case contains five storage boxes with
moveable dividers, which helps keep beading materials
organised. Zips along the top and down the front make
for easy access to the boxes. Extra pockets on each side
and at the back allow for storage of tools, spools and other
equipment and supplies. A detachable, adjustable carrying
strap makes travel easy, all for around £30. These handy
eight compartment storage rings make storing beads or
findings a breeze. Keep all the colours together, use it as
a colour wheel, or keep all your jumprings together – the
possibilities are endless. Each compartment features a
sturdy lid and the storage rings stack easily, snapping into
place. A single storage ring costs around £3.
beadalon.com

HAMMER IT
The array of hammers available from Cooksongold is quite dizzying,
they have a hammer for every job you can think of. Here are just a few.
The rawhide mallet comes in a range of sizes and weights, depending
on the job at hand. It is perfect for those jobs where you really don’t
want any tool marks. Prices start at around £11 for the range of rawhide
mallets. The trusty ball-pein hammer is a versatile tool that covers a
wide range of jewellery making tasks. It is a workshop must have. This
hammer is made by Vintaj and sells for just under £6. For a smooth and
flawless finish, you need the services of a planishing hammer. This heavy
planishing hammer is from the value range and costs £19.80.
cooksongold.com

86 makingjeweller y.com

MJ108_P86-87_Product Review SHLGSD.indd 86 30/05/2017 12:47

 PRODUCT REVIEW

CUT IT
If you’re looking for a stylish but practical pair of scissors for all your
thread-based crafts, then look no further than these Pink Fleur
embroidery scissors. The superfine tip makes them ideal for intricate and
detailed work. They give a clean and precise cut every time, making it
easy for you to thread your needle or finish your designs professionally.
The scissors come in a protective sleeve for safe storage and are priced
at £4.79. The Beadalon snipper tool is designed to give your pieces of
jewellery that professional look. The tool is perfect for precision work
and is easy to use. It is ideal for using when restringing pearls and other
beads. The curved scissors are also great for cutting threads when doing
seed beadwork. The tool features a protective cap to the cover the blade
when it is not being used. This nifty tool is a snip at £2.48. The Beadalon
Wildfire cord cutter is a battery operated tool to help you finish cord
ends. Simply press the button on the tool to heat up the end and then
touch this to the end of your cord to trim, burn or melt your cord with
one touch. By doing this it reduces the risk of your thread fraying and
makes for a stunning professional finish too. This tool is priced at £9.97.
beadsdirect.co.uk
LEARN IT
Established over 14 years ago, Flux ’n’ Flame Jewellery school
has evolved to become the thriving, exciting and wonderfully
creative centre for jewellery learning it is now. Owners Jesa
and Al Marshall are professional, award-winning jewellery
designers and with their expert team of tutors deliver fun,
relaxed and informative classes and courses throughout the
year. Jesa and Al are truly passionate about jewellery and
design and inspire others with their enthusiasm. Whether
you’re a beginner or more experienced you’ll find their
courses will help you along with your jewellery making
skills and inspire you with new ideas and exciting new
directions. At Flux ’n’ Flame you can find one, two and
three-day weekend courses as well as their ever-popular
six-day annual Summer School in July and regular
weekly classes running throughout the year. Course
prices range from £115. If you’d like to see some
of the results of these great courses, check out
their website or for the latest pieces follow Flux
’n’ Flame Jewellery School on Facebook.
fluxnflame.co.uk

STICK IT
Each jewellery making job needs a specific type of glue and Bead
House stock a very broad range of glues for every job you can think of.
The E6000 is an industrial strength, multipurpose adhesive, great for
adhering metals, glass, rubber and plastics, which makes it ideal for most
jewellery making tasks. It can also be used to secure leather cord into
cord ends. It dries clear and is waterproof and flexible. A 29.5ml tube
costs £4.65. If you’re not quite sure which adhesive is best for the job at
hand, why not try out this sampler multipack? It contains four tubes
of different adhesives including Amazing Goop, Quickhold, E6000 and
Amazing Goop Craft. Each tube contains 5.3ml of adhesive and costs
£5. Also available from Bead House is G-S Hypo Cement, a very popular
and versatile adhesive. This clear cement comes in a tube with a very fi ne
applicator, allowing precise application. This is the cement most beaders
use to secure end knots inside knot covers, to fasten half-drilled gems
and pearls onto pincups and up-eyes, and to just generally stick small
things to each other. A 9ml tube costs £5.
beadhouse.co.uk

makingjeweller y.com 87

MJ108_P86-87_Product Review SHLGSD.indd 87 30/05/2017 12:47

 DISCOVER A WHOLE RANGE OF JEWELLERY MAKING SUPPLIES

BEADHOUSE.CO.UK

G E T 2 5 % O F F YO U R F I R S T O R D E R
USE PROMO CODE

GIVEME25

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

088_MAJ_108.indd 88 5/25/17 9:41 AM

 NEXT
MONTH 70
PROJECTS
& IDEAS

IN THIS ISSUE...
Wirework, beading,
polymer clay, metal clay, ON SALE
and much more 20 JULY

MJ108_P89_Next Month SH.indd 89 25/05/2017 11:25

 CLASSIFIEDS

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 CLASSIFIEDS

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MAJ_108.indd 91 6/1/17 10:21 AM


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.
T
his month’s blog is inspired by a
question I often get asked at wedding
fairs and events: ‘Why has my white gold
gone yellow?’
The answer is usually that it hasn’t actually
gone yellow, just its natural creamy white
colour. The reason for this is because most
white gold that is sold by the big name high
street jewellers has been plated in another
metal called rhodium.
There may be a couple of reasons why
jewellers do this. The first, I think, is a bit of a
naughty one (but for some reason, one that is
strangely allowed) in that sometimes, jewellers
will rhodium-plate standard yellow gold, and
sell it as white! I guess this is down to cost,
as yellow gold is a tiny bit cheaper than white
anyway, but it would likely be much cheaper to
cast thousands of an item in just the one type
of metal, then rhodium-plate the ones they
want to sell as white gold.
The second is the fact that in my experience,
at least, lots of people think that all ‘white’
metals are the same colour, so maybe jewellers
plate their white gold to avoid confusion over
all the different colours and carats. Personally,
I love the fact that all of the metals are slightly
different colours as it gives so many more
design possibilities!
I also often get asked about the difference
92
MJ108_P92-93 Blog SHLGSD.indd 92
BLOG
between the other metals so I thought I would
at least try to use this month’s blog to explain
things a little bit... In the UK, any gold that you
buy is an alloy of gold and a selection of other
metals. This is because pure gold is far too soft
for jewellery making, so it has to be mixed with
things like copper and silver. The 375 mark
on 9-carat gold tells you that only 37.5% of the
metal that you call gold is actually pure gold.
In 18-carat, there is 75% pure gold, hence the
750 mark. Copper and silver, on their own are
harder metals than pure gold, so, the more gold,
the softer (and more expensive) the metal.
That’s the case for yellow gold anyway.
White gold is where it all gets a bit confusing
and the ‘toughness’ is reversed! White gold is
usually a mixture of pure yellow gold, silver and
depending on the particular alloy, palladium
or platinum. 9-carat white gold will have a lot
more silver in the mix, whereas 18-carat will
use the much more expensive palladium or
platinum. As these are much harder metals
than silver, an 18-carat alloy will usually have
a higher melting point and be a fair bit harder
than 9-carat. Because 9 and 18-carat white gold
are essentially two completely different alloys,
the colour is quite different too, with 9-carat
having a kind if milky colour and 18-carat
being a darker grey that is closer to platinum.
Now, if that hasn’t confused you enough,
makingjeweller y.com
18-carat rose and yellow gold
there’s a third type of gold that I’m going to
talk about too. Rose (or red) gold seems, at the
moment anyway, to be just as popular, if not
more, than white gold. It’s funny how fashions
change, as 100 years ago, it would have to be
yellow, then white became popular, and at the
moment rose gold seems to be the colour that
everyone wants! Maybe this is down to how
popular anything vintage has become. I’m not
quite sure why, but rose gold does really seem to
fit with the romance of the theme.
Rose gold also has the advantage of being a
little tougher than yellow gold due to the high
amount of copper in the alloy, as this is what
gives it the pink colour. It does come with a
disadvantage though, and that is the fact that
if you suffer with metal allergy, you might find
that anything with a high copper content might
irritate your skin.
So, there’s another couple of metals to go,
that I’ve already mentioned and that often get
confused as the same one – platinum
and palladium.
Platinum is the hardest metal and is regarded
as the most precious because it’s the rarest.
This also makes it the most expensive. Lots of
more traditional stone set rings have a good
band, or shank, with just the stones set in
platinum. Its colour is similar to 18-carat white
gold in that it’s naturally a dark grey, although
25/05/2017 11:27
 BLOG

METAL ADVANTAGES DISADVANTAGES

Sterling silver (925) Extremely malleable and the Easily discolours (oxidises), can
Cost: £ cheapest precious metal, good for cause an allergic reaction in some
Toughness: •• learning silversmithing. people.
Fine silver (999) Can be too soft, very prone to dents
Extremely malleable, less likely to
Cost: ££ and scratches, more expensive than
cause allergies than Sterling.
Toughness: - Sterling silver.
9ct Yellow Gold (375) Light yellow, can be associated with
The cheapest type of gold,
Cost: £££ cheaper gold jewellery, feels less
hardwearing, but still malleable.
Toughness:••••• ‘precious’ than 18ct.

18ct Yellow Gold (750)

Darker, more expensive looking Expensive, prone to marks and
Cost: £££££
colour, easy to work with. scratches.
Toughness: ••••

9ct Rose Gold

Malleable and a little more
Cost: £££ Not hypo-allergenic.
hardwearing than yellow gold.
Toughness: ••••••
18ct Rose Gold
Still quite malleable and a little more
Cost: £££££ Expensive, not hypo-allergenic.
hardwearing than 18ct gold.
Toughness: •••••
9ct White Gold Some expect the colour to be
Very malleable and easy to work
Cost: ££££ ‘whiter’, fairly soft and prone to
with, much cheaper than 18ct.
Toughness: ••• marks and scratches.
18ct White Gold Harder than 9ct white gold, feels
Expensive, can be a little more
Cost: ££££££ more ‘precious’, lovely darker grey
difficult to work with than 9ct white.
Toughness: ••••• colour.
Palladium Hypo-allergenic, hardwearing,
More difficult to manipulate and
Cost: £££££ much cheaper than platinum and
work with.
Toughness: ••••••• difficult to tell the difference.
Platinum The rarest precious metal so the Very expensive and more difficult to
Cost: £££££££ most valuable, very tough and work than gold or silver.
Toughness: •••••••• hardwearing, hypo-allergenic.

like white gold, sometimes jewellers will

rhodium plate it.
Palladium is the newest of all the precious
metals and has actually only been classified
as one for about the last 100 years. To be
honest, it’s pretty difficult to tell the difference
between palladium and platinum. It’s from
the same family of metals and behaves in a
very similar way, with one big advantage –
cost! Palladium currently slots into to price
ladder somewhere just behind 18-carat gold. I
read somewhere recently that both platinum
and palladium are difficult to resize and will
almost always leave a mark when soldered.
Well, I’m really glad I didn’t know this when I
made my fi rst palladium engagement ring, or
I may have told that particular client that it
wasn’t possible to make it! Yes, they are both a
little more difficult to manipulate than a soft
metal like silver, but to be honest, I’ve resized
and soldered loads of rings now without
leaving any signs. You can’t always believe
what you read online!
So, to sum up, because just writing this has
left my brain feeling about frazzled, I’ve made a
little table that will hopefully be helpful to you
the next time you’re buying precious metal to
make a piece of jewellery. From top: 9-carat white gold; 22-carat yellow
Find out more about Anna’s jewellery at and platinum (unfinished); Palladium; Sterling
Metal colours
annafinejewellery.co.uk silver and 9-carat gold ring

makingjeweller y.com 93

MJ108_P92-93 Blog SHLGSD.indd 93 25/05/2017 11:27


BASIC TECHNIQUES
1. Thread a bead onto a head or
eye pin. Grip the wire with round
nose pliers next to the bead.
5. Keep pushing the wire around
the jaw until you meet the bead.
1. 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
MJ108_P94-95 Basic Techs SH.indd 94
TIPS & TECHNIQUES
HOW TO MAKE A WRAPPED LOOP
2. Bend the wire above the plier 3. Move the plier jaws to sit at the
jaw to a right angle. You will need top of the bend.
about 2mm of wire above the bead
before the bend.
6. Move the pliers around the 7. If attaching the loop to a chain
loop and continue to bend the this is the stage to do that. Use a
wire around until it is facing out pair of chain nose pliers to hold
at a right angle and you have a across the loop firmly.
complete loop.
MAKING A SIMPLE LOOP
2. Using round nose pliers, grasp 3. Roll the wire around to meet
the wire at the very end and curl it the bead. If it does sit centrally
around the plier jaws. 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.
makingjeweller y.com
4. With your thumb push the wire
back around the pliers, keeping it
tight to the jaw.
8. 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
4. 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.
25/05/2017 11:27

USING JUMPRINGS
Always make sure you follow this
guide and don’t pull jumprings
apart as they can easily distort.
Take a jumpring in two pairs of
pliers with the opening centred at
the top.
Hold the jumpring either as shown
in the step above 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.
MJ108_P94-95 Basic Techs SH.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
Crimp covers make your finished
jewellery look more professional
and clean.
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.
MAKING AN EYE PIN
Make your own eye pins using
0.8mm (or 0.7mm) wire. You can
use 1mm if you need strong pins.
Take the very end of the wire in
round nose pliers. If the wire is
quite hard it may slip out of the
pliers, so start the loop about 2mm
in and snip off the straight piece as
you make the first curve.
The shape you want to create is a
P. The advantage to making your
own eyepins is that you can make
the loop any size you need.
To finish the pin so the loop sits
centrally on the wire, take the
round nose pliers and place them
where the round P shape meets the
wire. Press the wire back against
the pliers until the loop is centred.
95
25/05/2017 11:27

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
MJ108_P96 Basic Techs SH.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 flat. 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.
25/05/2017 11:32
 Introducing:
CzechMates® 3-Hole Beams™

FEATURED BEAD SHAPES

Morning Glory Bracelet by

TrendSetter Patrick Duggan. Pattern
available at your local bead store.

CzechMates® 3-hole Beams™

ASK YOUR LOCAL BEAD STORE FOR STARMAN BEADS OR ORDER FROM:
Creative Beadcraft Ltd
www.CreativeBeadCraft.co.uk
Fru Parla
6mm Top Hole Rounds www.FruParla.se
Gyöngysziget
www.Gyongysziget.hu
Hobby Perline
www.HobbyPerline.com
I-Beads
3mm Melon Rounds www.I-Beads.eu
Kadoro Robin’s Beads
www.Kadoro.pl www.Robins-Beads.co.uk
Natascha Kralen The Southampton Bead Shop
www.NataschaKralen.nl www.TheSouthamptonBeadShop.co.uk
Old Bicycle Shop Tanzee Designs
www.OldBicycleShop.co.uk www.TanzeeDesigns.co.uk
Perlenexpress.de WirWar Kralen
www.PerlenExpress.de www.WirWarKralen.nl
Perles & Co
www.PerlesAndCo.com AUTHORIZED DISTRIBUTOR

Bead Stores—Free shipping* over €500. Register as a reseller: *See website for details.

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_108.indd 1 5/25/17 9:42 AM

 The technique based
way to clay….
soufflé
®

• Fashion forward colors

• Great strength and durability
• Hold fine details and textures
• Great for stamping, transfers,
alcohol markers, paints
and inks
• Bakes to a suede-like finish
in your home oven
• May be sanded drilled and
painted after baking

Design by syndee holt

www.sculpey.com
Find us on:
MJ091216

search Polyform Products

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

OBC_MAJ_108.indd 1 6/1/17 2:55 PM