• contents I SEPTEMBER


in this Issue

in every issue
6 From the Editor
A wealth of wire.



8 Contributors
Our artists shore tips on customizing your work space and tools.

32 Sculpt Swirls of Wire into a Pair of Post Earrings
Use expert planning skills

10 ReaderForum
Our rfaders share their questions and comments.

to construct these mirrored

wue- wrapped
by Erin Pilton


with integrafed posts.

16 News & Announcements
Exhibits on the contemporary goldsmith Italian Akelo and South AFrican

stuoto jewelry, workshops on using mixed metals, and a show thar celebrates literature and jewelry art


38 A Conversation

18 Reviews
A standout two-part epoxy resin,
micro forming stakes you'll/ave to cotiec; a must-have beginner polymer reference, and books on silver and gold that have both brains and beauty.

with Brooke Marks-Swanson
talks about how the landscape that surrounds her affects her work.

Accomplished jewelry artist Brooke Marks-Swanson


41 Gallery
A collection of jewelry to intrigue and in5pire you.


Stone Sense
Gamet: A Durable Multicolored by Richard M. Shul.I, G.G. Gem.



46 Ergonomics for Jewelry makers
Whether create at a jeweler's bench or a kitchen table, we'll shaw you the healthiest ways to work. by Jean Wilson


Studio Savvy
Fix Your Screw or Top Mishaps. by Christopher C. Darway


nat-weave bracelet

50 2 Metals, 2 Chain mail Patterns
Make a streamlined (gold-filled by John Fetvedt zigzag optional).


Business Savvy
Maker, Manager, Marketer: How to Budget Your Time. by Marlene RicheV


28 Metalsmithing


Metal Forming 10 1: Forging. by Michael David Sturlin


Beyond Jewelry
The tallest building in the U.S. is reconstructed Rebeca Mojica. in chain mail by


on theb
Check out what's new at artjewelrymag.com!


bonus subscriber article



54 Prevent Wiggly Stones with Improved Bezel-roller Techniques
Learn how to use this oFten misused and misunderstood tool to set your stones securely.
by Donald C. Dietz


reference section


73 Basics
Demonstrations and definitions of beginning jewelry-making techniques needed for projects in this issue.

58 A Good Bezel roller is Hardto FindSo Make Your Own!
Use basic bench tools to make Q stonesetting tool that's custom fit to you.
by Donald C. Dietz

Subscribers, no need to cut up your magazine! Download free templates for Erin Paton's wirework earrings and Donald C. Dietz's bezel roller.


video section



60 Embed Brass Wire
in Metal clay
Patience and low-tech finishing techniques are key to creating a seamless mixed-metal pendant.
by Jackie Truty

)) Watch a workout video just for jewelers - ergonomic hand exercisesl

79 Contacts & Suppliers
How to get in touch with the featured artists, and where to find the materials and tools used in this issue.

Learn how to fuse jump rings and metal sheet.



www.artjewelrymag.com/ 5ubscribergallery



64 Think Two Prongs Can't Secure a Stone? Think Again!
For 0 custom-cut stone, two sturdy, well-placed prongs may be 01/ you need.
by Jessica Dow and Mark Anderson

~~ Subscribers, upload images of your work to the Subscriber Gallery free! Each week we feature three artisans in our Friday Highlights from the Subscriber Gallery in our Editors' 81og.
(USPS 022·902, I.SSN15.47-272Bl rs publi~hed bimonthl,.

An Jewelry


by Kalmbach pubn~ll iog Co .•21017 Crossroads Circle. P.O, sex 1612. Wau k!s.h~, WI 531137,' (;'2. Perrodrcal5 Pm. age is p~Jd iU W.atJ ~eshar WI and eddltlona Ictftces, Postm l!lota rr S~IlIdaddreas cha nqes rc Arl Jewelry, 2102l Crosuoads Clrcle, p.o. Ilo:.: l61 ~ WbUkeshe, W153187I

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" Timepiece Talisman Your personal machine.' page 32 Contact: earrtnqsbyerlrtetsy. etc.e.com 8 Aft www.com The ouroboros may represent the eternal recurrence. This allows meta better organize "I bought one of those ice cube trays that has cylinders that available [0 has my small tools and yet make them immediately me.g. cummin~ quick use. . Jewelry. Steam punk style customize -John date whatever Fetvedt a for "2 Metals. me to make family room (after the last of the sons left home) and made use of several threeposition tables. -Jessica "I made a simple workbench my height.• contributors lOUR ARTISTS What's a cool thing you've done to customize your workspace or tools? "I took over the board for hanging Adding tools (also recycled). my workspace make ice shaped not (hanged much for the past WIRHlli~~· AR[JEWURV. Otherwise. where time is not linear but cyclical. A turn of the handle brings any needed pair for "( .com my bench. in the same section." -Donald 'Prevent C.annechoi. to allow me to dynamically my bench space to accornrnoprojects I am working on." page SO Contact: fetvedt@mlndspring.Qrtjewe/rymag.com !l!l ANNEGHOI HANDMADE SILVER BEADS panldc board bench top and added sturdy recycled timber legs and a back become one of our contributors! For our g uldeJln es. I look .m to fit in bottles. e. roundnose.uhen lime from !irtle shall se!. The mandrake root is traditionally used in spells for transformation." in time of daffodils. up at our shelves and it helps me come up with ideas for what type of gemstone scissors to keep all of my pliers handy. cutters.comlsubmlt. I bought a cheap to suit Dow and Mark Anderson "Think Two Prongs Can't Secure a Stone? Think Again'" page 64 Contact: dow_jessica@yahoo. I store pliers of like use. such as dinosaur bone and rough opal. separate but handy. 2 Chain mail Patterns. e.remembtr me. to my the legs myself allowed the bench exactly the height that suits me and saves my back!" -Erin Paton "Sculpt Swirls of Wire into a Pair of Post Earrings. go to www. We have our'inspiration shelves' covered in mineral and rough gemstone specimens.' "A Good Bezel roller is Hard to Find So Make Your Ownl" page 58 Contact: dcdietz@live.. I use thatto organize my tools on my workbench.com "I use a wooden lazy Susan designed to hold children's artlst and passionate gem collector. lIS free) [orgcuingme.com "I recently purchased 'headboard' in addition jeweler's bench." It keeps things 10 years. 5eptf)'mber 2010 ." -Jean Wilson for Jewelry makers: page 46 "Ergonomics I should have Mark custom cut for that particular design.· Contact: fun2create@yahoo.com "Mark is a lapida ry -Jackie 'Embed Truty Bras> Wire in Metal clay: page 60 Contact: jackie@artdilyworld. Dietz Wiggly Stones with Improved page 54 Bezel-roller Techniques. When Idesign jewelry.

and this 15 the nicest thing I've seen in ages. Love those bugs! In your review of copper clay [Reviews.com). Ihaven't tried using resin in these molds. Iactually hod a fu/15et of these in my childhood ." Let us know how your experiments flJrn outl We contacted the author. you had photos of bug molds. Erickson responds. But a patient brought the letter to my attention. -Michael Johnson viae-mail And here's a greatshortcut. Please please tell me what colors of enamel were used so I can source them over here in Ireland. and I thought I'd respond. arm. Associate Editor Jill L. There are already a couple of magazines devoted to the subject. Gallery (double wow!) all of it ls just wonderful! Thank you for your lovely magazine. March 2010] roll off my back. the Studio Savvy tips. and directly from Mitchell herself annemitdieli. The article features what is obviously a homemade drawplate. Enamel suppliers generally have color catalogs that will show what the colors look like when Fired. In a word Wow! I love the magaz:ine. are The vast majority of RSI conditions due to mechanical stress on soft tissue (ligaments. This may occur over months or years. these molds would be great together. please Based on this week's [online] survey on lapidary. Do not quench the enamel in water. The drawplates ate available from EuroTooI (www. The hole sizes range from 1.A. I for one would rather have more articles dealing with the making of jewelry.It can be a bit tricky to get a true red or juicy yel/ow. rwww.riogrande.S. and inflam mao tlon.• reader forum Our readers share their questions and comments. Business Savvy. which are vintage (79605) metal Creepy Crawler molds that Ibought on eBay. Glad you enjoyed the btlg molds. I have been playing with resin and bugs lately. -Leigh Steiner Sarasota. not less. Praise for July [just received my July 2010 Art Jewelry. I feel the colored pendl on (Opper article. ["RSI artlcle causes pain: Reader Forum. Peripheral nerve entrapment with numbness. and forearm and is subject to compression at any of these sites. It traverses the skeletal and soft tissue region of the neck.B. And always wear eye ptoteato». not lapidary. I love them. Ariz. May 2010). deferential in her reply to this highly -Brenda Stacy viae-mail -Thomas Hadjlyane.B. via e-mail . and pam of wotett The vintage molds are incredibly detailed. and dip it in the enamell Just be sure to aI/ow the heated enamel to air-dry.l usually let diatribes like that of Fiona Wallace M. respond very well I was disappointwas so to conservative care that addresses ed that Sharon Elaine Thompson biased letter.back in the day when adults freely encouraged their kids to play with plosric goop. You could use opaque colors. I used a black on some of the ends to provide a bit of contrast to help the other colors pop a bit. I want more jewelry·making options.. tingling. but this particular issue just knocked my socks off! As a watercolor artist and beader.5 mm. YOtlcan find the classic molds on e8ay. muscles. The brachial plexus is part of the neurovascular bundle that supplies nerve and blood supply to the upper extremities. FL -Catherine Leonard Belfast. M. Thread the bead on the balled-up wire. D. Could you on this? I'm sure others must be a little stymied as well. and pain can ensue. transparent lead-free enamels in blues and greens. that creates thermal shock that will cause the glass bead to shatter. Anne E.com). This has been researched and discussed extensively for many years. Erickson responds: I concentrated on No lapidary. and tendons) and joints. but there's no indication find some information of the sizes of the drawplate holes. strained tendons.Jerry Fowler Cave Creek. Mitchell. The drawp/ate was made by a gentfeman who passed away a few years ago. Viking Knit question I just purchased the PDF "Viking Splendor" (March 2005) from your website. to answer this question. Mitchell asked EuroToolto make reproductions. .net).2 mm to 6. Please tell me where they are avalla ble for saIe. Northern Ireland Associate editor and project author Jill L.eurotool. Rio Grande (www. and I'm nor sure irthe resin would release from the metal. electricity. postu re will set the stage for shortened muscles. I hope that it's not a new direction for Art Jewelry.. Many RSIconditions abnormal biomechanics. Poor ergonomics and/or poor Torch-fire question Help! I have fallen in love with the "Easy Torch-Fired-Enamel Necklace' in the May 2007 issue. or buy contemporary "remake" versions online by searchIng for ·Creepy Crawler. which might be more solid-looking. you can build up a nice note of enamel color very quickly. shoulder girdle. A chiropractor speaks up on RSI After over 20 years in practice as a chlropractor. heat rhe glass bead. If you ball up the Iine-sitver wire and add a dear gloss seed bead.c. too. I make jewellery as a hobby. and while it may be a temptation to add this to your very fine magazine.

-Carol Oconomowoc. Box 585 • Auburn. White Wis. .All Steel Construction Building Tumblers for Hobby & Industry Since 1959 check our "Learn ro Make Wide-Band that Really Fit.O...4% gal.00B-in. WA 98071 #750 "Giant" (Long Arm) Casting Machine $285 Ms.~atinCord. ndan'" n&~kl.com " . that For a chart wide-band rings. artjewe/rymag.~d Silk Cord Flnllhed you.. and rips via e-mail to editor@arfjewelrymag. July 2010 print issue. on page 61. To find it. camments.~n .thumlerstumbler. there's a sizing chart Correction In "Expand Your Polymer Skills with a Savvy Stretch Bracelet" (July 2010).com/reference. Helen Breil.com/ videos]... • • S.. Letters may be edited for clarity andlengrh . rill Buy Direct from Manufacturer & SAVE L. .~r. However." by Delias Thompson. the tube opening is now smaller. then uses the stiff bead ing wire to guide the elastic through the tubing..1017 htlp:/lwww.www.diameter beading wire. so it's nearly She uses cyanoacryimpossible to string the elastic. Brooklyn. Breil has found a workaround: late glue to adhere the elastic to .net tell us what you think! Send your quesrions. learned that the manufacturer of Soft Glass updated their product.com Ring band size chart.5 mm inside diameter. 1-(800)-332-5573 or Email: LucadentwVerizon. please! I enjoyed your video on making a simple band ring [www.com • 30 models & kits -1 qt . go to www.m~ Supplies BSS-Rattail There's a downloadable chart posted on the Art Jewelry website.r•• dy for • Kymlhlmo lind Mlcro-M. our instructions call for Soft Glass tubing with 11 1. Rings in the THUMLER'S TUMBLER ts specific to making ULTRA VIDE Order Toll Free: 1(800) 225 . Our sincere apologies to our readers and Write for Catalog Tru-Square Metal Products· P.artjewelrymag.ArUewelryMEIIg.Thermally Protected • Durable & Safe .www. Breil for not making this correction LUCAS Dental Equipment [ust A Friendly Family Owned Company SlNCE 1930 18 Herkimer Place. NY 11216 prior to the issue goi ng to print.ing purposes? A size chart would be helpful. . The author. almost like creating a needle. p..:::IIt- . com."". how do you know how long of a piece to start with for siz.

2009. Columbus. 2010 Where. September 12-0ctober 31.edu . eXihibit: Dichotomies in Objects: Contemporary South African Studio Jewelry from the SteJienbosch Area What: The exhibit features approximately 150 pieces by 18 South African artists who are affiliated with the only university in South Africa that teaches conceptual approaches to jewelry making. and workshops at www.. University of Missouri.. work represents Akelo's technical mastery and personal interpretation Gold. (otton. Gold. . 2009.artjewelry mag.Q earrings by Akelo.43 )(3S mm). moonstone.. 2002. '6 Art Jewelr-~ • September 20' 0 . topaz. Brooch/hairpin by Therese de Villiers. Ohio For more information. When. Click on "Resources" to search for shows and classes by date and locat. Sliver. Mo.com. online extra tion about events.mlssouri. by A kE 1'0And . 4x2 . 2% in. Ohio Craft Museum. 14. The exhibit presents the work of Italian master goldsmith Andrea Cagnetti ("Akelo"). 2. em(S~. Rubies.) Phmos courtesy of the Ohio Craft Museum.ohlocraftorg • Rooi wallpiecel neckpiece by Nanette Nel. Sobi" box by Akelo. MQ. Through September 26. garnet.. Columbia. paint. shows. ruby. Museum of Art and Archaeology. 5 1'1'6 X 1 in). The Voyage of a Contemporary Ita/ian Goldsmith in the Classical World: Golden Treasures ~Akefo What.: www. When. .1'l/i. •• Cagnel1l. (51. 30x 2Sx 7 em (11% If 9% I( 2% in. Pholo. leather. 2010 Where.ion. (54 mm).. (op~r. The featured of ancient jewelry-making techniques. For more informarion: hrrp:llmaa. sapphire. silk. 2007. x PAlin.• news & announcements exflibit.

Fusing. West Sussex.4 em). relief etching. and techniques for working with mixed metals will also be covered. workshop: Etching.. model railroad landscapematerials.org. Photo. Gatlinburg. soldering. fabricated bo. courtesy of Arrowmont School of Arts and (.10 www.uk ShOWl Signs Of Ufe 2010 What: The show pairs the work of 10 jewelry artists with 10 writers to create a pu bl ication that celebrates both literature and jewelry art. <l1li Bangle 6~~ bracelet by Clilra Vithi.org ~~-. U. West Dean College. +•• I) Photos For more information: . Regeneration brooch by Nancy MeganCorwin. Seattle For more information: www. and brass to make textured metal sheets for creating personal jewelry pieces.2010 Where: Arrowmont School of Arts and Crafts. Layering. (opper. Etc.2010 Where: Facere Jewelry Art Gallery. ~ ~ - -~ • West Dean (ollege campus.hed. For more information: www. 22kgoldl sterling bimetal.6 cm)• . Photos. 22k gDld/sterling silver bimetal. and Lettering in Mixed Metals for Jewellers What: This weekend course taught by artist Clara Vichi will teach students about intaglio. and engraved r sterlin!lsilver.2009. courtesy of . 4 x 2h in. When: October 3-9..2 x 6. U.4 em).com17 . ri!l www. (18.K.oll-printed.workshop: Mixed Metals: Richly Textured Jewelry What: Artist and instructor Barbara Joiner will teach students how to combine silver. West Sussex.arrowmont. gold leaf.. Students will complete at least one jewelry piece.. copper. When: October 6-27. 2010. (1o.. Sterling silver.. 71Ain. flnderneath It All necklace by Sarah Hood.ArtJewelryMag..com . dasp.fl s. quartz. Br. Chichester.. 2010 Where: West Dean College.Sterling silver. pearls.6 J[ 35.westdean.facerejewelryart.fine silver.. and oxidizing. by Doug Yaple..K.!(elet by BarbaraJoiner. 8h x 14 in. Tenn. When: October 1-3. (21.

like an old tree stump. • Embed photos in dosed-back bezels.00 Forming stakes are usually quite large.projerts. www." giving the user plenty of time to work. www. • Add inclusions. • Pour a layer of clear resin. Plus. mix. You'll also find advice on choosing compatible colorants and inclusions. After mixing Parts A and B. (I broke that rule.). -Jill L Erickson Fretz Micro Stake Set H-2i forming stake set: $360. plastic measuring cups. at 4-32 mm ('/]2-1'/4 in.. wire. claim that it won't yellow effect. these stakes are even smaller than miniature.. color.se. According to the instructions. jump rings. Why? Because it's a [eweler's-qrade product that's easy to mix.00 I've tried a number of two-part epoxy resins in my day. and I even added a fun coin-edge texture to the edge of otherwise dull fused in a bench vi. I then slid the stake holder locked the holder in place.00 ICE Resin $24. offers thorough instructions and tips on how to measure.object5andele ments. and instructions. fine-grit sandpaper to give the resin a subtly transparent qua lity. But you can use wet. I was satisfied with every outcome and see lots of possibilities for exploration. and then pour a layer of colored resin over the first layer. pour.com.. and pour the resin. and my pieces turned out flne. After securing the adjustable bolts with the included Allen 18 Art JewiI!lir)' . and a surprisingly dear finish. you get a bottle of Part A (resin) and Part B (hardener).. which 1clamped block until friction 0(1 over time. September 2. and layer it with resin in a bezel. with each stake-andhammer combination creating different results.com/. The instructions on that. and ICE Resin Is definitely a front-run ner.010 . You can purchase ICE Resin at www. (va rlous other sets ava lla ble) VBl Wooden vise block: $18. enamel glass threads. or you can purchase and download Individual PDFs at www. The product's website. and cast. potent color. You can order back issues from our customer service department at 800_533_6644.objectsand elements.• reviews from the studio .. • Seal a photo in clear packing tape.artJewelry mag.com.l Here are some things to try: . I made a variety of pieces incorporating many of the above techniques. For your $24. Then I selected a stake and slid it into one of the holes the stake holder.he dual benefits of a generous 4S-minute "pet life. Embed photos and objects in deep.com.Coat paper with resin to make the paper durable. That's a generous "pot life: meaning you don't have to scramble to make your creations. These heavy pieces of steel are usually secured to a weighty object. you'll have about 45 minutes to add colors and inclusions and then pour the resin before it begins to harden.00 H-2 Micro stake tool holder: $74 H-l Stake holder: $52. NOTE: Cured resin that faces the contact paper will have a frosted glass appearance.iceresin. • Make a silicone mold of an object. I used them to shape custom bezels for oddly shaped stones and to create 3-D forms from flat sheet for hollow construction. Why would anyone need teeny tiny stakes? Because they're ideal for shaping small pieces of metal. it doesn't have air-bubble issues and it's really clear. such as gold leaf. I'll have to take the company's word you may also like For more 'Informatlon on using resin. let it harden for a few hours. ICE Resin has t. then pour resin in the mold to make a cast object • Use a rubber molding-compound to create two-part molds to make 3-D castings. which can be a nice and capturing photos and objects. open-back bezels adhered to a sheet instructions for coating paper with resin of contact paper to keep the resin from leaking out. Wetested ICEResin using bezels that are available through the product's sister website. you should allow 72 hours for the resin to cure (harden completely) before you touch a finished piece or remove it from a mold. • Mix a dot of artist's oil paint with the resin to give it rich. they're micro. and mica dust to the resin. . Actually. The set that I tested came with a wooden mounting into the mounting block. They are used as supports for hammering metal into shapes. • Pour the resin in readymade plastic candy molds. . These Fretz stakes look just like regular stakes but in miniature. I found these highly polished stakes particularly well-suited for detail work. check out ~Three Ways to Use Two-Part Epoxy Resin" (January 2007) and ·See the Other Side of Resinn (November 2009). wooden stir sticks.

endless possrbutttes for handjewelry.ti~.I.•.>. these Fretz stakes._~I.=. easy to position Fretz micro stakes. ~t?WI.~.. from www.tq_st¥t I What tools d. as it is."•. Full c~lL1l.ki~n-..N"'(l 5US..j'1 l.. I was ready to hammer The option away.1 definitely several All en wrenches I misplace With a multitude of small-scale virtually fabricated mine mid-project! of shapes. though was previously hardware making has 14 individual stakes.com and majorjewelry- its best advantage. Author and teacher --.. )(109 .I).aIl_.'~ - wrench.'. '.ArtJe-welr. (32 mm).lIci Ulll~l'r"ll PIl·.. The largest measures only 1'Ain.if'iO." of those questions ~hapter5 address properties clay """>.II\h H 11\ Itln~dl' Hc"V. you my love for Fretz hammers March 2010) and I'm no less in love with " www. They're high quality.jition::a1P yyel 'oLVarlo~s'clay in~.. seven are pictured here. I would -AddieKidd prefer a finger-tightening in that size in case system. 1'1..llU hW"'1 H. The nake set we reviewed in the tool market that.lldcol'c'" 51~l)S' Silver PIIIII. .I)~~:H). ... and.cJ ie. .. But. Ii!] The stakes stayed securely in place as I hammered.l.. I've already shared with (Reviews.I. and are available suppliers. lovely to use.lM." 11\ ~)1~_"'_"" .. and fill empty. ISBN: '.ed 'n -What can I.?s . baking. these your range creating stakes will allow you to expand metal forming.'_'~C'~·_ • b rarl·d~.9"ql~.. holders. that the Allen-wrench became a bother stakes.a H.s~rag~.. side mounts extremely of top or my work to is system for the stakes made it My one complaint tightening when I was switching buy a niche tiny. fretzdesign.c::om 19 .d~!!:. .lllioN'" I "II ".17full [] 74' 035()O f4 • - .

pendants. Demantoid garnets have dispersion (the ability to refract light into its spectra I colors) higher than diamond.ArtJe'WelryMi'lg. California India. common names. Malaya Purple-red East Africa Idaho. Russia Arizona Melanite Mali California Africa Kenya. Slone. And that's because of the discovery of garnets in vibrant colors like orange. orange grossular. Cuts: Rare varieties like demantoid. green. green tsavorite cabochon. Kenya Richard M. However. Generally.change garnets Garnet "hybrids" Star garnet Spessartine Brownish orange • Red • Red Purple-pink . bracelets. Greek. Green garnets are the most rare and expensive stones in the garnet group. can be reached via e-mail at info@ outofourmines.'Orange • Green-blue (fluorescent light) • Purple (incandescent light) Arizona. In 1885. Almandine is often made into beads of various shapes and cuts. Southern California. garnets actually occur in a rainbow of colors. cabochon and faceted Tanzanian rhodolite. Other varieties can be purchased as cabochons. to learn about garnet mineral varieties.Tanzania. Madagascar Madagascar. Ancient times Red garnet cabochons are found in exquisite gold work that dates to the ancient Egyptian.From left to right: green and yellow gros5ular from Afri(a. almandine and pyrope are safe in an ultrasonic cleaner. their colors. other garnet mineral varieties can be damaged by abrupt temperature changes. workers that were excavating the New York City subway tunnel discovered a garnet crystal weighing more than 9. Czech Republic East Africa. pink. Nigeria . red almandine~yrope from Africa. and even color-change varieties that rival fine alexandrite.zona. G. and where they've been discovered. India www. !l!I Color. G.5 pounds (4.f'om 21 . Did the stones really glow? Not exactly. Tsavorlte Hessonite Ant hill. cinnamon orange hessonlte from Madagascar. right.com. Garnets are a group of minerals with similar chemical compositions. North Carolina Mandarin Spessart. and Roman cultures. tsavorite. India Arizona Almandine • Green Andradite • Brown • Black • Grossularite Yellow Green Demantoid "diamond-like" Ural Mountains. Star garnets are red to purplish in color and exhibit a six-rayed star similar to star sapphires. Once known as "carbuncles" (from the Latin for "live or burning coal"). o Mohs hardness: 6. Mineral varieties Remarkable mineral varieties The modern "garnet" is believed to have come from the word 'pomegranate: because garnet crystals resemble the fruit's red seeds. Many of these minerals overlap or combine chemistry. and color-change garnets are usually sold as faceted stones.5-7. Bohemian pure form. red garnet cabochons were carried as talismans by ancient explorers who trusted that the stones would protect them during the dark evening hours. Arl. and lack cleavage planes.y of Outol Our Mine s.lity of these varieties has boosted the demand for garnet. o o o Cleaning: It's best to use warm soapy water.brown andradite from San Carlos. And though it's true that the most abundant and well-known garnets are of the red varieties. Pyrope Rhodolite Garnets have been more popular in the last 100 years than ever before. Germany. garnet: jewelry use & care Garnet by Richard M. Shull.G. Shull. Madagascar.5 Suitable uses: Garnets are durable.G. which creates a variety of colors that are not seen when each mineral is in its I (010r(5) • 8rownish red • Yellow Gold I Common name I Source USA. and earrings. and golden . hard. yellow. The availabi. We now know that it's the high refractive index of garnets that allows them to appear bright and sparkling under low-light conditions. and photo courte. Africa. They're su itable for rings.3 kg). Check out the chart.

Darway can be reached via e-mail at darwaydesign@ eartblink. Modify your bolts or screws. So your tap's beyond repair? You can make a poor man's tap from a steel screw. Using a 3il1 S"queeze can drililt out. Whoops. This will make the meta! around the bit pull away slig htly. you'll need to make the steel soft so you 2. Make a faux lap . and soak your piece in this solution for a day or two. Make your own nut driver. Christopher C. Place the piece of meta! in a bed of in a kiln-safe container or on insulation. Archimedes is credited with inventing them. Oops. Breaking off a drill bit or tap in a piece of work can. 2. If any of the bit is exposed. Back it out. a simple tap. If you consume [2bl. 'J:ricky. war machines. Darway Fix Yo r Screw ..ArUewelryMag. $0 you've snapped or worn out the tip of your best tap? You can use the flat side of a separating disk in a flex shaft to regrind the tip back into a point and carryon. using the flat side of the disk. using taps. you can form unfired metal clay over the head of a screw [2al. Drill it out. Heat the metal gently with a torch. and cool the steel frequently. triangular wire around iron to use in their hurling engines. it snapped off below the surface of the metal! Now what? Taps and drill bits are made from tool steel. and accidentally soften it. vermiculite fire-blanket temperature a kiln to 1500°F (B16·CI. and will. stainless steel. When you tu rn the (rank. Dissolve it. happen.. but leave nonferrous metals intact. fits snugly over the nut [3a]. Reshape it. . Find a short piece of brass tubing that '''1 a hotplate or small kiln. You can now use a fresh drill bit to drill out the softened steel.ccm 23 old drill bit! Head to your local pharmacy and buy alum. which is heat-treated for extra hardness. I made It Rings Q Bell from silver metal day and gears." in the May 2010 issue..especially helpful in assembly ~ it holds and twists nuts onto their coordinating bolts. Needa nut driver for an oddball size nut? This tool is.1) 2 nuts & bolts bonuses 3. Heat the piece in for a few minutes (jewelry separatlnq disk. or iron screws. and then use paste flux and silver solder to join bezel cups. you just snapped the new drill bit you were using to drill out the 1.. (76 . grind the head ofthe screw flat so that you have a small platform for the solder. Reading Jill L. ~lb . Using flatnose pliers that close flush. much like the lug nut wrench in the trunk of your car. 76 x 38 mm). or place it on 2 ways to deal with a broken or worn-out tap 1. directly to the head of a modified screw A ll cognacs are brandy. Roman engineers bent heated.net. 3 x 3 x n~ In. a powder often used for cuts and scrapes. :A? . so there's no need for a long soak time). Place the tube over the nut on a smooth surface. and fire it according to manufacturer's tostrucnons. dies.• stud io savvy I EXPERT TIPS FOR THE JEWElRY MAKER or Tap Mishaps by Christopher C. a separating disk. allow it to cool slowly in order to make the steel soft. and use flatnose or parallel-jaw pliers to squeeze the tube against all sides of the nut until the tube conforms to the nut's shape [3b]. First. or other precious metal components to steel. prong settings. Point Metal lay c People have been using screws for a long time. NOTE: When you're grinding tool steel. You need a flex shaft. Have fun fixing your screw-ups ~ we all make them. The al urn will dissolve the steel. and patience. but not all brandies are cognac. this ensures that you don't overheat your steel 2.. Erickson's article "The Nuts and Bolts of Threaded Connections. Bezel Prong setting enough cognac or brandy you will screw up your brain cells and end up in an inclined position. grip the bit. 5. Mix the alum with water. and embedded screws. Voila. back out the broken tap or bit. Using a gentle clockwise/counterctockwise twisting motion.. . and water pumps. always have a small container of water nearby. carefully make one or two grooves down the side of the screw perpendicula r to the threads [1al. To create screw-in design elements. made me recall all the things 8 (UP I screwed up over the years and how J fixed those mechanical indiscretions. Just as all screws are inclined planes but not aJl inclined planes are screws. the fist strikl!s tile bell. and hold that taps and bits are small. grind the tip of the screw to a point [lb]. Then. -.but doable. I also like to solder bezel cups or small prong settings w'Ww. Do not quench the piece. you may be able to extract it by hand. 3 ways to extract a broken tap or drill bit 1.

• Purchase materials. o Identify and nurture a customer base and media contacts. • Promote and advertise products. success is impossible. Marketer: How to Budget Your Time When You Wear All the Hats by Marlene Richey Here's a look at the key responsibillties of each part of the Triple M model: Maker o Make jewelry. The Manager is the one who stands in line at the post office. Part private eYe and part promoter. "I'll run things much better when I'm the boss. and orders supplies. • Maintain financial records. o Develop product lines. They are Makers. • Send e-rnalls to customers and media releases to print and online outlets. • Oversee the design of all prl nt and digital marketing materials. Maker Most jewelers go into business for themselves because they don't want to work for someone else. tools. That enviable Jeweler who is selling well has learned to balance his or her time between making the jewelry. managing the office. Without the Marketer. follows up with clients.• business savvy Maker. Makers quickly learn that having talent and jewelry-making skills are not nearly enough to build and run a business. she has a family member who is both capable and willing to tackle these assignments. I've addressed topics that fall in the Manager category in 'Pricing Your Work in a Difficult Economy" (September 2008) and "A Business Plan: Why You Need One. They vow. the Marketer knows how 26 Art Jewelry • Septi!!mberl010 . I think of this balance of making. applies for shows. and marketing the products. And I've provided insights for the Marketer in 'Selling Your Jewelry Online" (January 2009) and "Reinventing the Press Release: Courting the Media in the Internet Age" (July 2009). and supplies. Manager • Write a business plan. In previous columns. and marketing as the "Triple Mil approach to building a stable and profitable business. o Keep tabs on market trends. • Oversee employees and independent contractors. If she's lucky. o Maintain a production calendar. pays bills. • Establish an online presence." Typically. answers the phone. Marketer o Create the brand. Enter the third M the Marketer. o Establish price lists. That's the M that talks to the accountant. These would-be entrepreneurs promise themselves that they won't repeat the mistakes made by their former bosses. and creates a price list. • Pack and ship orders. I 'veheard It too many times: "How does that so-and-so jeweler make money hand over fist with a product that's dearly inferior to mine?" The answer is fairly simple. Marketer After sorting out the Maker and Manager conundrum. How to Write One" (November 2009). Manager. Manager What the Maker needs is a Manager. • Pay the bills. buys insurance. A Maker who wants her business to remain a one-person operation must learn to wear the Manager hat. managing. does the banking. Or find an effective administrator who will wear that hat for her. They want artistic freedom and the opportunity to make beautiful things for people to wear and enjoy. among other tasks. writes the business plan. • Maintain social networking sites. the new business owner is still on shaky ground.

when you're creating a product line to fulfill an order or when you're researching the market and writing a business plan. What he does have is a well-thought-out business plan.to identify and reach the target customer and knows where she shops. The Marketer keeps tabs on trends and knows how to get attention and create buzz.AnJewelryMag. That's how he'll survive uncertain economic times. he has no illusions that he's the Leonardo da Vinci of the jewelry world. m fosuccess a for There isn't an exact ratio for how much time you should budget for each M. Whether he is wearing all three hats himself or enlisting help. She can marketing.com. be reached at marlene richey@gmail. And how you can too. Truth is. there will be times in the year when you'll need to tweak that formula. and customers eager to buy his jewelry at a price point that earns him a profit He also has commitment and discipline. That said. Manager. Marlene Richey has run a wholesale business and a retail gal/ery. he's established a balanced Maker. and Marketer work model. For example. www.L':om 27 . knowledge about his target market. !l!l If you work a 40-hour week. that amounts to 20 hours making and '0 hours each of managing and 8-hour work day Maker: 4 hours Manager: 2 hours Marketer: 2 hours Success Let's revisit that enviable jeweler who's enjoying brisk sales. Of course. In her more than 30 years in the jewelry business. here's a guideline for establishing a balanced schedule.

25 mm round wire are 8 gauge. and scribe a center mark at 25 mm. It's possible to achieve a smooth. gradually changing the shape and thickness of the metal. A wooden block with a thin steel face is too . both 3 x 3 mm square wire and 3. (13-19 rnm) thick is best.Iightweight and not stable enough for proper forging. even surface with a hammer alone. and form metal directly. (10. it's best to know the realslze and dimensions of bur rnaterlals. there's one such handy conversion chart at www.0~O . you'll apply the hammer more lightly a nd precisely to create a finely finished surface.y • lrft and drop the tool rather than In jewelry making. tapered head. Don't swing your arm in an arc.4 mm). but in many cases the final course of tool marks leo:lvesa pleasing texture on the metal. use a 50 mm piece of 3 mm copper or fine-silver wire (either round or square). forging rearranges adding or removing materiel. you can look it up an a chart. For jewelry·scale forging. you will realize an immedia~ benefit. but the sizes are not identical.!) mm versus gauge a hockey Slick. and your arm wiU tire more rapidly. a dimensional change in the shape ofthe wire. Forging tools We use a hammer along with another steel surface. as well as shaping. a goldsmith's hammer NOTE. If you learn to work in rnllllrnetersand use measurements. Lightly pinch the handle between your thumb and index finger. you'll use the hammer to move the metal and rough in the shape. the effect of each blow is slightly diminished and the surface becomes further refined. Grabbing the handle in a tightly clenched fist reduces your control over the tool. while a gauge is an arbitrary number.• metalsmithing 101 I STUDIO ESSENTIALS Metal Forming 101: Forging by Michael David Sturnn swinging it.2 em) bench block is adequate. For coarse work. "Hammers 101: Highly Evolved Tools" (January 2010).com/r. I tn ink of these exercises as sketches in metal. The first four exercises are transitions. but the results would definitely be less goldsmith's hammer's Sl. alter.the hammer blows work-harden the metal. work from the end of the wire toward the center. Hand forging relies on hand-eye coordination. and practice will help develop your aim and precision. which you can use to thin or thicken the meta I and Jewelry-scale forging' is all about to spread or compact the metal. A solid block that's long. finesse. Although "forging" evokes images of forceful blows.l:fyou need to know what ga. We can think of as metal's ability to spread under the force of a hammer. a hammer blow to compress metal in 11 precise. One analogy I like to use with my students is that we CQuid slke bread with a hatchet or play golfwith than desirablelThe 28 Art J~w('tr. When you're forging. not force. For refined work. You'll need to shape and modify the face of a goldsmith'5 hammer before you use it for the first time. For each exercise. stake.!p'tf!lmb~r 2. and use your remaining fingers to gently stabilize the tool.etalsmithing 101 and a stable steel surface. One of the beautiful effects of forging is the Iilsting evidence of the maker'S hand. A few simple exercises will help develop your skill with the hammer. controlled manner. V2-% in. to shape metal. achieving the most concentrated As. the goldsmith's hammer is used for finishing .test advantages is that it's malleable.uge your metal is. see the M.g. For 'example. block. Professional goldsmiths measure in mllllmeters (easy conversion: 1 inch = 25. you'ill need or bench block. Keep your forearm and wrist straight. We want to use just enough force to accomplish the task without di5torting or deforming the material. lift your arm hom the shoulder or elbow so that the hammer face stays parallel with the work surface. or mandrel. (In fact.2 x 10. the goldsmith's hammer will produce superior results. 0 and n e of metal's grea. I like to describe forging as transformative sculpture shape without unlike additive or subtractive sculpture. Although It's possible to forge a pleceof metal with almost any shape of hammer. extend you r thumb toward the head of the hammer. focuses the force of impact. For tips on modification. Your hammer blows should be uniform in force and overlap .slightly.artjewelryma. the hammer blow on a small target area. a 4 )(4·ln.eference. In these first two exercises. the aim is to use Practice exercises Using the 'hammer Hold the hammer loosely and comfortably in your hand. with its round face and wedge-shaped peen. is through forging. stretch. such as an anvil. malleability so the best way to understand malleability Forging means using a hammer With controlled force to shape. such as an anvil artkle. because a mllllmetar is an actual measurement. You don't need a large stationary anvil.

He can be contacted via e-mail at michael sturlinstudio@cox.A. It's all about sensitivity and perception. Lightly strike the of one end of the 3&4 that transltion wearer-friendly "" Round to flatJsq uare to Repeat the first t~o exernses to create two pieces ends of the wire should from rou nd or squa re to 1 flat. The forged end of the wire should be square.rtJewelryM!1g.pers 20 mm from each end of a 50 mm square wire. the ends willl1ave opposed orientations. Michael David Sturlin As you practice these exercises. Turn the wlre over 180·. then forge the other end of the wire into a rectangle. You can forge the metal thinner than this to get an idea of how much it will spread. Forge one end into a rectangle. Both ends of this model will be 1 x 5 mm rect- 2 Square to round angles. Rotate the wire 90· and lightly strike that corner. it would be square). The vertical face at one end becomes the horizontal face· at the other object end. Forging these simple shapes is the best way to learn to control the hammer and to develop your skills. rather than becoming rhombic. and educator. then rotating 90·. if you cut the wire in half and looked at the end. but keep in mind that shapes thinner than 1 mm can have sharp edges that are not always in actual jewelry. lightly the corner into a facet. Turn the wlre so that the rectangle Is oriented vertically. creating another facet. www. well-paired so they them it is far easier to make 5 parall. The end result should be a symmetrical parallel taper. Becoming aware of the subtlety and finesse of the effect of the tool will enable greater artistic expression and increased fluency with the material. As the model is turned. Forge both ends ofthe shapes by developing together than it is to forge each one from start to finish. jewelry artist. Rotate the Wire 90". USE' 15 an award·winning as goldsmith. is as much a tactHe process as It is a visual one.ner. so the first two faces are vertical. Now the wire has eight sides rather than four. As each section becomes the desired shape. creating a flat face with a few gentle blows of the hammer. further defining the opposing facet. Lightly strike the corner. upward. but one will be horizontal and one will be vertical. This shape is a transition and also a gradient. the wire should be approaching round. Work on each set of opposing sides of the wire in sequence by turning the wire 180·. Working from the end of the Wire toward the center. The wire now has flat facets where the frrst two corners were. turn the wire until another corner points upward. continuing toward the center. you'll notice that you can feel through the tool how the metal is being affected.Work on the transition in sections of 8 mm to 10 mm. move on to the next section. and repeat the blows on the parallel horizontal fOU opposing face. each time working on the opposing facet unti I there are 16 facets rather than eight sides. Orient the wire so wire into a flat taper (1 x 5 mm rectangles) so the ends are parallel. As with the previous model. Turn the wire 180' to define the opposing face. making the shape into a series of increasingly smaller facets until no definable faces or corners remain. Rotate the wire to the next corner and continue. By this point. Scribe a center 6 0PPOSing tapers mark 25 mm from the end of a 50 mm length of square wire. wedge-shaped The center should still be a 3 mm square in the middle of an even gradient from horizontal to vertical.el ta. like many other metal-forming techniques. creating 11 facet Turn the wire 1BO' and repeat. Any way you turn this model it should appear as a long. continue to define and draw the four faces inward toward the scribe mark. This helps keep the wire square in cross section (that is. it's best to work on the opposing ends of the wire alternately to develop the shapes together. The flattened Round to square become a 1 x 5 rnm rectangle. Turn the strike the first few millimeters flattening wire 180· and repeat.com number of 29 . ~ that one corner contacts the block and the opposing corner points of the wire. Use a scribe to mark first few millimeters wire. Turn 180· and define the opposing facet. Rotate the Wire as you strike the facets. It's also a good method to begin building a basic design vocabulary of simple shapes that you can the basis for an unlimited jewelry objects. Forge the top of the wire to create a perpendicular face. Work on the ends sequentially and incrementally take shape together. To continue the transition to round. like a diamond shape. Forging. defining faces on both sides of the nd wire.


Sculpt Swirls of Wire into a Pair of Post Earrings
Use expert

planning skillsto construct these mirrored wire-wrapped earrings with integrated posts.
by Erin Paton
he hardest part of wirework tight wraps; it's consistently isn't forming matching even loops, flowing spirals, or

Make a post component.

your first set of bends and angles to as in this mirrored pair of earrings.

make an identical second component,

But with careful measuring, precise bending, and the help of a handy template, matched set.

you can meet the challenge and make a perfectly

Part 1: Earring posts
Using flush cutters, cut a 67 mm (2%-in.) piece of 20-gauge (0.8 mm) sterling silver wire. Using a permanent marker, mark the wire 12 mm (1I11n.)from one end of the wire. Using chainnose pliers, grip the wire at the marked point, and make a 90' bend. Using just the tips of round nose pliers, grip the longer wire tail at the 90' bend. The jaws of the pliers should be parallel to the shorter wire tail (1]. Use your fingers to bend the longer wire around one tip of the round nose pliers, forming a tight loop [21. The shorter wi re tal I is now the post.

Form a spiral around roundnose

the post.


pliers, continue to grip the wire

next to the 90' bend and the post, and wrap the longer wire around the center loop, making a spiral revolutions

e that

has three

total from the post.

NOTE: If you need to get a better grip as you work, switch to flatnose pliers and grip across the fiat portion of the spiral. Using pliers and your fingers, open the spiral wires to make a small gap between the outer two revolutions of the spiral; you'll need this space to attach beads. later. Using round nose pliers, grip the end of the working wire. Rotate the pliers to form a plain loop opposite the rotation of the spiral.
www.ArtJewelryM;olI9.c.om 33

Part 2: Dangles
Form the bottom point. Cut a 12 cm (4%-ln.) piece of 20-gauge (0.8 mm) sterling silver wire. Measure and mark the wire 50 mm (2 in.) from one end. Using flatnose pliers, make a 90' bend at the marked point. Using

flatnose pliers, squeeze the wires
together I call this until. the bend's very tight [1].

a "fold-over

bend." shape. Using your

Hammer and finish the spiral. If
necessary, use nylon-jaw pliers to adjust the spl ral so that it's flat and the wires are evenly spaced. Avoiding the earring post, place the edge of the spiral along a bench block or anvil, and lightly hammer the outside of the spiral and the plain loop, rotating the component as you work. This will flatten the spiral Slightly and harden the wire. You don't need to flatten the inside of the spiral 13].

Add the first embellishment (0.32 mm) wrapping wrapping


Create the frame's

Cut a 16 cm (6I/.o-ln.)piece of 28-gauge wire. Starting next to the plain loop, wrap the end of the wire around the spiral base wire twice. Use chainnose pliers to tighten the wraps and squeeze them together if necessary. Slide a 2 mm bead onto the wrapping wire. Holding the bead snug against the spiral base wire, secure the bead by wrapping twice more around the base 1]. embellishment wire [Figure

fingers, slightly separate the wire ends. Srace your thumb against the longer wire tail, and push the wire against your thumb [2] to create a gentle curve. Brace the shorter wire tail against your thumb, and in the same manner, create 11 gentle curve with the shorter wire tail. The curve should mimic the longer wire ta il's curve [3]. Using flatnose pliers, grip the outside of the fold-over gently, following bend, and bend it of the the direction

curves you just made; this will enhance

Add the remaining

the curved shape. Create the frame's spirals. Using

Videos &: Basics
Check out these bonus tutorials for fundamental in this project; • Making a wire spiral ~ • Opening and closing ajump ringfiJ techniques used


Continue to add beads, wrapping each bead, until you've round nose pliers, grip the end of the longer wire tail. Rotate the pliers to make an open spiral with two rotations 1421]. Repeat to make a matching open spiral on the end of the shorter wire tail (4bJ. Both spirals should rotate in the same direction. Repeat the Connect the frame's spirals. Using your fingers, push the longer wire over in a curve until its spiral fits within the shorter tail's spiral [Sa and b).

twice between the spiral base.

added 10 beads around the perimeter of POSitioning both wire tails at the back of the post, trim the tails with flush cutters. Using bentnose or chainnose pliers, flatten the tails to hide them. Make a matching post.


• Patinating with liver of sulfur [J EI

B Videos,

a Basics, page 73
www.artjewelrymag. com/videos

previous steps to create a second post that's a mirror image of the first. If your first post has a clockwise spiral, the second should have a counterclockwise spiral [4).


Art ..Jewof!lry _ September


You want to slightly flatten and harden the wire. It's important at this point to a small gap between these two wires so that you can attach the spirals to the frame later.r. Remove your pliers from this second loop. and lightly hammer it with the flat face of a chasing hammer. with the ends in the middle.. Create the second spiral. Using Figure 2 as Make the first spiral. Place the frame on an anvil or bench block.) piece of 22-gauge (0.7(m-.ArUew@lryMag. st loop tst splral previous steps to create a second frame that's a mirror image of the first [6]...c:om 35 . adjust the wire tails and the frame until the two spirals are evenly entertwined. creating leave a template. Cut a 22 em pliers. Repeat the a spiral that now has two full rotations [8]. make a spiral as before. and using your fingers.) from the end of the first plain loop. Mark the wire 3 mm (1/8 in. Be patient will take some fiddling! Hammer the frame. Make a matching frame. spiral. Using the tips of your roundnose pliers. or you could distort the shape of the frame. continue to wrap the tail once more around the loop. ". grip the wire at the mark and rna ke one fu II rotation opposite the first plain loop [7].6 mm) wire. rotating opposite the previous spiral. (8%-in.. Making sure that the bridge is on the back of the spiral center. NOTE: Periodically test-fit the spiral center within the frame to make sure that it fills the center ofthe frame without past the edges. this will provide enough length for a bridge between the spirals...Using pliers andror your fingers.._2nd spiral 1II/IIi~)mi-cff- 3rd spiral 3 mm ('h in. Mark the wire extending -1.. This spiral should have three full FigurE!2 www. meeting The spirals this should fit inside each other.. don't hammer too much. Using the tips of your roundnose make a plain loop at one end of the wire.) from the edge of the first Spiral centers Make the first plain loop. use pliers andlor your fingers to adjust the frame until you are satisfied with its shape..

and use flush cutters to cut the wire at this mark. even. Flatten the !ipiral centers. Trim the tails.. the first loop of the spiral center.) from the edge of the fourth spiral. so that you have two wraps connecting the first loop to the frame spiral. (ut 3 mm (1Isin. Repeat.) from the edge of the third spiral. et the back of the wire through frame. This spiral should have three full rotations with a small gap between the outer rotation wire and the one next to it [10].. September 201 0 .Part 3: Assembly Join the spiral ends of a dangle frame. ping wire positioned Pull the wrapping the previous steps to create a matching spiral center to fit within the other dangle frame. at the back of the frame.) piece of wire..) tail and holding the spiral center in place as you work. Make another spiral as before. you want to flatten them slightly so that they're Add the first decorative (0. Form the third spiral. Make the fourth spiral. angle the wire up so that you can wrap twice to connect the outer spire I wire to the frame wire [lbJ. rotating opposite the fourth spiral. This spiral should have three full rotations with a small gap between the outer rotation wire and the one next to it [11]. but you don't want a 30 cm (12-in. and use your chainnose pliers to flatten and tuck in the wire ends [2]. Cut a 10 ern (4-in. Grip the end of the wire with 36 Art Jewl2llq . Adj ust the spirals and bridges as necessary until the spirals fit well within their frames.32 mm) wrapping bead. wrap twice around the frame and the outer wire of the first spiral of the spiral center. 5 mm (lA6 in.32 mm) wrapping frame's intertwined Beginning at the interior side of the spirals and leaving a short tail. Place both spiral center mirrors the first. Mark the wire spiral centers within their frames. wire positioned With the wrapping rotations with a small gap between the outer rotation wire and the one next to it so you can attach the spirals to the frame later [9]. Leaving a SOmm (2-in.) from the edge of the second spiral. Mark the wire round nose pliers and. tightly wrap the wrapping wire twice around the two spiral frame wires [la].. rotating opposite the previous spiral and keeping the bridge to the back. back around the two wires of the frame spiral. Start with a plain counterclockwise loop so that the matching the back [13). rotating opposite the previous spiral and keeping the bridge to the back. 28-gauge (0. Repeat Connect the first loop of the spiral With the wrapcenter to the frame. forming a tight connection. Place the spiral centers on a bench block or anvil and gently hammer them with a rubber mallet . Make a spiral as before. Slide one 2 mm bead onto the to create weak spots where wires overlap. lay the spiral center in the frame.Don't hammer too much. Finish the last plain loop.) piece of 2a-gauge wire. Use chainnose pliers to tighten the wraps and squeeze them together if necessary. with all of its bridges on 5 mm (3/16 ln. and up through the loop again. form a plain loop [12]. Mark the wire Make a matching spiral center.

37. Add another bead. components the plain loop of a post and close the jump ring. Add a butterfly instruc- Repeat to connect the matching earring of2S-gauge On the inside of the frame. POSitioning the wrapping wire tail at Make a matching the back of the frame.) tail that you left at the top of the frame. 37 . secure the bead by frame wire 13). connecting them (4b]. wrap twice to secure that bead to the frame. Make sure that the second dangle mirrors the first Connect the post to the dangle.com some of cutters. Thread the jump ring throuqh component. Do against the frame. wrapping twice after it.: Since the spiral center is such an organic motif your connection points may differ from mine.6 mm). Using bentnose or chainnose NOTE. Holding the bead snug twice more around just the to the frame [5]. If desired. round • 20-gauge (O. the fourth spiral to the wire.. connecting frame [4al.. until you reach the tip of the frame. the spirals Continue down the length of the frame. trim the tail with flush cutters. 126 cm (4112 ft. Working away from the attached beads.) • 2S-gauge (0. 4-5 mm outside diameter: 2 . flatten the tail to hide it. 17]. and use bentnose or chain nose the patina from the raised portions of the pliers to flatten the tail to hide it [6b]. Slide a third bead onto the wrapping wire.materials • Sterling silver wire: dead soft. Slide a bead onto the 50 mm (2·in.4 em (14% in. Add another three beads. wrap twice around the frame and the outer wire of the fourth spiral.32 rnrn). -=• Wirework • Finishing wrapping wrapping wire.r-yMag.Smrn) jump rings. opposite the beads. page 79 See Safety Basics. toolboxes.32 mm} wrapping Finish the earrings. page 76 dangle..Smm). wrapping twice between each bead. Add Add two more beads at the top. Repeat the not yet previous steps to add beads and attach the second spiral center to the matching frame.. the manufacturer's and following sulfur tions. pliers. then trim and flatten the taiI16a). POSitioning the wrapping wire at the back of the frame. ~ www .) • 22-gauge (O. patinate the earrings with liver of mEl Lightly polish the earrings with a polishing cloth to remove design.. Continue to add decorative beads.. Use your best judgement in selecting points at which to attach the spiral center to the frame. and wrap twice around both the frame and the outer wire of the second spiral. adding beads and connecting the spiral center to the Cut a 70 mm (2114-in.ArtJewel. approximately 52 • Butterfly earring clutches: 2 • 20-gauge (O. a jump ring Open trim the 50 mm (2·in.) • 2 mm round seamless spacer beads. You may need to use more or fewer beads than I used..) tail at the top of the frame. a second bead along the frame. 44 em (17'1> in.)piece {O. and wrap twice around both the frame and the outer wire of the third spiral. trim the tail with flush cI utch to the back of each post. Repeat to add another bead. rn EJ and thread it through the first single loop within the frame at the top of a dangle. Attach frame. page 76 Find out where to buy supplies.

is reflected in her work. 2l/. it's perfect now: but in a ye.l j . I was making jewelry pieces in high school out of day and turtle shells and stickers and rima. 'Oh.% in. Each 16 in. And in graduate school. If you look at the back of the piece.snow when it gets plowed up from the journeys in different ways.1H1 Green' Form ne(kpie(e. gDldleaf. That was important 'What to me. and rummage sales. They don't aesthetically look the same.it. sharpedged or hazy and romantic. And all these objects around our house and handmade things by them-and by their friends it gave me a direction. Copper. 3% in.(opper.. The way How did you know you wan fed to be an artist? Both my parentsare artists. How did you stan using pojnr? I'm from the Midwest and I've always loved the change of seasons. well as the front. that happened my first semester in jewelry. auylic.lot more abstract. the technical aspect . not paint. [q Shadows brQoch.. (70 mm) wide.gh. (opper. but I just loved them as objects. Marks-5wanson's energy matches her creativity. -HLW weer! My I've 'Why have always been such an influence on my work. (40.f. acryli. iluyli(. (3M an) wide. (89 mm) nigh. you can still look at the work and go. I think the work has become a. My parents were always very good about sharing it . have it flake off and not be permanent. I can see similarities. I was nervous to take that leap. s patina.. I got . 05 opposed to up in your work? It was a little more narrative in the beginning. [G] Wlntet Aerio.just knew. really. and my parents collected things. five years. and Farmland. Your work now is beautifufly abstroct. 2'A·in. Finally. It goes back to making things right.4 (70 mm) high. patina. it makes the piece even better. From 10.6 em) square. (opper. Photo by David Hugus. acr-yUc. so 1come by it pretty honestly. I thi nk the analytica I part of me really flourished when I got into the jewelry studio for the first time. but they're made Just as well. [DJ brooch. (70 mm) high. I wanted to color metal but not use traditional metal patinas. After that. I knew I wanted to be an artist. Not I did a lot of research and I found a primer that allows the paint to adhere to the metaL I didn't want to just throw something down on the 'surface and say.ar. you had to make things fit and they had to be tight. then the work became own. it's constructed justa. (opper. (opper. and I could make a mess and It was never a big deal! We went to antique stores. 'Oh. The work I was making in undergrad work I'm making now! Which is good.. sterling silver. in. Photo by Brittani Cote. and the weather and the elements.c. [8)60Id Rectangle neckpiece .a. I kept thinking. My parents collect antique toys that are painted meta! always loved them. There was this preclsion. What about jewelry specifically? the buds form on the trees surroundings they're that aeidy green and the black and white. (8) mm) hi. For Brooke Marks-Swanson. 20 years. IF] Red OVQI neckplece. So the pieces now.saycomes out. There were these set stones and they were very geometric. why not paint?' I started off making these pieces that had watercolor spots in certain areas. When looking at these things and wanting to play with them.sull'oundings show were wear are some examples I took the first jewelry class. And I remember vividly them. more a..rionAbsolutely .de classical (ofl5tr".h Stripes. and I found it both a challenge and a delight to keep up with her. terling silver. in plots of land. (70 mm) diameter. and kind of constructed necessarily they were just beautiful. figuring out patterns and making models. acrylic. steel wire. whether stark or lush. they fit together beautifully. I was able to use my hands and make things.I think first you learn how to make things correctly and make things fit. 21. gDld. I've always had a good sense of craftsmanship.leaf. 12 in. But my first tlme cutting metal. I think you need to know how to make a piece very well and then if what you're trying to .arks-Swanson Artists record their personal there's still a common thread.there defil1itely horizon lines and landscapes. whe'n I learned a vocabulary and a narrative in which I wanted to work. Vivid colors and lines change to evoke her surroundings.. 2.1Yi in. At the time the box seemed huge to me. there were two or three pieces that I thought. Photo by Brittanl Cole. where it kind of looked like patina you might have thought it was sornerhmq else.INTERV1EW ARTIST PROFILE A conversation with Brooke M. But 38 Art Jewelry September 2010 my looks nothing like the (Pilotos by Brooke Marks-Swanson unless otherwise notec. I've always been interested in aerial images. I remember getting into her closet and pulling this box down and looking at all these fabricated silver pieces.' What doyoll see OJ that common thread? I think the technical aspect. 'Why not paint on the surfacer My mother had a box of jewelry.. acrylic. 12 years old. her changing landscape. acrylic. gold le. that's a good thing. (opper.1 Plots wall pie (e. acrylic. Photo by Brlttanl Cole. and I'vealways been [AITeapotwit. The COIOfS especially. I. [E]/ntersertiof! brooch. (opper. gold leaf. ofhowyour. in.

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so the painting is the lest process that happens. if you look at them in person. it's narrowing the Focus to where I am rig ht now. do you start with the imagery? I start with the metal and then build up. I use thin layers washes. or farm fields. 'Oh. It is! Literally. For me. There's something I wouldn't have done before he arrived! turnitu re. 2%in.lr's full of mid-century succulents. When I look at the surfaces of my garden. Photo by Brlttart] Cole IJ1 Willt.sterling silver. I also had a child two years ago. it's always something I'm collectinq or observing. Photo by Wilbur Montgomery. Sometimes I've lei [my son] take a pencil on the wet paint and see what happens.af. (opper. and I've always been interested in mapping.. IKIOrientation brooch. and then that evolved intojewelry. is about this depth of imagery and texture and kind of life.on the surface of the metal. spending more time gardening. tt's about the metal.interested in where we choose to live and why suburban versus rural- city versus It's sort of a narrowing ofsc·ale of the landscape you occupy. auylic. composting.retail shows. I think that's the common thread. and we've redone it ourselves. I consider myself a metalsmith. I was making wall pieces and objects for quite some time.. The things. there's scratching and abrading. (70 mm) high.know what prompted that evoluttont a metal. and driving to shows throughout the country all year long.15 feeding yaur:s. How many layers do you use in a piece? When you make a piece. and that. so I was in my car and listen. People considered me painter. (64 mm) high. So I was able to se!. I think of It like riding a bike versus running. and these 'lines of furniture show up.. 3 in. wow. For me.'these vistas. (76 mm) high. I was Interested in the landscape and the horizon line.Iayers and surfaces to the metal. these circular patterns have just developed! a mid-century modern home about four years modern We purchased You mentioned rhar your son's own artwork . !JI [IJ RurtCirdlloe(kpiece. It's a completely different thing. Do you. and you could see through the . When I see childreo's drawings of people and animals. was driving the wall pieces. acrylic. paint on metal. the proportions to his drawings have something that 15 so innocent. Ithink lots of artists enjoy their children's drawinqs. becoming more evolved. and paint seemed like a really good option. whatever it may be here at home now. or a row of bushes. Photo by Wilbur Montgomery. but for me they were about the rnerah they were about the scratching and scraping. or weeds growing through the pachysandra. patina. gold le. Do you ever paint on canvas? No. canvas is bumpy. I look forward In my work. I started growing and you can look back and see these leaf forms and these angled shapes . So the work. You:know that they're metal as soon as you look at them..obes. It's stl II what the work is about. brooch. almost and then I sand through the layers. 50 I might be driving down the road and see mudflaps on the back of a. I love the way the paint sits.I 'COllectantique gl. Probably 10-20 layers. it doesn't have this sexy feel that you get when you For a long time. Ijust Wi:! I keep my digita I camera with me all the time.ing to music or Books on Tape for hours on end. and you can see the copper in very fine lines and details on the piece. recycling. And his drawings. so that's been the dialog for the jewelry.truck with this swished pan ern. I have been doing fewer retail shows. that what's the work was about then. but it's not 50 direct as it was. It was way more beautiful in my head!' And it gives me a starting point. there's <'I' ago. or I'm in my garden and see something growing. and I think. and his Cheertos sitting on his high chair it's amazing. I never work directly from images.2'h in. Then I go back in and gold leaf certain areas. I notice are different. ((Ipper. but I go back and I 'look at the images. I was doing . right now they are just shapes. but you have to love the metal. j . lot of layers of paint on eech piece. nted to color the I start by cutting out the meta I and fabricating the pieces. (opper. A lot of the pieces. Not more than the paint. acrylic. It's that layer and depth and texture.

-Thomas Merton .Art enables us to find ourselves and lose ourselves at the same time.

" she says.w tAl Melissa J.7 em) piece.G. IE].mbo. silver. _j to be small and shiny to be beautiful.Z ArlJewolry • Sopl. (76)( 12. [B] To fabricate her bracelet. roof flashi nq. She fabricated her 3 x 51h-in. "It can be larger and look more aged and still have x 90 mm (31h x 31h-in.." The lA-gauge (10 x 71/1 X 5 in. Kim copper. O'Neill combined 0. and rhodolite.). peridot.) "With their toasted tips I was amused by the Sanine brooch. Wauzynski used egg tempera on gesso and sterling silver to make her 90 vintage meets modem.6 mm) brass-wire piece is 25. and pierclngs- a wise and e.d"ki.beck." Ph oto b. Ie.w. Graff made Statement Piece to say that jewelry doesn't have combining old with new sort of [D] Sarah J. I also love the effects of acid etching and the endless possibilities of that technique. sterling silver. and transpa rendes. brass. idea of utilizing the simplicity of the image for a brooch." Debra Adelson says of her Open Flora Cuffs. "I want it to be its own material. 2010 . sol don't set it in traditional settings: These pieces are made of acrylic. Perez of Cavana Design says her Serpentine Cuff is all about how line accentuates the body.legant quality to it.7 cm P~oto b~ Mic~ •• 1Z.DaniE!!l fox/lumina Studio.) "I choose not to treat the acryl k like a gem.. "I like to put a spin on my jewelry by 4. PM!" by Poter Groe. Inspired by Art Nouveau style. Valerie J.4 )( 19 x 12.

x 3 x (51 x 76 x 6. fine and sterling silver. (45. Ph-oto by laity Sanders. punctuate POOl. see Contacts.ArtJeweh:yMag. page 79. '1. www.5 mm). which resembles small stones. by Laf. in.·(om 41 .7 em) piece honors the succulentlithops plant. 2. 22k. and 24k gold. The lB-in. To contact the featured artists.'y Sandor •. and rubies.[FJ Michael Romanik made Eastern Bluebird Brooch of cloisonne enamel. [01 Emerald and tsavortre garnet silver and 22k gold in Janice Ho's fabricated Lithops Necklace. 18k.

she was excited to see where else she could take these materials.. Photo by Abby Joh. is hand fabricated of sterling Caterpillar in Battle Gear brooch from 44 Art Jewelry ." Bergman's previously nature-inspired "Theold in the city gave me new ideas and led to a whole new body of work: (2'/1 in. After finishing the piece." says Gustav Reyes. (83 rnm).0in. a..[HI Maggie Bergman combined silver and steel reclaimed from a. 3'/. "The use of forging is a direct connection to the metalworking techniques of our ancestors. Cellne Charuau used rnicromosaic techniques to make her by John arid Corliss Rose of 2Roses. Gold-plated brass screws add detail. buildings established a newstudio work transformed. and m Ragnvald.). Friedman's Gerbera Daisy Brooch was her first major piece to combine wool felt and sterling silver. WI "The materials used' in my hand- x ]3/4 in. domed titanium with keum-boo on metal clay to make her Moreland Rosette brooch. yellow. very [K] Michele A. 2'/4 (70 x sandblasted. 44 mm)_ Photo by 'Hap Sak . old broken sword. After she in the city. crafted jewelry are all reclaimed from a former existence and bring to the work a history of use and of llfe. The piece ls one in a series that acknowl. September 2010 .edges their Viking heritage. His Trefoil Knot bracelet is made from walnut.ton.. 65 mm [L]lnspired by a real red. blue caterpillar.

]. "This clash is represented by the intertwining elements.\6 In. She was inspired by opposing opinions. M To comact the featured artists.O. Waukesha. black diopside.polymer and sterling silver. Box 1672.artjewelrymag." !!I aIthough facing in different end up as a harmonious send us your gallery submissions For our guidelines. [M] Sterling silver holds black spinel briolettes and carnelian.ArtJew@kyMag_(om 115 . WI 53187·1612. P. or write to Editor. directions. see Contact:. and peridot cabochons in Luella Nassau's lS-in. (45] em) Viewpoints necklace. Art Jewelry. sunstone. whole.. go to www. 50 x 70 x 15 mm (2 x 2l!' x 9. page 79. com/submit. smoky quartz. which. www.

but our bodies pay for it. of the body. drink. by Jean Wilson • • • • • • the lonq-terrn effects it may have on our physical well-being. . forceful exertion. or even blink? Sometimes. Our minds may enjoy this prolonged. we'll show you the healthiest way to work. neck and shoulders. Working in a poorly designed environment can H OW many of us get so involved in the creative process that we forget to stand. stretch. including muscle strain. To achieve a necessary balance between working hard and working smart. and even spinal disc injury. arthritis. work is so enjoyable that we don't recognize cause assorted musculoskeletal disorders to creep up on us. you need to think about ergonomics. repetitive motion. especially to the middle and lower back. Even in a well-designed Norma Ijewel rymaking precsdures (an cause strain. and lack of rest breaks all can cause such medical problems. carpal tunnel syndrome. intensive effort. eat. tendonitis. awkward positioning workplace.Whether you create at a jeweler's bench or a kitchen table. and hands.

and the ~houlde. Many jewelry makers hover over their work. you can buy armrests that slide onto the work surface or have someone handy jury-rig them for you. with your chin jutting outward and not tucked into your neck.1~1\it" r~~ ~~ p{ ~~ ! /. Listen to your body. •• remember. careful with castors. to your back. bending or hunching forward for long periods of time. If it doesn't roll off. If your chair doesn't have armrests. the back. which only compounds of discomfort. you will expend constant effort to keep your chair from rolling. just above the knees. Many experts say that the heig ht of the chair seat should allow one's thighs to be parallel to the floor when both feet are flat on the floor. and the exercises presented here will help you achieve and preserve hand mobility.REFERENCE ALL LEVELS Ergonomics is the study of making a person's work space fit his or her body so that repetitive work may be done with comfort and efficiency. use a cushion designed for lower back support or a I HEALTH Working posture Poor posture is one of the most common causes of neck pain and headache. if a particular stretch causes pain. To check the angle of your thighs. artjewelrymag. hold for 10-15 seconds. Adjust the height of your work surface to suit your (hair. www. healthier space.' ~\-J /1( online extras To see a demonstration of these stretches. FOI- • •• • • • • •• • • • stretch it out ~'~~J 1_~ln \. your thighs are parallel to the floor. a nd I um bar support. hold your head as vertically as possible. the cycle • •• • •• •• • Chair suitability The proper chair is key to a user-friendly workstation. never lower your chair to suit your work surface. and then relax and repeat.ArtJewelryMag. Your chair should be adjustable. Others say that the knees should be slightly elevated. go to www. AVOid jerky movements and bouncing. but it will cause constant tension in your spine. these experts recommend using a small footrest to help attain this position. whether you're going in or coming out ofthe stretch. While working. If the chair is on a hard surface and moves easily. The muscles in the back of your neck can shorten and lose their ability to relax. proper head posfure. Stretch to the point of resistance. Better chairs adjust by seat height. but you're also causing lonq-terrn muscle strain. Your wrists and hands should be warm before you begin work. This is called the "neutral position" and is aIso the ideal posture for driving a ca r. A properly planned and outfitted work space means a safer. place a pencil across them. helping the lower spine stay flat. Armrests help prevent middle back strain. The chair should provide support to your lower and middle spine. don't do it! \.com 47 . Proceed slowly and deliberately.~ Jewelry making requires nimble hands.. A swivel seat is convenient.r~[ow. Spend the time necessary to find the right chair. Try both positions to see which is most comfortable for your body while performbut be ing various studio tasks. If your chair does not mnform rolled towel. You may not even notice it. There is some debate over seat height. backrest height. Before determining your bench or table height.tbese three tip~: Keep the chin level. you may be rna king great pieces of jewelry. If you're doing this.of the neck long. backrest tilt. choose a chair that allows you to sit in the neutral position comfortably.com/videos.

Athletes also alternate types of training. September. If you'd like to speak to or look at someone. For instance. odds are that your surface Is too low. don't assume stronger is better. a right-handed erwould wi reworkprobably place a steel bench used tools of every variety closest to you and on the where you'd Hand ergonomics Repetitive Strain Injury (RSI) is a generalized term that describes damage to tendons. and other soft body tissues caused by performing same motion over and over. Consider having more than one workstation or having a workstation that is easily adjustable. place the most frequently side of the workbench logically pick them up. To adapt your bench to your properly adjusted chair.Zm 0 muscle and bone groups moving. There are several ways. You can easily move these tools away after using them. adjustable In the up-and-down plate. A bench is a personal choice. The ones that medical professionals use • • • • • • • Categorize your tools by frequency of use. TO help prevent wrist and hand injuries_ For one example. Standing puts only about half the pressure per square inch on spinal discs as sitting does. Carpal tunnel syndrome is a common RSI in those who work with their hands. but be aware that most of them average about 39 in. avoid Iffting your chin and hyperextending your neck to look under the lens at the speaker. your head bend~ downward. nerves. Use a lens magnification that is suitable for your needs. such as a table edge. This "pinched nerve" pain can also occur if wrists or hands are rested on sharply defined areas. cut the appropriate length off each bench leg." page 47). A basketball player that passes up the warm-upjog full-court will shock his or her muscles when the sprint begins. creating undue stress on your neck.sr •• a few steps •• to retrieve them. or if elbows are rested on a hard surface . If you t11in k you'll need help remem bsring to take work breaks. but inexpensive ones are available as dip-ons that hang below regular prescription used like bifoca glasses and are 15. Ar't Jewelry.st become swollen and press on the nerve that also goes through that area. in preventing strain stores. preferably in a location that doesn't require you to twist and extend in awkward directions. muscles. If the visor is try using It in the lowest possible position. If rreatinq posltlon. Plan to do some work while standing. Muscles and tendons that pass through the carpal tunnel in the wri. and it gives your eyes a much needed rest. (1 m) in height and are not adjustable. rather than by tool type. as if you're looking through a bifocal lens. Warm up your wrists and hands in preparation for studio work by practicing light stretching and strength exercises (see the block on the left and a hammer used for hardening on the right.. place tools that you use less frequentlylh pcsltions that require you to stand and take • • • •• •• •• • • • •• • . If the work surface is too high. being careful to be exact. move the Visor out of the way. can be quite expensive. For jewelry making. cutting down on bench clutter. usually resulting in pulled and painful muscles . Bed tifters are handy for this horne-product through the lens or magnifying head must be bent downward. causing impingement pain. your undue stress on your neck. Proper bench or table helght is eritrcal to the use of magnifiers on the neck. Magnification visors Most commercial magnifiers available to jewelers require you to look straight ahead "Stretch it Out. instead of storing all hammers together. You can raise your work surface by placing risers under each table leg. Store tools that you use less frequently farther away from you but still Within reach. your work is lower than eye level. rather than by tool type. For example. instead. i~below eye level. 48 . If you're working at a table rather than a jeweler's bench. and are available at When It comes to lens magnification. your work surface should be at the center of you r breastbone. Tool arrangement and use Categorize your tools by freq ueney of use..Bench design and height Jewelry-supply catalogs offer a variety of benches With different features and costs . Taking a break gets your •• If your work. Binocular loupes are another option. The stronger the lens. think of athletes they always warm up and stretch before exertion. place the chair in front of the bench and sit in the neutral position. the closer to your work you'll need to be in order to see through the lens correctly.

Adjust all other variables around that position . chair. Also. arrange comfortably. place a lift in the shoe of your shorter leg. a daily program of stretching and exercise is the most important thing you can do to maintain your skeletal and stretching and rest breaks and tasks will help provide enough rest to th e affected joints and tissues. ~et a timer a~ a reminder to take a break. plan your studio tasks in the same manner. Take breaks to evaluate how your body is feeling. Regardless of you r schedule and work load. When a dentist was asked for the most advice he could give to students ready to graduate from dental school. • Avoid uncomfortable neck angles. Don't hunch over your work. the ideal resting position for the hands is called "neutral. including drinking water. they'll do aerobics one day and weightlifting the next.6644.artjewelry mag. • for example.SpIne mechanics Consider your body a working machine. check out UBuyers Guide: Jewelers' Benches" (July 2007 I. other opportunities for pai n rei ief include goi ng to a massage therapist. relief and lifelong health. It speaks louder than you think if you really start to listen. posture. Customer Service department at 800. of time. and it's really hard on the neck and back: The same is true of jewelry makers. • •• Th. and adjust yourself 1IS if required. in the and the long run. and dOl1t •• forget to keep hydrated.every 20-30. Replace worn-out items. you may also like If you're thinking about upgrading from your kitchen table to a jeweler'S bench.com/proJects. For example: • When you're lifting an object. upright posture that promotes the natural curve of your spine. Taking frequent alternating for long periods and therapy important Exercise. to pay attention Practice a healthy working spring for a good-quality your tools and workbench and most importantly. and hands.· mitlute~. and think of ways to use it in order to prevent inj ury to your spine. Try to maintain a neutral position while sleeping. stretch out your hands again. wrists. Lift the object with your leg muscles.. such as hyperextending your neck for sustained periods of time. When possible.com or by calling our Subscribers order will save you time. "Get in shape and stay in shape! You will be spending endless hours In the same position. tools in their best working muscular systems. motions. Avoid sleeping with your wrists and el bows sharply bent or using an elbow for a pillow. such as saw blades. rest breaks. the article at can download a free PDF of your body. not your back. soon as they show excess wear. • Maintain a healthy. When you take 11 break. Ideally. This will avoid stress on your body caused by applying cially important high-frequency Maintaining excess force and assuming awkward positions. leaning over your work. and back part of this routine. and you'll eliminate stress if your legs are the exact same length. Buy tools that are well made.e right tools Investing in good tools will payoff designed for specific applications. • If one of your legs is longer than the other. Your spine works to hold your body straight. If you don't have the issue. A physical therapist might also be helpful in assisting with your studio planning or revision. effort.' It is a straight line down the forearms. bend at the knees and hold the weight as close to your body as possible. Position your work surface high enough to keep your neck in a neutral position. Make stretches and exercises for the hands. Keep the tools dean and dry in order to avoid rust. right size for you and whatever task you're doing. As with the spine. ~ lNr.533. It is espeto have the right tool for tasks. you can buy it online ilt www. neck. these breaks should be every 20-30 minutes and should encompass a variety of activities.ArtJewell'"yM~'g. Don't sleep on your wrists and hands by using them as a pillow or as a wedge between your knees.com 49 . as consumable necessary for short-term www. Seta timer as a reminder to stop working and take a break. keep them sharp and oiled. he answered.Nw. chiropractor. or physical therapist. and invest in a quality chair. Beyond basic fitness.artjewelry mag. and money. Avoid repetitive high-vibration such as heavy hammering.

you'll draw attention 50 Art J~welry II!!I' Sept~rnber 2010 . stop after part 1 and add a clasp to your chain.~ flat-weave zigzag cotionoi: bracelet (gold-filled by John Fetvedt to the interwoven zigzag and give the basic flat bracelet added dimension. For the zigzag treatment. A deceptively simple chain mail pattern forms the backbone for a zigzag variation.Chai ail Patterns Make a streamlIned @ru .. For the understated look of the basic pattern.PROJECT INTERMEDIATE I CHAIN MAIL . silver and gold-filled jump rings. follow the steps in part 2. By using contrasting ._..


34 toolbox.3 mm) Jump rings [] other half of the clasp. 16-gauge (1. For a sturdier bracelet. add a 1+1+1 series of 3 mm jump rings.0 rnrnl.0 mm). 3. 52 Art Jewelry. Use two 3. The large ring at the opposite end of the chain serves as the Quick tip Whether you're mCjking the basiC chain mail pattern or the zigzag variation. an [21 Sandwich the spine rings between two large jump rings.3 rnrn). 4 mm ID. Thread and close four 4 mm (corner) jum p rings through the sandwich as shown.2 mm ID. page 79 Safety Basics.2 mm ID. 32 . see "Make Your Chain Stronger. [] Basics.artjewelrymag_ com/videos [5] Continue the pattern to complete Optional: a chain to your desired length. 3.~= See • Zigzag jump rings: 16-gauge (13 mm). and attach the toggle half of a clasp. online extra You may also like John Fetvedt's "Tapered Byzantine Earrings" and "Half-Byzantine Hoop Earrings" projects.68 • Small jump rings: lB-gauge (1.0 mrnl. At one end of the chain.3 • 18 mm sterling silver toggle [1] Twist a piece of scrap wire through (spinel jump rings to attach this large ring and a second large ring. 8 mm (large) jump ring.materials Basic Celtic Visions pattern Part 1: Basic C Itic Visions pattern • Sterling silver or Argentium sterling silver jump rings: • Large: 16·gauge (1. 3mm1D. begin by using two pairs of f1atnose or chainnose pliers to close all of the 8 mm-insidediameter. which are available exclusively online to subscribers_ Visit www••rtjewelrymag. 52 • Gold-filledjump rings: • Spine jump rings: l8-gauge (1. B mm Inside diameter (lD). www. page 73 B Videos. page 76 [3] Use two spine rings to connect Videos & Basics Check out these bonus tutorials for fundamental in this project: • Opening and closing ajumpringmB • Fusing jump rings [] ~ techniques used another large ring to the end of the chain.2 mm Zigzag variation (materials above plus) • Gold-filledjump rings: • Spine jump rings: IS-gauge (1. 4mm ID.34 • Corner Jump rings: 1B-gauge (1. rl.0 mm). page 76 • Chain mail Find out where to buy supplies.com/ projects to download these free projects. September 2010 .N opposite.

The large ring at the opposite end of the cha in serves as the other ha If of the clasp. [2] Starting at one end of the chain. [1] Starting at one end of the chain. use a 4 mm (zigzag) jump ring to connect each pair of corner jump rings. and attach the toggle half of a clasp. add a 1+1+1 series of 3 mm jump rings.Part 2: igzag va i tio To make this variation. sides of the chain. use two spine rings to connect two adjacent zigzag rings. Alternating adjacent zigzag rings. !ID . NOTE: You'll have a lone zigzag ring at each end of your chain. continue to connect all the remaining [3] At one end of the chain. you'll build on the chain you made in part 1.

improper arm! posture.with lrnproved p eve t Bezel-ro ler Techniques Learn how to use this often misused and misunderstood tool to set your stones securely by Donald C. Push the top of the bezel wire. bezel walls with rough. ready to make a chopping the handle. securing it against the bottom edge and sides of the stone. While exerting moderate pressure. this propels the roller along the bezel. push the tightest parts of the bezel first. The second tightens the top edge of the wire. see "Summary: Bezel Methodology. Dietz that's loose in its seat.)' • September . if necessaryl one railer-length. Because you're keeping the heel of your hand in contact with the bench pin. holding it at an angle as far as is Touch the edge of the roller to the bezel." Grip and position Grip the bezel roller. Poorly set bezels could be the A poorly set bezel can destroy the look and value of an otherwise beautiful handmade piece of result of poorly chosen bezel wire. you use your shoulder instead of hand strength to push the bezel. Hold your elbow to your rib cage. then work around the bezel wire [21 one roller-length repositioning at a time. and push with your shoulder while slowly rocking your wrist forward. and position your hand palm up. Hold the bezel motion. But by learning how to hold the bezel roller correctly and using the proper body muscles. Secure the two remaining sides. uneven edges. After ting a bezel. or even jewelry. the roller is less likely to slip off the bezel wire and mar your stone. pushing the wire against the stone. Telltale signs of a badly set bezel: a stone on the correct use of the bezel-setting a deficlency of the stone. insufficient shoulder strength. These may seem like amateur mistakes. But for an page 57. rock the roller forward (and back again. lack of training tool. and lean your shoulder slightly forward. overview of the process and tips. and push the bezel wire on the opposite side to hold the stone in place. Keep the heel of your hand in contact with the bench pin as much as possible to avoid slipping [1]. Rotate the bezel. Holding standing of the steps required to set a cabochon in a bezel back. push the bezel wire inward until it comes in contact with the lowest edge of the stone. and folds or crinkles in the bezel wire. Cock your wrist Push the base of the bezel wire. How o use a bezel rolle These instructions assume a basic underPractice the motion. Grip roller as if you were hold ing an Ice pick. but they can affect some professional jewelers too. going around the stone once at a low . you can overcome most of these problems to consistently set stones securely. S4 Art Jewel. The first is moving the bezel inward. the bezel as you work. III B. In this position.lCn 0 First setting movement There are two distinct operations to set· NOTE: Remember. comfortable. the bezel railer at a low angle.

this vertical pressure will slightly flatten the top edge of the wire and push it over. page B Videos.ArtJlwelryMag." a sliding motion like you would with a burnisher.com make your own bezel roller! See UA Good Bezel roller is Hard to FindSo Make Your Ownl page 58. called "seatinq the stone.Wigg Y Ston materials • Cabochon stone to set • Bezel wire (see 'Which Bezel Wire to Use?" page 57) toolbox.s. With practice.com/videos 73 www. page 79 See Safety Basics. setting it rn EJ rn Basic. NOTE: Rock the bezel roller along the top edge of the bezel wire. increase the angle slightly to match your stone's curvature 13]. perpendicular Position the bezel roller perfectly to the stone's surface. and work your way around the top portion of the bezel. This leaves (or nearly 50) to the curved surface of the stone. When you're working with soft metals. . Don't use Videos & Basics Check out this bonus tutorial for fundamental this project: • Making a bezel cup and bezelsetting a stone techniques used in Second setting movement When you've fully secured the bezel so that it's well-formed and lying flat against the surface of the stone. page 76 angle. Simply rock the roller back and forth with gentle pressure to push the wire down against the stone. Reposition the a narrow flat facet all around the bezel where it meets the stone. bezel a nd move the roller forward one length of the roller at a time [4 and 4aj. finished look. u . it is time to secure the top edge of the bezel. www. and set the roller's working face on the outside corner of the bezel wire. page 76 • Stone setting additional tools & supplies • Bezel roller • Grinding machine with abrasive wheel (optional) Find out where to buy supplies. such as fine silver or 18k gold.artjewelrymag Seat the stone. you can achieve this look by using just the bezel roller. creating a nice. rather than by using a burnisher or graver and by filing or sanding.

less Iikely to mar your bezel.welrymag.1. you can use only a few millimeters of the roller at a time.26 mm). It also has a short. and its handle is well suited to my hand. however. sterling silver. the wire needs to be tall enough to extend just beyond the point at which the stone curves inward (called the "girdle") ." page 54. uncomfortable handle. That way I can still rock my bezel gently lnto place without creating any dents. brass. it feels a bit clumsy when I'm rolling large bezels. nickel silver. Because sterling silver workhardens. widths.The goal is to display the stone without covering up too much of it. The average thickness of bezel wire ranges from 26 gauge (0. It's handmade of brass. it's difficult to use in thicker gauges. Since fine silver is softer than sterling silver. check out "Take the Next Step in Making Bezels" (May 2008). thicknesses. I used an abrasive wheel on a grinding machine to grind the flat end of my pusher into a slightly beveled curve. above. ct There are two main types of bezel-setting tools: bezel pushers and bezel rollers. bezel rollers are better SUited to fluid movements that push larger sections of bezel against the stone in a sort of rolling movement. the curve of the working face of the tool allows me to push the bezel smoothly against the stone and create fewer marks or wrinkles in the bezel. in.welry • September ZOIO This is a common inexpensive commercial roller. . Bezel wire heights (the width of the wire) from 3 mm (1IB in. It's a steel roller with a medium arc. 56 ArlJ." right. Most metal suppliers carry bezels in fine silver. and gold alloys.4 mm) to 30 gauge (0. it's long enough for most Jobs. Bezel wires. shaped. called a "step bezel. This is a variation of the second roller with a more severe arc. have a double-thick base that creates a small shelf inside the formed bezel. It has a rather gentle arc (about 15 mm/ 9116 in. If the stone is particularly tailor has a thick girdle. You can use stepped bezel wire to create an open-back bezel without a supporting backplate. and other metals can also be used for bezels.What IS bezel? than 26 gauge (0. may be plain. securely holding it in place. with fine-silver bezels as thick as 22 gauge (0. You can purchase the article at www. to grip the stone securely. The handle is a bit short for my large hands. the bezel wire is fairly short. you may need to make your bezel quite tall to reach up and over the girdle. anything heavier you may also like To learn more about step belle Is. a metal that's softer than steel and. the girdle of the stone will sit on this shelf.) to 10 mm (>. and styles.6 mm).artj. To make the pusher/roller above. It's useful for setting in tight areas. Here are some e.xamples of bezel rollers: This is my favorite bezel roller. but copper.4 mm) requires special setting techniques. Its curve is much too severe to use.. Bezel wire comes in many metals. due to the height of the arc. Bezel wire is generally thin and soft so that you can easily manipulate it around your stone. you can use the method described in "How to Use a Bezel roller. Some. Normally. or highly imprinted with designs (also known as "gallery wire"). This is a prong pusher that I've modified to turn it into a bezel roller. because it's short and has a narrow curved face. A bezel is a narrow strip of metal that encompasses the circumference of a stone.com/projects.) are commonly available in both fine and sterling silver. you may want to modify a bezel pusher to work more like a roller. I prefer to use a bezel roller whenever I set a stone. Bezel pushers are designed to press one small static section of bezel against the stone at a time.). If you prefer the feel of a bezel pusher's handle but want the effect of a roller. therefore.

ners SWitchbacks Wire can be diffj . 0 the stone If th . 1 Prepare the bezel. Or flat t a 90 angle the b . NOTE: I don't recommend setting stones with agate bezel rollers. sand.) of wire into a smooth taper that's approximately half the bezel wire's original thickness.. any remaining bezel wire will flow into roomier areas.t points. Walls are at One. points. But. such as thermoplastic lett Sett compound. and hold th medium domes th pan of the stone. clamp the ring shank in a ring vise or a GRS BenchMate system. you can stop at this point. tricky tigh. or make a custom roller (see NA Good Bezel roller is Hard to Find So Make Your Own!" page 58) to fit. best to Use a ~ter mcludes shar aI/ow yOu to fTJor:hlnner gauge bezeF~~. A roller with a severely curved arc may be unable to get into tight areas. Be sure to position the clamp to support the bezel's base so it will not bend with the pressure of setting.closely fOllow the sro . alternate sides as you work.cCtm 51 . Once you've pushed the • The roller material. To learn more specific techniques. you can follow these five basic steps to set it. Just make sure to avoid your stone. It's important to properly hold and support the bezel. • The size of the roller. As you push bezel wire over a stone. or narrow ends) against the stone. you can carefully file. I prefer a roller with a very ge ntle arc.. Most commercial rollers are steel. A th~nner wire will' cu t to bend to fit Such ne s. against the Widest at surface. . ay even need to e. J Using a bezel roller or bezel pusher. You don't have to push too hard. "'" Push the tightest areas of the bezel first. wIdest point {] EJ u . You may have to use some innovation.ArtJewe1'ryMag. heavy ~g~ . rm www. e Wire must be t 'ezel m . If you push over the tighter areas of bezel wire first. Sing Wire that is t covers too 00 tall W hen YOU're b mUch stone sides YOU'll ezel-setting a caboch . so it's less likely to mar your bezel.finiSh the bezel completely. select.. Sometimes you cannot use a fullsized roller due to space limitations. if you discover stray marks you made on your bezel wire. • The roller's shape. it can be difficult to access the lower parts of the bezel wire. push around the rest of the bezel. 4 Push the rest of the bezel. Brass is a much softer metal. If possible. extend Just OV h err e If the stone's Outer ed ..dct aller bezel Wire Th. left. You may have to modify an existing roller. and it will scratch any stone softer than that. You can cut Or fil· the hIghest pan f h WIr~ tall enough POrtions of the e a~ay excess bezel w' ate perrmeter. bezel methodology No matter what shape your cabochon is.steep. on a flat surface. see "How to Use a Bezel roller: page 54. Consider the lay the stone which bez e·1 Wlre to u . which is a hard metal that can leave marks. embed the jewelry piece in shellac or another holding material. = 2 .g . To achieve an even setting. NOTE: If the bezel wire is too thick to easily set against the stone. On a f/ se. A few points to consider when selecting or making a bezel roller: • The size of your hand. If you're setting a ring. If you've done everything carefully. The roller's handle needs to fit your hand comfortably. parts of the bezel (e.. 5 Refine the bezel edges. go around the bezel a few times with a medium-firm pressure to fully secure the bezel.5). Use a pre-polishing compound.more than 2-3 rnrn n uneven bezel that . file the top 2-4 mm (j/M-SIl2 in. such as tripoli. make sure that when you're gripping the handle you can place your thumb over the end of it to keep it from slipping th rough your ha nd. ocMon's dome. On Sf e beze. . ? . late stone s perifTJet Ire along the sh r. e stan '5 op edge of the st. er. seat the top edge of the bezel wire against the stone.( Secure the bezel for setting. I It IS !f the stone's perim to extend slightly past height varies. the metal compacts against the stone and work-hardens. first push the tightest . an the angle of the cab ne. The Moh's hardness of agate is 7 (sometimes 7.When selectin b shape of the 5t~n:ze/dwire for a Specific sto . sharp corners. oner ge Before setting a stone. If you have bezels positioned close together or near some obstruction. Use files and/or sandpaper to make sure that the top of the bezel is level. The sides should also be smooth and even. helping you avoid wrinkles.' wire Upright above the stone:s ~ Wire should not be ones WIth low or will result in a . need to I on With h' h tall ~nou9h to safely She e.g. After you've secured the bezel wire against the stone. For general work. . and polish them away. on a buff attachment in a flex shaft to polish the bezel. .penmeter.just keep them away from your stones. you won't want to sand or file it once the stone is in place. Agate burnishers are great for smoothing metal .

find a piece of brass that's at least 3 mm (lk in. I prefer a roller with longer. off of my roller. Find brass to use for your roller. pointed tang [3). don't hold it the wheel in one place for too long. or use the Template. Determine roller.) thick and large enough that you can cut your roller (including the tang portion) from it.. Using your sketch for reference.So Make Yo rOw available • a stone- I Use basic bench tools to make by Donald C. will all work and usually cost only a few dollars. the shape of your custom available bezel Sketch out the sha pe of your desired bezel roller based on your preferences.ietz setting tool that's custom fit to you. 58 ArtJe . which will result in a more secure setting. Using the hacksaw remove excess material. you could use a jeweler's saw or a llh-in. The brass star-shaped trivet I'm using [1) is 8.5 mm) margin. The tang is the part of or the cut-off disc.5 mm (about 7 gauge) thick. NOTE: To cut the brass. Commercially rollers are about 3. which is based Grind the roller. roughing out the general shape of the roller's straight.. And I feel that most premade bezel rollers sold today are too narrow. and cut off . Brass is softer than steel. Instead of using the hard steel that most commercially tools. because with a longer arc you'll be able to make longer rocking movements when you're setting stones. In this case. piece of brass in a bench vise. candle holders. To avoid grinding very gentle arc that's about 15 mm long.5 mm (0 gauge) thick and is perfect for a thicker roller. (38 mm) cut-off disc in a flex shaft instead of the hacksaw. D. a thicker roller can work better for setting tall bezels. You can always make more than one roller to suit different setting needs.) long from the star [2). tools are made of. (6.2010 above._1' ' INTERMEDIATE I TOOLS A Good: Bezel Roller is Hard to Find . Cut a usable piece of brass.1. hour. allowing about a '/4-in. which can allow you to set stones more easily and to make smoother bezels. the railer that you'll insert into the handle. in. begin to shape the roller. Solid brass trivets. more severely curved arc could work well for large stones but would be difficult to get into tight areas. A accidentally against a flat spot on your piece. riP: When you're using a grinding wheel. Cut the tang.. I prefer to use brass for my bezel-setting M aking a custom bezel roller is simple - it only takes about an a usable portion.elry • Soptombo. You may want your roller to have a taller or longer arc than a commercial roller. Using either a file (this could take awhile) or a grinding wheelan motorized a grinder or polishing machine (much faster) [41. "I!· . so it doesn't mar bezels as easily. it's safest and most effective quarter to work on the bottom a of the wheel. I get brass for such projects from loea I thrift stores. always keep your piece moving. which is sufficient for most jobs. and you'll be able to use your custom tool for many years. Secure the Secure the roller's tang in a hand vise. etc. However. the added width on my roller will help you to set your bezels quickly and with fewer dents in your bezel wire. For general work. I used a large hacksaw to remove a point about 40 mm (Wi.

5 mm) deep hole in the tang's handle.t:om 5' . These file marks will help the tang gr.Ue'Welr'yM'ag. size 4 . ww.. page 76 wiU work. additional is a tool.1-'I<-in. ).. Silicon carbide grinding wheel (100-300 grit). File grips on the tang.2 em) hardwood dowel. and press it into the handle's drilled hole to secure the tang._A.2 em) piece of 5fs·jn. If desired. use a sanding Wheel to smooth the roller's faces and edges [6Jhandle. For my railer. jeweler's saw blades.ipinto the handle securely. --I. Keep 1 in. 2 x 2.. Leave the working face matte so it will be less likely to slip when you're setting a stone.!J corner edge of a coarse file. I.5 mm) long [5]. in. 11. If you have a longer tang. (16 mm) or J/4·in.. you may wish to adjust the length of your tang.. rough indented Using the in the handle. (38 mm) cut-off discs. flex shaft • Jeweler's saw frame. After areas materials tools &: supplies • Bench vise • Brass-cutttnqtools • Brass sheet: 3-9 mrn (1!e-'AI in. (25. file several rings around atl tour sides of the roller's tang [7]. Coarse hand file: flat #O-cut . Hand vise ..(19 mm) hardwood • Hacksaw • m·ln. Leaving space between the handle and the roller's wedge may help you access hard-to-reach in a jewelry piece . Refine the sides of the roller.. If necessary. (10.. (10. Apply two-part epoxy to the tang.. Al'low the epoxy to dry completely [9] before use. I made my tang Polish the roller (optional]. If you can't find a commercially you shape the brass. page 79 See Safety Basics. (51 x Sl mm) in mind that this ally get marked up.. Select a drill bit that's slightly smaller than the diameter of your roller's tang._. Drill a %-in.. you don't haveto set it all the way into your handle. sanding wheel to shape the handle until it comfortably corruqated cardboard. (16-19mm) diameter • Hex shaft. use 101'P: I make my own sanding wheels by adhering a sheet of sandpaper to a thick piece of Secure the roller fits your hand.. drill bit to fit tang • Two-part epoxy Find out where to buy supplies. a 4-in. -. grinding/polishing machine •• Handle (choose from): • Premade tool handle • 4~in. (6._ At this point.. I used the available tool dowel (choose from): Find a handle...) thick (1O-00-gauge). You may want a longer or shorter tang depending on how you intend to use the roller.it so I would will eventunot spend tlrne polishing it.. sanding wheel. but do nor polish the curved working face.. polish the sides of the roller. handle from an old burnisher [8].

sists firescale a re when heated at low temperatures.. Together.a w. Patience and Aliver of sulfur patina enhances the (olor contrast between the silver metal day and the brass wire inlay in this 1 x Hn. Byfollowing my construction tips.rm go. these qualities make brass wire an excellent material to embed into silver metal clay. . To amplify the color contrast between the wire and metal clay. fire. you'll refine. ..5 x 25.n COlor. (2.IIPROJECT INTERMEDIATE I METAL CLAY • Ire • low-tech finishing techniques are key to creating Q seamless mixed-metal pendant.Ide. and is soh enough that you can file and refine it with sandpaper. Careful polishing gives the silver a sheen and color that's reminiscent of hematite. you can securely embed brass wire into a Silver metal clay pendant..Truty B rass is an economical alloy that has..5 mm) pendant. and patinate the pendant.5. by Jacki.

Use wire cutters to cut a (1. Shape the linear wire elements. and allow the wires to air-cool. videos www. USing the flat side of a half-round hand file.A:l.1 mm) pieces.6 mm) pieces and three 12-gauge (2. You'll need as many pieces as there are dots in your design. ultrafine. Repeat to file one side of each of the remaining shaped wires. Inside the square. make a couple of strokes across the su rface ofths wire to flatten it slightly [5] . use flush cutters to cut pieces of wire that are long enough to be shaped into your linear design elements. and microfine grits 'Is in. 3 in. • Rolling metal clayliJ ~ • Making paste and slip I] • Patinatlng with liver of sulfur liJ Basics. Cut the linear wire elements. Place the wires on a kiln shelf. Make wire dots. the wires to match your template [4]. NOTE: Do not quench the wires in water. and use tongs to insert the shelf into the kiln 12). keep it centered and at least square template. snip (25. (76 mm) piece of 12-gauge (2. The dots I added will be easy to make by embeddi r1gsnippets of wire vertically into the '/6-in. I drew a Celtic triskelion pattern.com 6' . After 2 minutes. NOTE: The side of the wire that you've filed is the side that will face up when you embed the wire in the metal clay. (3 mm) pieces from the wires [31. 14 g • Metal clay paste • Overlay paste • Bail . Place a shaped Videos & Basics Check out these bonus tutorials for fundamental in this project: • Annealing techniques used 3·in. The wires are now annealed and ready for shaping.6 rnm). I snipped three 14-gauge (1. Cut out the template as a guide. Use • Baking soda • Liver of sulfur • Silver polish Find out where to buy supplies.71.tJew~lryMag. Use a flat needle file to file the wire ends flush. (3 mm) from the edges of the square.1 mmJ.. page 73 III E) m EJ EJ Videos. NOTE: Choose a design that you can easily shape with pieces of wire.. Anneal tne wire. Draw a t-in.materials • Brasswire: round • 14-gauge (1. this hardens the metal.1 mm) round brass wire. III ~ EJ 1470°F (799°C). remove the shelf from the kiln. toolbox.com/ WWw. chainnose Hand fi Ie: half-round 3M sanding pads: fine. File one side of the wires. Using your • Metal clay additional tools & supplies • Graph paper • Wire cutters: flush • • • • Tongs Pliers: roundnose. Using flush cutters.5 rnm) square on graph paper. superfine. page 76 • Template and wire preparation Make a pendant template. page 79 See Safety Basics. Ramp your kiln to wire on a rubber block. [76 mm) piece of l4-gauge round brass wire and a 3-in. (76 mm) • Metal clay: low-fire formula. created with three hook-shaped lines [1]. draw a simple linear design.6 mm) roundnose and chainnose pliers to shape Cut the wire.3 in. (76 mm) • 12-gauge (2. page 76 clay.artjewelrymag.

stand up to file. • Use magnification to check for gaps between the silver and the brass wire. very pliable Some moisture. Fire the panel. holds its shape Nearly devoid of moisture. use a flat-tip paintbrush to apply distilled water to the surface of the clay. grasp a shaped wire flat-side up. a plastic roller. on the clay. (3 m m) from one of the panel's corners.online extra To learn about the differences between metal clay paste. Place the panel on a rubber block. and use a tissue blade or clay scraper to cut the clay along the edges of the template 11). If the wires are still visible. Cut a hole for the bail. Ramp the kiln to 1200°F (649·C) and hold for 30 minutes. rn EJ over the front of the panel. P rt 2: Metal clay Roll out the metal clay. NOTE: Do not exceed a firing temperature straw to cut a hole for the bail at least lis in.lydry nose pliers. a flexible Teflon sheet.artjewelrymag. gently press the small pieces of wire vertically into the clay. firm. and insert the shelf into the kiln. Place a Refine the edges. and a clear. and allow the panel to dry completely. filina tips Use thes~iling techniques to smooth the surface of your pendant: • Use long. September 2010 . can be fired D EI. slow strokes only in a forward rnotlorr files don't cut on a backward stroke. 62 Art Jewelry. Use a flat-tip paintbrush to apply a layer of thick metal day paste wires [4]. To create the dots. rotate the panel on the block to file it from another edge. NOTE: Do the next series of steps while the clay is wet (see the "Metal Clay Dryness" chart. check out "Which Silver Paste Do IUse?" at www. Use an end of the Apply paste. Roll out about 14 g of metal clay to 6 playing cards (1. Allow the paste to air-dry completely. Llghtly coat your hands. • After you've filed the panel from one edge. hard plastic sheet over the panel. right). embed the wires about two-thirds deep into the panel 13]. Place the panel on a kiln Completely dry design. Make the clay panel. • To minimize the chance of creating gaps between the brass wire and the silver.5 mm) thick Metal Clay Dryness Position t. Remove the template.com/ reference. and allow the pendant to air-cool. overlay paste. of 1400·F (760·C). NOTE: Do not file or use sandpaper on the surface of the panel. covering the shelf. higher temperatures can melt the brass or develop firescale on it. rigid No moisture. Repeat until you've flied the panel from all four edges. If the clay starts to dry out as you work. and use a flat needle file to refine the panel's edges [5]. Press the wires into the panel. a straw. Repeat to position the remaining shaped wires on A lot of moisture.he wire pieces. Using chainWet Semi·dry M05t. Remove the shelf from [he kiln. Place your template clear. and POSition it on the panel according to your template the panel [21. • If you need to use some muscle. Using even pressure. hard plastic sheet with hand balm or olive oil. always file from the edge of the panel toward its center. and 011paste. apply another layer of thick paste.

the rubber block. Remove the pendant. Patinate the pendant." opposite. NOTE: Overlay paste can be fired at 1200·F (649"C). Set the pendant on finish. Part 3 Finishing Fi Ie the su rface of the pendant. • Use a fine-tip brush to generously apply overlay paste to fill any gaps. Use the scrap wire to remove Refine the surface. cold water. Usually. Add liver of sulfur instructions. Stroking from the outer edges of the pendant toward its center [1]. courses the bowl. Add a bail. • Resume filing to reveal the brasswire design. • Refire the panel In a 1200"F (649·C) kiln for 30 minutes." right. Filling gaps If additional filing causes a gap to get bigger rather than disappear. • Allow the paste to dry completely. see "Troubleshooting Gaps.) If you detect gaps between the silver and brass. prefabricated snap-on the gold tones of the I used 11 gold-filled bail to complement brass inlay. Holding the pendant by its edges to avoid getting finger oils on the metal.(:om 63 . Swish the pendant around in the container of cold water. and allow it to cool completely. Remove scratches. and follow these instructions to fill the gap. Make a paste of baking soda and water. stop filing Immediately. !i. (See "Filing Tips. Rub the paste on the pendant's surface. • Allow the panel to dry completely. use the flat side at a half-round hand file to remove a layer of silver and brass to reveal your design [2]. Use a small flat file in Loop a piece of scrap wire through the hole in the pendant. Attach 11 bail to the pendant. change If you're using a bowl NOTE: Don't use too much pressure when buffing. TIP: When sanding metal clay. Place courses of sanding. resulting in less shrinkage during firing. and use it to gently buff the pendant's surface to a mirror finish IS]' a finer cut than the hand file to remove any large scratches made by the hand file. wet-sand the surface of the pendant using sanding pads in progressively grits. Continue to fi Ie the surface until the complete wire design is visible and the surface of the pendant is even.1l www. To create a mirrorlike finer the pendant from the solution [4]. Loose wires If a wire comes out of the panel. Don't panic. as you continue to file. NOTE: The brass will not darken. and allow it to cool completely. rinse your piece and the sanding pads often to keep the pads from clogging.ArtJoE!welryM"g. Then rotate the piece 90° and sand with the next finest grit 13]. Repeat this process until the surface is even and smooth. the water between of water to keep the pads wet. • Use a fine-tip brush to apply overlay paste to the impression. • Press the wire back into the panel. Fill a [J E:) to a container of hot water according to the manufacturer's second container with clean. or you could remove the patina. from previous If coarser grit remains in the pendant face-up on the rubber block. Polish the pendant. follow these instructions to secure the wire with overlay paste. Sand the entire surface in one direction with the coarsest grit. then dry it with a paper towel. • Resume filing to remove excess overlay paste and to reveal the brass-wire design. and dip the pendant in the liver of sulfur solution until the silver turns black. and dry it with a paper towel.troubleshooting Filing the surface of the pendant might cause gaps to develop between the brass wire and the silver. Dab silver polish on a soft cloth. aligning one edge of the pendant with one edge of the block. • Reflrethe panel at 1200'F (649'C) for 30 minutes. you'll scratch the metal. Clean the pendant. rinse the pendant with water. the wire will flatten and fill these gaps.

Once pushed against the stone's edge. 54 Art Jewelry • Sepn~mb~r 2QHl .. INTERMEDIATE/ADVANCED PROJECT I METAL Think Two Prongs Can't Secure a Stone? Think Again! Use sturdy. coupled with the stone's indents. and it's not using epoxy. those notches. Ifyour stone isn't shaped like ours. strategically placed prongs to set a custom-cut stone. Our custom-carved spider stone has side indents that allow us to secure it with just two sturdy prongs. there's plenty of room to file a little notch on the inside of each prong. T Because the prongs are made of thick wire. help grip the stone securely. trick to using only two prongs to secure a stone to a piece of metal. you can still use the notched prongs to hold it. by Jessica Dow and Ma.rk Anderson here's a. but you may need more than two.


these indents allow us to use only two large prongs to securely set it. Using a flex shaft or buffing and soft buffs. attach your template to a dean. To remove the saw clean results Remove the template. Make NOTE: Make all the supporting lines in blade through the drill hole closest to the center of the design. and center your stone on top of the cross.Preparation Select your center stone. leaving a 0. irregular beach glass. 66 Art Jl!welry _ Seplt!mber 2010 mE)' always cut out the inner areas of a design . Draw your template. Draw at least one place to attach a jump ring so you can connect your pendant to a chain. soak your pierced backplate in a solution of warm water and dish detergent. Using first 12J. Pierce the design. After you pierce the backplate. they're just large enough for us to drill a 2 mm W~-in. Using a center punch on a steel block. It's special because it has two indents opposite each other. and drill out all the holes. If your stone doesn't have indents. using a pencil to mark all the areas you want to pierce. If you want to add accent stones. Glue your template to the metal. as we did. Trace an outline around your stone. Use a small amount of glue. high-quality blades to achieve with intricate plercmq work. We wanted two jump rings at the top ofthe design. and allow it to dry.5 mm (or smaller) border around it.3 mrn] sterling silver sheet. flat piece of 16-gauge (1. create a dimple at each pendl mark.) hole to fit each jump ring. Remove the stone. Place your metal sheet on a wooden surface. and then draw the outline and design for your backplate. Choose a large center stone that has a flat back. Using needle Clean up the backplate. Our stone is a custom-carved rainbow Andamooka opal. you'll file this border away so the metal will be flush with the set stone. and work outward from the center. and smooth the paper with your fingers.) wide. Allow the glue to dry completely. you'll need at least three prongs equally spaced around the stone to ensure that it's securely set. Carefully saw out that pierced section. glue and paper from the template. always saw it last [3].-in. Using a clean the metal white glue.)circles of metal.) wire prong for the center stone. or freeform cabochons. so we drew two 5 mm (3/16-in. It's much easier to get a clean. clean up the interior [4] and exterior pierced edges [5J until they're smooth. Draw a cross on Note on your template where you want to position each 2 mm (%. which is thick enough that the metal will remain durable after you pierce and File it. polished metal surface after soldering thorough if you do a polishing job at this phase. Sand the front and back of the backplate with sandpaper (6) Backplate Drill the areas to be pierced. When you're piercing sure you've removed all traces of the sanding process so the metal is smooth and polished. graph paper. using a #60 drill bit [1] Ill. files. your design of similar weight and no less than 2 mm (SI~ in. pre-polish the metal with white diamond or tripoli compound. such as rough drusy rock. note the positions for the stones' settings. To secure your stone with just two prongs. following the lines on your template. TIP: Use sharp. Thread your saw III until the metal is machine smooth and even. thoroughly. soft bristle toothbrush. you could use any material with indents on opposite sides. Because the outer edge of the backplate provides extra support and stability.

Insert the wires into the backplate's holes until the end of each wire is flush with the back of the backplate. "" Sturdy 16·gauge (1. you may have to adjust the posttlon of the prongs in the charcoal block prior to soldering. materials • Large center stone • Sterling silver: • 16-gauge (1. (51 x 76 mm) • 12-gauge (2. Place the backplate front-side down onto a charcoal block. Place the backplate on II wooden surface. place your backplate on a steel block.yMag_com 67 . and turn it over so the prongs are facing up. Coat both sides of the backplate with flrescaie retardant. page 79 See Safety Basics. This will be rn toolboxes. Using liquid flux.3 mm cup bur. Use a coarse flat file to flatten the ends of each wire. Make the prongs.it's strong enoLlgh to support the thick carved spider stone even after it's pierced.5 mm) or longer if your stone needs more than two prongs • Two 3 mm round prong settings • Two 3 mm faceted accent stones • Chain with 2 jump rings at ends a jeweler's saw. The backplate should be fl ush to the su rface of the charcoal block in order to keep the prongs in place and prevent the backplate from warping during soldering.) pieces of 12-gauge (2. Place liquid flux and one very small pall ion of hard solder as close as possible to each prong. • Boric acid • Denatured alcohol • Abrasive radial bristle disks: fine • Burs: 2. Solder the prongs. such as a solution of one part boric acid and Ih ree parts denatured alcohol. place a small amount of hard solder cut two 11 mm (1I16·in. and firmly press the prongs into it [101. If it's not a tight enough fit. simple pressure should hold additional tools & supplies • Gorilla Glue or Elmer's white glue the wires in position 19]. Heat the entire piece [111 until the solder flows.9 mm setting bur. Allow the assembly to cool slowly [121.3 mm) sheet: 2 x 3 in. Remove the stone. page 76 www. a tight fit.1 mm) sterling silver wire. and carefully mark where your prongs will be. 2.rill the prong holes.1 mm) wire: 1 in. Allow the assembly to cool completely. carefully drill a hole for each prong [8]. Remove the assembly from the charcoal block. (25. Place your center stone on the backplate.Artjewel. Using a 2 mm drill bit. page 76 • Sawing/piercing • Soldering • Stone setting • Finishing onto the back of each prong join. and use a center punch to dimple the spots you'll drill for the prongs [7]. 1 mm cup bur Find out where to buy supplies.Prongs and accent settings D. Using Prepare to solder.3 mml sterling silver sheet is an excellent choice for this pierced project . Heat the piece until the solder flows.

prongs. use needle files to remove any excess metal that extends beyond the edge of the stone or around the prong settings.3 mm rn 73 backplate on the areas where you will • Polishing metal rn position the accent settings. www. Remove only a tiny amount of metal at ~. . position metal on the pendant. page comlvideos Round the prongs. E) Videos. Videos" Basics Check out these bonus tutorials for fundamental techniques used in th is project: • Drilling/piercing · Sawingm~ • Sanding · Soldering tings. Heat the piece [131 until the solder on the prong settings flows. Then.-/\ rz: . the prongs. TIP: When you're filing prongs. then remove the heat immediately. drill the jump ring holes using r>. then pickle and rinse it.). Position your the edges a time [21]. Be careful not to drill a hole exceeding 2 mm (%4 in. and place a small amount of flux and one pallion of medium solder on the back of each.-I ' jump rings will go.. Heat the prong settings gently. Turn two premade prang settings upside down.::. If necessary. Be careful not to file away the solder joins of the prong .. LIse needle files to carefully refine all intl!rior pierced edges. create dimples [15] where your add small notches on the inside of each prong to help secure the bottom the stone. Add III ~ III a small amount offlux to the Polish the piece. abrasive. Using a flat needle file at an angle. T 68 a 2 mm drill bit {16]. When the settings are cool. just until the solder flows. bristle disks in a flex shaft. cup bur in a flex shaft. Using a center punch.Sweat solder the small accent set- of the metal around the stone [17]. or these areas will become too weak. radial [18]. remove a small a mount of meta I from the inner base of each prong [201. You must edge of [14]. and double-check a scrap sheet of your design looking crisp on the front and the back.artjewelrymag. notches against the height you the in the center stone. a nd check the fit of your stone frequently. Finish the backplate with a progression pieceD of fine. polish the using red rouge compound Using a 2. <l1li Art Jewelr} • September 2010 Tokeep This controls of the notch and prevents scratching from accidentally piece with your file.settings. gently rou nd the tips of the prongs until they're smooth [191 File notches in. Clean up the pendant. place them right-side up in position on the backplate. Finishing and setting Drill the jump ring holes. Then. Allow the piece to cool completely rn Basics.

and palish your own spider-shaped stone. mm cup bur ina flex shah. attach a chain to your pendant. This type of matrix opal is generally found with a chalky white background material. To learn how to plan out.(om " . Push the prongs carefully. Attach a chain. Using gem-setting pliers and/or a prong pusher. slowly bend the prongs into position [241. Place your accent stones in their settings to check the fit. such as a graver's block. Place your pendant own stone The center stone in this pendant was carved from a solid piece of Andamooka matrix opal.9 mm setting bur in a flex shaft.ll www. If necessary. check out our article in the upcoming November 2010 issue of Art Jewelry! You'll also learn a nontoxic technique to achieve a permanent deep black background to enhance the colors in your own Andamooka matrix opals. a type of opal that contains flecks of color throughout a background material. Using a . Place the center stone between the prongs. this stone was treated to darken the background. paying attention to how much pressure you're using.ArtJewel"yMag. gently round the tips of the prongs until they are smooth [23]. Set the center stone. Using jump rings. secure surface. Continue to slowly bend the prongs inward until the stone is secure and does not wiggle within the setting. Ii. making the colors in the opal hard to distinguish. or the stone could crack or break.Set the accent stones. carve. Using a prong pusher and alternating prongs. carve your on a flat. To better show off its colors. create a seat in each setti ng using a 2. gently bend the prongs against the stones [221.

and tighten the wing nut.. grip the saw frame loosely in your hand. The blade will work best when it's perpendicular to the metal [31.w. sit in an erect posture with the top of your workbench at upper chest level.. Remove one end of the saw blade from the saw frame.coml reference. www. When sawing. Use long. www.e for your project. Then. B DRILLING/PIERCING Place your metal on a steel bench block or anvil. and apply pressure to the saw frame against your bench pin. trying to turn the saw will break the blade. To saw. smooth motions. extra To download a free ~Metal Pierdng Chart" that will help you select the best saw blade si. insert the blade. mallet to create a shallow dimple in the section of the metal you wa nt to remove [ll. Turn corners by sawing in place while turning the meta I. To thread a saw blade. Tap a center punch with 3.r. Look for this icon (1 and find bonus videos online at the projects in this issue.. and tighten. Sawblades ceme in sizes ranging from 8/0 (smallest) to 8 (largestl. then reinsert the' blade into the frame. Insert the blade into the saw frame with the teeth pointing downward and away from the frame. putting lubricate the blade with beeswax.nlln. into the top wing nut of the saw frame.artjewelrymag.com/videos. insert the bottom of the blade into the wing nut closest to the handle [11. a dull sound. Maintaining pressure.basics I ESSENTIAL BEGINNER TECHNIQUES N o matter what medium you work in. Place the metal on a piece of wood and drill a hole o. using as much of the blade as possible. Slide the blade through the hole in the metal.ArlJew@lryM~g.. The blade should be taut and should make a high-pitched "ping" when you If you get pluck it with your thumbnail. 6&5 . you'll use them in online extras nearly every project you make.!:om 73 . Putting excessive pressure on the saw frame will make you work harder. visit 6. there are some jewelry- making techniques that are so essential. The best saw blade for a given gauge will have at least three teeth touching the metal at all times.lry mag. Slouching or having your work too low causes back and wrist strain and leads to broken blades . and tighten the wing nut [2]. . using the dimple as a guide [21. These tutorials will walk you through the beginner techniques that you'll need to learn in order to make www. with the teeth of the blade facing down and away from the handle. reinstall your blade while pressure on the saw frame.artj. Saw out the inside section of the metal. Release one end of the blade tram the saw frame so you can remove the blade from the metal. Brace the handle in the hollow of your shoulder. metalworking techniques e SAWING Select a saw blade that is the correct size for the gauge (thickness) of metal that you are goi ng to cut 1!3.

could also clean it in an ultrasonic machine. stretch [he bezel wire on a mandrel. Test the fit of your bezel by pushing the cab through the bezel from either side. until your Clean. then rinse and dry it. allowing the ends of the bezel wire to overlap [1]. Solder the bezel to a backplate by fluxing bath parts and placing the solder pallions so that they touch both surfaces The walls of the bezel cup should extend up just beyond the point at which the stone begins to curve inward (see bezel wall as desired. and dry your piece. iii ustration. View the bezel Iike the face of a dock. If the entire bezel Is not soldered to the backplate. EJ PATINATING WITH LIVER OF SULFUR Polish your piece before patinating. pickle it to remove any flux residues. place a small pallion of hard solder on the join. and resolder. and. A general guideline is that the bezel should be about one-third as tall as the stone. bushy flame until the solder flows. use the floss to pop the cab out of the bezel. Use a jeweler's saw with a 2/0 blade to trim the excess backplate. you'll need a buffing you use. 74 Art Jowelry • S~p'~mb. By using different temperatures different colors of patina.) Oil and dirt POLISHING METAL To polish metal. To polish. hold a stick of pre.polishing compound. Repeat at the 3:00 and 9:00 positions.metalworking techniques EJ MAKING A BEZEL cup AND BEZEL-SETTING A STONE Use bezel wire to tightly encircle a cabochon. if you r bezel is taller than that. and amounts to find the result of water to make the solution. 'File the remaining backplate as close to the [3J. Press the cab into the bezel with thread or dental floss behind it to test the fit [4]. Use a brass brush with soapy water to remove or modify the patina. the liver of sulfur ather pieces. the spinning buff until the buff has a light coat of compound continuously. if YOLlr bezel is shorter than that. Thoroughly machine or a flex shaft tool. I ~r 1 The bezel will be secure enough to hold the stone if you position it where the stone starts to ctJrve in. Clean your piece with detergent and a soft toothbrush.laced on a flat surface.r 2010 . then in opposition at 6:00. Use flush [utters to cut the bezel wire where it overlaps [2J. If the bezel is too small.lishing compound that separate buff for each kind of pre-polishing take care not to cross-contarnlnate clean your jewelry piece between polishing steps. To pre-polish.el by sanding It face down in a figure-B motion on a piece of sandpaper p. If the bezel is too tall. Work around the stone. rinse and dry the bezel cup. first at 12:00. secure a soft cloth buff on the buffing machine or insert a miniature buffing-wheel compound. If your piece is suitable. Flux the bezel wire. plus a and po. shot for future patinated residue will contaminate (If you tumblepolish you r plece after patinati ng. this could on the piece can affect the patina. recharging the buff as needed. and then resolder. Prepare a liver of sulfur solution according to the manufacturer's instructions. below). Rinse and dry the piece. Soak the bezel in pickle. Place masking rape over the stone to protect it. or start over. then quench the bezel cup in water. To charge the buff with such as tripoli. and use a pink rubber wheel in a flex shah to polish the bezel. gently push the bezel down onto the stone. Remove the heat. Heal the backplate with a soft. Bring the ends of the bezel wire together with no gaps. you can achieve result in scratches in your piece and ruined buffs. from the buff. called 'drag marks. pushing the bezel down with opposing moves to keep the stone centered and to keep the bezel from getting pleated. then quench the bezel in water. bushy flame until the solder melts. continue to dip and rinse the metal. against on its edge. Place the cab in the bezel. moving the jewelry piece Don't hold your piece against the spinning butt in one place for you could end up wearing away material or creating scratches. it will overshadow your stone. has been removed. and place the bezet wire on a soldering pad. For a darker patina. too long - Press your jewelry piece against the charged buff. using a burnisher or bezel rocker. Smooth the pushed bezel with the burnisher by rubbing around the outer edges with a consistent pressure. reserve the used pieces." Recharge the buff as needed. then rinse the metal in cool water to stop the chemical reaction. cut the seam (removing the old solder). charge a fresh buff with polishing compound. Dip the metal in the sol ution for a few seconds. Reduce the height of the bez. If the bezel is too large. experiment you prefer. dean the metal with degreasing soap before patinating. piece is uniformly shiny and all evidence of pre-polishing Polish your piece with the buff. It may not hold your stone securely. the fit should be very snug. and then heat the entire bezel wire with a soft. and your buffs and compounds. bit in the flex shah. you such as rouge. rinse.

and place it in a pickle solution to remove oxidation and flux residue. ts called SOLDERING ~ ANNEALING Annealing restores malleability to work-hardened metal. rub perpendicularly to the previous grit until you can no longer see the marks from the previous grit. Store in a small.ag . Fuse all the rings. When you've fused all the rings. smooth the surface and/or edges by sanding with progressively nner grits of sandpaper. Use two pairs of pliers to grasp a jump ring. Heat the entire piece. Dim the room lights so you'll be able to see each ring turn red and "flash" when its Join fuses. and work su rface to prevent the clay from sticking. the cut ends of a Jump ring) almost to tts melting point In order to join it without using solder. unfired day sera ps and filings. Overheating In thinninq or completely the ring at the join. and use a plastic or stainless steel palette knife to blend the mixture into a thick paste [21. um c 75 . lt easier to find and watch the E) move motion the tip of the flame in a circular over the ring. and blend again. metal clay techniques e MAKING AND SLIP Collect dried. For a slip consistency. immediately remove the flame. solder will not fill holes or gaps. When the metal has a dull. Use a spray bottle to remoisten the clay if it begins to dry out. move the flame tip to the ring's join.ArtJewelryM. www. Fine silver responds espedaUy well to fusing. solder the first one using hard solder. flux it. tools. quench the piece In water. causing each to fuse more quickly. and then heat it evenly with a torch. Roll the clay to a uniform thickness. The heat from your torch will preheat the next few rings. place them in pickle to clean them. Reverse the steps to close the jump ring. To keep the SOlder in a previous join or joins from flowing when you heat the metal again. you may be able to skip this step. or thickness guides that equal that thickness. Once the solder flows. will result burning through metal (in this case. as hard solder has the highest melting point and easy solder has the lowest. If there is more than one solder join in a piece. wireworking technique EUlP. it is annealed.ly olive oil or natural hand balm to your hands. chop the clay into a fine powder [11.. Rinse the piece in clean water. Rotate the clay 90" and roll it aqain. Rub each grit of sandpaper back and forth against the metal in one direction. the solder will flow toward where the heat is the greatest. When you see the flash. USing a. quench them in water. mat board. using an acrylic roller or PVC tube. Decide how thick you want your metal clay sheet to be. moving from left to riqht along the last row. e ROLLING METAL CLAY PASTE Metal clay dries rapidly. To open the jump ring. not just the solder. adjust the direction of your flame. keeping the torch moving in a circular motion. Slightly over-form the ring by bringing the ends of the ring past each other." until the metal becomes more reflective. Make two stacks of either playing cards. During soldering. airtight container.Add some water. then together 50 the cut ends are in complete contact. Flux all the metal you plan to solder to prevent oxidation and to help solder flow. If your solder is flowing in the wrong direction. Then rinse it thoroughly. App.ENING AND CLOSING A JUMP RING Hold the jump ring with two pairs of chainnose pliers. bring one pair of pliers toward you and push the other pair away from you. add a litde more water. Cover clay with plastic wrap while you are not working with it. Starting with the left rear ring. then from right to left along the next row. and place them on a glass work surface .) Rinse and dry the fused rings.. rose-colored glow. Store unused clay in an airtight container with a small piece of moist sponge or paper towel. When the ring becomes dull red. so remove only the amount you will use during a given work session. Place your lump of clay on your work surface between the two even stacks.tissue blade or razor blade. (If you used fine silver. Quench it in water. and the third using easy solder. apply an anti-flux to those areas. and move the flame in a tight circular motion. and soak it in pickle to remove oxides and flux. the second using medium mlder. this make. uniformly This heating both sides of the join the "flash. When you switch to the next-finer grit. Begin with a coarse grit (220-400) and work up to a fine grit (600-1000). light your torch and adjust the flame to about half of the flame length available. SANDING To give your metal the desired ffnish. Surfaces must be clean and in complete contact with each other for solder to flow. Place your dosed rings in rows on a solderinq pad or charcoa I block so that the join of each ring faces the front of the pad. Place the metal on a soldering surface. Clean the metal you plan to solder by sanding it with 400-grlt sandpaper. If necessary.Fusing is a technique in which you heat joins during fusing.

Playing cards or thickness gauge • Rubber block • Shape cutters • Smoothing tool • Spatula or palette knife • Syringe • Texture sheets or molds • Tissue blade: flexible. Sheets (MSDS. burnishing compound . roundnose.. burnishing compound safety basics Meta' clay o Use your kiln in a well-ventilated to sinter clay . buffs.. .. burnishing compound Always wet-sand using wetJdry sandpaper. parallel.easy . Reading/magnifying glasses • Shack-absorbing surface [bead mat or towel) • Tumbler. steel shot. ball peen. or flatnose . or charcoal block • Flux. Needle files • Pliers (2 pairs): bentnose.well-ventilated o Sawingl piercing • Adhesive bandages • Alligator tape (optional) • Bench pin • Center punch: manual or automatic • • • • Dividers Files: ha nd or needle Flex shaft. hard plastic sheet • Craft knife • Drinking straw • Fine-tip paintbrush • Flexible Teflon sheet • Kiln. or wavy • Tumbler. insulated cross-lacking tweezers • Torch. cross peen • Mallet: rawhide or plastic • Mandrels or dowels • Needle files • Pliers: chainnose. various tips • Sandpaper: various grits • Tumbler. . ne back long hair. Pin vise or holder. o instructions for curing Wirework • Bench block or anvi I • Cutters: side. Metal clay • Acrylic or PVC roller • Airtight storage container • Brassbrush • Burnisher • Clear. Cure day in a well-ventilated for nonfood use. o • Your oven and all tools should be dedicated • Follow manufacturers' times and temperatures. rigid. get caught in machinery o • liver of sulfur or other patina. drill bits • Plastic wrap . wire. Finishing • • • • Brassbrush Copper tongs Files: hand. Soldering pick • Sparker: manual or automatic • Third hand.. drill bits Jeweler's saw frame.. soldering pad. steel shot. lidded glas5 container • Microcrystalline wax • Polishing doth • Polishing papers • Sandpaper: various grits • Scouring pad • Steel burnisher • Steel wool • Tumbler. ill 7& Art. or nail buff/emery board • Pickle pot with pickle • Solder: hard.Jewe~ry ill September' 2010 .) before using a new material. kiln shelf • Mug warmer • Needle files • Needle tool • Olive oil or natural hand balm • Lubricant or beeswax • Rubber cement or glue stick • Safety glasses All media o Wear a dust mask while working with materials and tools that generate particulates. such as cork or wood day. All tools should be dedicated for nonfood use. steel shot. • Keep a properly rated fire extinguisher and a source of dean water near your workstation.Keep cutting tools sharp and all tools and equipment properly maintained. needle Flex shaft or buffing wheel. • Wear protective gloves while handling caustic materials or chemicals. burnishing cornpound • Vermiculite. saw blades • Do nat wear clothing or jewelry that might Prong setting • Bur: hart or setting • Flex shaft • Loupe or Optivisor • Pliers: prang setti ng or chainnose • Prong pusher • Sticky wax or beeswax Or catch 11re. apron Wear a non-flammable to protect your clothing. or flush • Hammers: chasing. area at all times. Do not sinter or torch-fire metal clay pieces that are not completely dry. as they may explode. o Read all Material Safety Data. Soldering • Anti-fluX • Binding wire • Borax [for borax solution) • Capper tongs • Fire-resistanr surface. Wear close-toed shoes.basics I ESSENTIAL BEGINNER TECHNIQUES Chain mail • Awl or scribe . steel shot. steel shot. and .. chainnose. medium.keep a copy of the MSDS for any material you use. end. nylon jaw • Polishing cloth • Sandpaper: various grits • Tumbler. area. area o o instructions for your kilh and sintering times • Do not torch-fire metal clay pieces that have a core inclusion. polishing compound Stona setting Bezel setting • Bezel pusher or rocker • • • • • Burnisher Dental floss Double-sided tape Lou pe or Optivisor Painter's tape Metals o Wear eye protection at all times while working with metals. and metalsmithing tools. Follow manufacturers' programming and temperatures . burnishing compound • Ultrasonic cleaner o • Work in a. kiln-safe container • Water: distilled • WetJdry sandpaper: various grits. Polymer clay o Use a calibrated toaster oven to cure day. flux brush • Do not use tools or chemicals in ways that are contrary to the manufacturer's intended purpose. firebrick. flat nose.

J Graff. flex shaft. Vis.ccm burs. page 64 .metalrnar cs.EWELRV pageB] . (Q34194H175 www.c@wanadoo.• lllhfn~. below) www. please put PREVENT WIGGLY STONES WITH IMPROVED BEZEL-ROLLER To advertise. m.. Work glass and metal in B coldclay-lika form..debraadelson. www_rockstarjewelrydesign_com general supplier • fl!o Grande: 800.LER IS HARD FIND .coml Faceted chrome pyrope garnets.e sour •• lor . ri·ghr) rings (The Ring Lord.com) www. • : rings (Hoover & Strong. ARTIST PROFILE page 38 TECHN. Catalog. and [aspers from around tha world. ICE Resin" Beautiful metals.glassclay. www. pusher.r.G.com Claymania -- . Kim O'Neill. C-Illlfllilraru! rEd brass.BEYOND J.com D's Designs Cb. Debra Adelson. grinding abrasive wheels (Rio Grande.com •• Michael brass wire (Art Clay Romanik. .supplyhouse !ill .com) clutches Company.corn PRONGS CAN'T SECURE A STONE? chain. cut-off disks. www..laliTy cr. levels. orn) c alcohol glue see Contributors.corn Nassau. no mold needed in kiln.flnedings. www. Eimer's white (local hardware stores) page 32 • Wire. www. handm. wide 15eJ€c-ULlfl of jump artdaywortd. Gold-filled jump jump rings (Rio Grande.fr .com) F~aturing designer catccncns. novawlite.ArtJewelryMag. hollow or nigh·relief] Kiln fire altar drying.2roses.Kalmerl Unforgettable obfects. New kits'aNi add'ed often. www.we uocsrstand how .y. prong E~lablishDd In 191'4.nccverandstrcnq.eleyl We are the largest Canadian di~lributorof metal clevs..corn) www. Wautynski. r•• dy In mix Iresh.gesswein.BezeIForm.iiinmBlire kita end iUfrJp rihgSi!:ly OQiJnrl~ Klnnll. D's Oe-sijgn5: . sanding World pads.com p.y.com .IN MAIL page 50 .889·2472 Visit our Ollihul stOfll~~ndrnsntion this ad tQ gol10% off onv purch asa. 3·0.alue. Sarah J.com THINK AGAIN'I settings.riogr.contacts & suppliers t WHERE TO FIND IT contacts When contacting artists via e-mail. www.com • Gustav Reyes.com USA. .oy ssrvlc as.tirlElIk~s: fgri3ltsklU of:unlqLle st-Ell1in1l :s.micheleafriedman. Maggie Bergman. below) Art Clay.' Sterling silver sheet. Rockstar Jewelry Design www.theringlord. wire.com GOOD BEZEL ROl. setting radial disks (Stuller. bezel pushers. www.com EMBED BRASS WIRE METAL CLAY IN www. e~otic gemstone bead strG~ds. om c Gorilla Glue. • Valerie J.thunderbirdsupply. Janice Ho..r:avanadesign. equipment supplies end findings we have to offer for jewelry menulaeturers worldwide.il our Wab silu tosea th~ full range of tools. seamless sterling (FineDingS. GlasClay'" Patent Pending 11 Matal Cisys: Powder form. plus agate. denatured W a a re your d.unoonventionallapidarist.nat GALLERY poqe s! . www. closures. dowel..1 Lapidarist I Offering a large selec~on of USA cut uniquB cabochons... An ClaV.facereiewelryart.corn kimone1l'Il@me. bezel I. Bvailable.it •• r fiM'ng~. httpl/play-design-crE'ate..lry.age60 • Metal day.. handles (Rio Grande.com w'Ww.com PATTERNS 2 METALS.ilvl!!'I i3I •• Luella lnasseueshotrnall. Also.545. metel.de custom . two-part A TO \Mr.com SlepinlO Iheworld 01 Susan Lenen.. www.cornj THINK TWO rifl'llS ill stortfng. cup burs.6566. abrasive suppliers For contact information for project • Carved spider stone (Martha authors. charms and beads.rnelrssejqraff. overlay paste. Brooke Mariks-Swanso:n. Rebeca Mojica.SO MAKE YOUR OWNI page 58 • Brass (th rift sto res) • Hacksaw.ande . BRONZclay.finiti. 619·.e wrap mandrels.alorm cut smnes. www. www. 2CHA. blue apal~e. please call 1-888-558-1544 ext_523 Directory Bezel Form ™ Website ''Art Jewelry" in the subject line.com. Unique ste~ing & brcnze balels. www. Different Borzonl ~ Seasons Jewe. We s~eciaiize in lars and exntic f. quality and .Sler I~p'd.bluabuddhabcuttoue.11915 a widlJo s:election chi3illrni. Cellne Charuau. . page 54 • Bezel roller. Supply ObjectsandElements. om c Unconventiona. jump Gesswein 10 provide sarvlca. maromanik@sbcglobaLnet • John and Corliss Rose ~ 2Roses...RclaVI LeI our expertise and "USlOmBr service Wow youl SCULPT SWIRLS OF WIRE INTO A PAIR OF POST EARRJNGS (local pharrnacles) II www.com 79 .com Metal Clay Slipply House www.dsdesignsjewel.gustavreyes.stuller. Melissa bench vlse.different . Friedman. abrasive wheels. including wBvellits.idees & inspiration and tho tools & suprll as lO mBKB ·tIlem happen I • Butterfly earring (Thunderbird www. Why form wire the hard way? Krill ccntaln up 1016 mandrels in the shapes: and silas of calibrated gemstones. Inc. www. fMC and COPP.. gemstone intarsia.. seasonsjewelry • Boric acid. beads www. charuau. Perez ~ Cavan a Design. www. Michele A... Argentium '.lceResin. hand flies. www. epoxy (local hardware stores) • Grinding machine.com .metalcla. jeweler's saw.janiteho. page 8.IQUE5 rnachlne.

..cardlnalcreations. Bu(!sC 201 0 YOUR.. Am-erica'sF'avorite Beading and Jewel.2137 or go online www..ry Supply Company" -\ ~ Req~e5t your Free full color 436 page catallogof HOT jewelry-making supplies Can.- -r.".-r: \ ~ . . we supply everything else!" You supply ~ -.com Showcasing the artwork of Judi Weers www.DEPT C026 Grllnts .' Fire MgyntG·ln Gtm$ on..• 1"- .-.i'ass.800.AA*-v._. ~"'-" ~- -. ' .!....l."Friendly Service" Since 1973 OneFlreMCIuntaln way.J .<ld~ ~-.firemountaingems.355.. .. . OR 97526-2313 r d ~.. I..net 2010 Fire Mountain Gems and Beads Art Clay Jewelry Making Contest Finalist the creativity. STYLE CREATE F IOfth SWAROVSKI ELEM oNTS .

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