Mixed Media Jewelry

1 10 0 Mixed Media

J Je ewelr y Projects Best of Lapidary Journal Jewelry Artist, Volume 4

1

W

e’re proud to bring you 10 Mixed Media Jewelry Projects, Volume 4 of the Best of Lapidary Journal Jewelry Artist. Mix metal with paper, fiber, ceramics, mechanical parts, resin, polymer — even foodstuffs! — to create jewelry that tells a personal story and is sure to inspire compliments! 10 Mixed Media Jewelry Projects, Volume 4 of the Best of Lapidary Journal Jewelry Artist, brings

you some of our favorite designs in this hot, hot, hot genre. You’ll make earrings, pendants, pins, and a bracelet while learning to adapt a wide variety of materials to jewelry as you recycle found objects and interesting remnants. So pull out your stash of cool things that you haven’t been able to decide what to do with and let’s put them into jewelry!

Editor-in-Chief

&

Managing Editor

10 Mixed Media

Jew Je welry Pr Proj ojec ects ts

Contents

Mtl & Ppr or Fir Fet Tsse & Siver Brceet

By Michele A. Friedman

A fusion of fiber and metal ........................................................ .................................................................................................................. ..........................................................33

Pper, Resin, nd Peridot Pendnt By Eleanore Macnish Embed a famous design into a pretty wearable .................................................. ...............................................................................5 .............................5

Vintge Istrtion Pendnt

By Eleanore Macnish

A confection from recycled ephemera ..................................................................................... ...............................................................................................8 ..........8

Frmed Foc Chrm

By Shoshana Farber

Interchangeable inserts that can change with your mood ............................................................1 ............................................................111

Mtl & Foud Ojcts Fond Object Pendnt

By Eleanore Macnish

A vintage ruler and typewriter key mark a milestone .......................................................... ..................................................................14 ........14

Pottery Shrd Brooch By Julie Jerman-Melka J erman-Melka A nostalgic keepsake from a broken dinner plate ..........................................................................17

Mtl & Miscllous Sprine Errings By Eleanore Macnish Sweet little treats make a speedy gift ...............................................................................................20

PVC & Siver Brooch

By Robert Dancik

Faux Bone — fantastic plastic for jewelry work ............................................................................22 ............................................................................22

Coorf Resin Errings

By Tom & Kay Benham

Pretend plique-à-jour enamel ............................................................................................................27

Mti Techniqe Enmeed Pendnt

By Cynthia Alderdice & Lois Mansfeld

Combine metal clay, cloisonné, etching, stone setting, and chain making in one design ......30

© Interweave Press LLC. Not to be reprinted. All rights reserved.

Best of Lapidary Journal Jewelry Artist, Volume 4

10 Mixed Media Jewelry Projects

2

W

e’re proud to bring you 10 Mixed Media Jewelry Projects, Volume 4 of the Best of Lapidary Journal Jewelry Artist. Mix metal with paper, fiber, ceramics, mechanical parts, resin, polymer — even foodstuffs! — to create jewelry that tells a personal story and is sure to inspire compliments! 10 Mixed Media Jewelry Projects, Volume 4 of the Best of Lapidary Journal Jewelry Artist, brings

you some of our favorite designs in this hot, hot, hot genre. You’ll make earrings, pendants, pins, and a bracelet while learning to adapt a wide variety of materials to jewelry as you recycle found objects and interesting remnants. So pull out your stash of cool things that you haven’t been able to decide what to do with and let’s put them into jewelry!

Editor-in-Chief

&

Managing Editor

10 Mixed Media

Jew Je welry Pr Proj ojec ects ts

Contents

Mtl & Ppr or Fir Fet Tsse & Siver Brceet

By Michele A. Friedman

A fusion of fiber and metal ........................................................ .................................................................................................................. ..........................................................33

Pper, Resin, nd Peridot Pendnt By Eleanore Macnish Embed a famous design into a pretty wearable .................................................. ...............................................................................5 .............................5

Vintge Istrtion Pendnt

By Eleanore Macnish

A confection from recycled ephemera ..................................................................................... ...............................................................................................8 ..........8

Frmed Foc Chrm

By Shoshana Farber

Interchangeable inserts that can change with your mood ............................................................1 ............................................................111

Mtl & Foud Ojcts Fond Object Pendnt

By Eleanore Macnish

A vintage ruler and typewriter key mark a milestone .......................................................... ..................................................................14 ........14

Pottery Shrd Brooch By Julie Jerman-Melka J erman-Melka A nostalgic keepsake from a broken dinner plate ..........................................................................17

Mtl & Miscllous Sprine Errings By Eleanore Macnish Sweet little treats make a speedy gift ...............................................................................................20

PVC & Siver Brooch

By Robert Dancik

Faux Bone — fantastic plastic for jewelry work ............................................................................22 ............................................................................22

Coorf Resin Errings

By Tom & Kay Benham

Pretend plique-à-jour enamel ............................................................................................................27

Mti Techniqe Enmeed Pendnt

By Cynthia Alderdice & Lois Mansfeld

Combine metal clay, cloisonné, etching, stone setting, and chain making in one design ......30




2

y b t c e j o r P

Felttassel&sIlverBraCelet a fusio of fir d mtl

I

have been designing and making jewelry since 1992. The focus was always metal.

I had never incorporated any color in any material in my jewelry jewe lry until until I starte started d explorexploring the possibility of using wool felt in my work. Whimsical and bright, the tassels were the first expression of my new direction. I knew I was on a very different

MICHElE a. FRIEDMaN Opig Photo: HaP Sakwa Projct Photos: JOHn aMeS

skills you need

•

sawg

•

swat sog

•

pata us

materials an d tools you need

MaTERIalS

TOOlS

Siver tbing (ID 2.5mm) nine 3.5mm-3.56mm sections

Fx

2.5mm stering mesh chin 10 stering jmp rings, tiny (for wire)

liver-of-sfr or other oxidizing gent

Hrd nd esy sheet soder

Scotch Brite pd 220-grit sndpper

Sw bdes

Pice pot nd pice

Scribe

Torch with sm or medim tip

2 stering jmp rings, sm (for brceet ends, csp)

Stright edge

metals. Now, I combine metal-

10 stering jmp rings, medim, (for wires nd tsses)

Shrp scissors nd rotry ctter

smithing skills with an alterna-

18- or 19-gge stering wire

Nippers

Oxidizing tweezers

10 stering end cones End cps

Rond, ft, nd neede nose piers

Copper sheet to ct s het sin if needed

Stering csp

Fine sqre/ft neede fie

Tbe ctting jig

path from the one I had been on when only working with mixed

tive color choice: wool felt.

Fet sheet


Sodering srfce

Ctting srfce


Sodering pic Sodering tweezers

Sw frme


3

1

2

3

4

5

6

Saw 9 sections of tubing, each approximately 3.5mm long.

edge and cutting surface for accuracy. Insert 2–3 paillons of easy sheet solder inside each section of tubing and heat until solder melts.

{Ph 3} Use needle and flat nose pliers to attach each eyepin to bracelet with medium jump rings. Place between tubing sections and end caps.

Repeat for end caps. Pickle.

{Ph 4} Attached eyepins move only between tubing sections, not over them.

Sand outside of each section, leaving inside unsanded. Cut about 7” of mesh chain. Snip 10 sections of wire, each about 3/4” long. File one end flat on each. With rotary cutter, cut 3 1/8” wide x 1 1/4 “ long strips of felt for each tassel. Use straight

tI p n

Pay afu attto to a pats of t p a avo ovatg. Ty usg opp st to s t p a at as at sk f .

{Ph 1} Close 10 tiny jump rings. Solder opening of each ring against flat end of each wire section to create eyepins without openings.

Slide tubing sections onto mesh chain. Space each section equidistantly. Position end caps on ends of chain. These components need to fit snugly. {Ph 2} Sweat solder tubing and caps to mesh as follows: Apply generous amount of flux. Heat each segment until solder within flows to join them to chain.

Pickle. Check each section and end caps for successful soldering. Repeat until all pieces are soldered and secured. Solder clasp and end jump ring using remaining 2 small jump rings.

Solder medium jump rings closed. Oxidize entire bracelet and cones. Rinse, let dry and strip oxidation as desired with Scotch Brite pad. {Ph 5} Make tassel by placing handmade eyepin through top of cone. Pierce and place felt strip on eyepin. {Ph 6} Use scribe to force felt into cone.

Leave approximately 3 ⁄ 8” of wire, snip excess. Use round nose pliers to loop end under felt to prevent it from popping out of cone. Repeat for all cones. Trim felt with scissors as desired.

Michele A. FriedMAn has been a self-employed metalsmith and jewelry designer since 1992.

She has exhibited jewelry lines in art, design, and craft shows all over the country and is represented by galleries nationally. E-mail: [email protected] Web: www.mafdesign.blogspot.com




4

paper,resIn,andperIdotpendant embd  fmous dsign into  prtty wrbl

y b t c e j o r P

ElEaNORE MaCNISH Opig Photo: JIM LawSOn Projct Photos: eLeanORe MaCnISH

I

have had a love affair with the work of William Morris since attending an exhibit

of it at the Victoria & Albert Museum in London many years ago. I remember just walking though it over and over. By the fourth or fth walk-through, the security guards and I just nodded to one another — hopefully they didn’t think I was “casing the joint”! Many years later, I still love his designs and use prints of them in much of my work.

SKILLS you need

•

wwok

•

sog

•

s us

M at e r I a L S a n d t o o L S y o u n e e d

MaTERIalS

EZ soder

Soldering tools: x, pice, torch,

30mm stering siver beze cp

Two prt epox resin

14-gge stering wire: 6” ength

Popsice stic nd cen disposbe pstic cp for mixing resin

14-gge stering wire jmp ring hmmered t 1 Stering beded wire: pprox. 1 ⁄ 4”

6mm stering beze cp

nice (5-cent piece) to se s sodering spport, ex shft ctting dis, chmois bfng whee, poishing compond, eve

TOOlS

tempte Resin tools: gss drining cp,

TIME IT TOOk:

Hand tools: wire nippers, rond

btne ighter

6mm peridot cbochon

nosed piers, hmmer, stee boc

SOuRCES:

Desired imge (copied onto HP Goss Photo Pper with HP in jet in — other brnds m so wor)

Finishing tools: mmoni, wter

Tools & Materials: Most of the toos

nd iqid dish sop sotion, soft bristed toothbrsh, oxidizer or iver of sfr, e or sndpper

nd mteris for this project wi be vibe from we stoced jewer spp vendors.

Ge stic or white crft ge


Resin: Rio Grnde Coores Resin

with Thin Hrdener 1:1 rtio, www. riogrnde.com.

Optional tools: ring mndre, circe

Pper towe

24 gge beze with  w height of 2.30mm high: Rio Grnde #950274, www.riogrnde.com


1 hor ps cring time is wht it too me. I sed  premde beze both to ct down on time nd to me it more ccessibe to beginners (I’d s bot 2 hors if o wnted to fbricte o own beze).


5

1

2

3

4

5

6 le or sand the back of the bezel cup and wire bail to remove any oils or dirt. Flux.

actual level and prepare the curing area before you pour the resin.

{Ph 3} Lay the bezel on the soldering

With a glue stick or a thin layer of white glue, cover back of paper image and press into the bezel cup. Cover it with a paper towel and burnish with your ngertip to press out any bubbles.

block. Place a nickel next to the bezel and lay the wire bail across the bezel cup and nickel. Solder the bail onto the bezel cup using EZ solder. The nickel will act as a support for the wire to keep it from tilting as you solder. Pickle, rinse, and oxidize it. Polish it with bufng compound on a chamois wheel. ➤

Covering the image with a paper towel prevents any moisture or oils from your ngers from smudging the image. Let it dry completely.batch. Mix glitter thoroughly into resin after each addition.

{Ph 4} Using a cutting disk, make a

7

groove in the inside wall of the bezel to provide an anchor for resin — it does not need to be deep. Soak it in ammonia solution for a few minutes and scrub with a toothbrush. Rinse and dry it. {Ph 5} Make a copy of the original

image on glossy photo paper with an ink jet printer. Trace a circle on copy and cut it out.

{Ph 7} Set the pendant on the curing

surface and use a coin to raise end opp osite wire bail so that it is level. I started out with a quarter, but when I added resin, the resin immediately started to ow toward the bail, telling me it was not level — so, I switched to a dime.

If you are using an original image, you will need to seal the image completely — including the edges — with a sealer like decoupage sealer and let it dry completely.

Place the peridot cab in a 6mm bezel cup and set it. Lightly sand or le the back of the bezel cup. With a popsicle stick and a plastic cup, thoroughly mix the resin a ccording to the package directions.

When making the circle, it is easier to achieve a perfect one by forming it on a ring mandrel set in a vise.

{Ph 6} Prepare the area where the

➤

{Ph 2} Cut a 6” piece of 14ga wire. With

I use a cheese board with a glass dome set on a bookshelf to cure my pieces. Taking into account that surfaces which look level are not always level, make sure you use an

{Ph 1} Shape the beaded sterling wire

into a circle that ts inside bezel so you can just drop the circle in. Solder the ends with EZ solder. Place it in the pickle. ➤

round nosed pliers, coil each end eq ually. Fold wire in half to form a bail. Hammer each side on a steel block to atten. Lightly


➤

poured resin pendant will cure and make sure it is level.


I used Rio Grande Colores Resin with Thin Hardener at a 1:1 ratio, though the instructions advise 2:1. I use the Colores with a 1:1 ratio because I like how thin the resin is and how it easily seeps into nooks and crannies.


6

easy option: No Solder

8

You can buy premade bezels with pendant

9

{Ph 8} Put a small amount of resin

(about size of a domed quarter) in the bezel. Pick up the pendant and swirl the resin around so that it touches all the inside edges of the bezel and completely covers the image. Replace the pendant on the curing surface and drop it in the beaded wire circle. Drop in the bezel-set peridot and position it where you want it to be. It is important to start with a small amount of resin because you will displace some resin by adding the beaded wire circle and the bezel set cab. You can always add more resin later — initially, start with less than you think you will need. It is much easier than trying to clean up resin that oozes out the sides of the bezel!

bails attached from most well-stocked craft stores and eliminate soldering altogether.

Using a butane lighter, lightly sweep the ame over the surface of the resin to pop any bubbles. For this resin, there should be no bubbles; if there are bubbles, the lighter ame should take care of them. ➤

When the leftover resin is rock hard, your pendant will be fully cured! Attach the jump ring to the bail and slide onto a neckwire or chain to wear it. ➤

is a glass beadmaker and silversmith living in Albuquerque, New Mexico. She has been making glass beads for 9 years and doing silver work for 1 1/2 years. Visit www.emacnish.com to see more of her work. eLeanore MacnISH

{Ph 9} Making sure there are no

bubbles and that the peridot is where you want it to be, cover the pendant with a drinking glass or glass dome and place it aside to cure for at least 24 hours. Check on the pendant a few times over next few hours to make sure there are no bubbles and that the cab has not moved. To check whether the resin has cured, check the leftover resin in your mixing cup instead of the actual pendant!

For over 4 years, Step by Step Wire Jewelry has been the only magazine devoted to bringing you the very best in wire!

Subscribe now and get a

8 0 0 2

w e i v e r P r e m m u S

FREE TRIAL ISSUE*

In every issue you’ll find:

Subscribe Today! stepbystepwire.com or call (866) 836-7865 *If not completely satisfied keep your FREE issue and return the bill marked “cancel” and owe nothing.


• •

•

Expert advice from premier wire artists 12–15 original jewelry projects with full-color step-by-step photographs The newest wire trends and designs

We’ll help you master your wire skills, learn creative techniques to make your own designer jewelry, and spark your creativity.



7

y b t c e j o r P

vIntageIllustratIonpendant a cofctio from rcycld phmr

t


o make this pendant, you need to go on a scavenger hunt. Gather all sorts of earrings,

vintage illustrations of cakes, and whatever you think might look good hanging from the bottom of your pendant. Good places to start hunting are a flea market or tag and yard sales. I gathered orphaned earrings, vintage jewelry, coins, tokens, and game pieces for my pendant.

skills you need

•

fabato

•

bz sttg

•

sog

materials and tools you need

MaTERIalS Vintge pstry imge Vintge rhinestone erring

Fine siver beze wire t enogh to cer edges of erring 16-gge wire for jmp ring

Cer pcing tpe

continer (rger thn pendnt nd deeper thn ength of bi) fied with rice

White crft ge TOOlS

Soldering: torch nd tips, third

Vintge per drop

ammoni, wter, nd iqid dish sop sotion

22-gge stering sheet

Toothbrsh

grph pper, trcing pper, spry dhesive, penci

22-gge stering sheet: 1 1 2 ⁄ 2” x ⁄ 2” for bi

Oxidizer or iver of sfr

Hand tools: sw frme, 2-0 sw

Fine siver beze wire deep enogh to hod imge nd resin

uV cre resin Methy coho or ni poish remover


Layout tools: permnent mrer,

bdes, crbide tip scribe (or pnch for dots), rond nosed piers, setting toos, hnd shers, respirtor ms, sm hmmer,


hnd, soder (hrd nd extr EZ, ow temp pste soder), fx Finishing tools: fex shft,

chmois bffing whee, poishing compond Additional tools: dri bit for

16-gge wire


8

1

2

3

4

5

6

7

8

{Ph 1} Lay out objects and play around with composition. {Ph 2} Choose an earring for top of piece and remove back finding. Choose a focal cake illustration. Choose an object to hang from the bottom. {Ph 3} On graph paper, outline edges of all components and design overall shape of pendant.

From here, you need to decide where any areas of stress might be and how to compensate for them. I make a “pendant plan” for each metal piece, indicating where I will solder, and in what order.

My pendant is made up of 3 pieces of metal. I soldered the bezels onto the frontfacing silver sheet with EZ solder, and then soldered the bail and the back curlicue with low temperature paste solder.

{Ph 6} Trace design for each metal piece on a half sheet of tracing paper. Spray 22ga sterling sheet with adhesive, apply tracing paper drawing to adhesive, let dry.

{Ph 4} Fit bezels for rhinestone earring and cake illustration. Use pliers to conform bezel to outlines. Make bezels a bit larger than components.

{Ph 7} Rip overhanging tracing paper from edge of sheet and saw out shapes. On soldering block, burn off paper and adhesive (fumes are toxic — wear a respirator mask). Pickle, rinse, file, sand smooth.

{Ph 5} Solder bezels together with pallions of hard solder.

Make adjustments as needed to sketches after laying soldered bezels back on graph paper.

{Ph 8} Solder bezels to front of cutout with easy. Pickle, rinse. On back of cutout, lightly flux bail and curlicue panel. Apply small amount of low temperature paste solder. Support piece as needed. Solder, pickle, rinse, dry.

t

i fabcated a bezel-set clasp fom a vtage butto.

t

My pedat pla ad otes.




9

9

10

11

12

Using a marker, dot where you want a border. Punch dots using a carbide tip and small hammer. Remove marker with methyl alcohol or nail polish remover. Oxidize piece as desired. Polish with chamois buffing wheel and compound. Soak in ammonia solution and scrub with soft bristled toothbrush. Rinse and dry completely. Set earring in bezel. {Ph 10} Seal paper illustration by sandwiching between 2 pieces of packing tape. Trim to fit in bezel. Dip finger in small amount of white craft glue and run along edge of sealed cake illustration to encase edges. Set aside to dry. Glue illustration into bezel. Let dry . {Ph 11} Lay pendant in rice and adjust till level. Squeeze UV resin onto surface of illustration to desired depth. After a few minutes, look for bubbles at surface. Wave a lighter flame over top of resin to burst bubbles. {Ph 12} Set container holding pendant in sunlight for about 5 minutes to cure. Make a jump ring from 16ga wire and attach bottom charm to pendant. Support bail and bend tab over a support to make a hook. Attach pendant to neck wire or chain.

soldering setups You w pobaby  to us so suppots to gt vytg to st up oty. i us ks a a t a to suppot t fft vs of my ps bfo i so.

eLeanore MacnISH is a glass beadmaker and silversmith living in Albuquerque, New Mexico. She has been making glass beads for 9 years and 1 doing silverwork for 1 ⁄ 2 years. Visit www. emacnish.com to see more of her work.

paper and resin n

W you ppa pap fo s, t s vy mpotat to sa t pap — ug t gs! if you o ot sa t pap t s w tu t pap tasut. if you mss a oup of spots, t pap w at k a wk a pu s to ts fbs. Somtms, i k t fft of a tt bt of s bg to t mag baus t as to t ag ook, owv, f t’s mpotat tat t mag b osstt, you must sa t ompty!


O te back, i added a spkleflled supse.

n

hee, te left sde of te seet musc was sealed ad te gt sde was ot sealed. it makes a ggatc dffeece!


W i sa pap fo s, i saw t btw 2 ps of a pakg tap, ut t mag out of t tap a spa gu aou t gs. if t mag s too ag to b ov by t tap, i bus bot ss wt wt gu, t t y, a t ut out t mag a sa t gs wt gu. it s ssay to sa ay pap pout — vtag o otmpoay.


10

FraMedFoCalCharM

y b t c e j o r P

Itrchgl isrts tht c chg ith your mood

M

SHOSHaNa FaRBER Opig Photo: JIM LawSOn Projct Photos: SHOSHana FaRbeR

y miniature frames can be incorporated into virtually any piece of jewelry, or made into personalized cufflinks. The double-sided frame will hold up to two photos or artwork which can be removed

and replaced as desired. Pay close attention to the exact thickness of the required sheet — this will result in a precise and snug fit.

Cufflink design option

if makg uffks, t bak of t p must ma so. Fg ompots a b so ty oto t so baks of t fams.

skills you need

•

bas fabato

•

swat sog


MaTERIalS Stering sheet; t est 16mm x 16mm, 0.9mm thic Stering sheet; t est 20mm x 40mm, 0.7mm thic Scrp copper or brss sheet: t est 11.5mm x 30mm, excty 0.9mm thic TOOlS Sodering bric; torch; hrd soder; fx; titnim sodering pic


lrge met fie; sm neede fies Emery pper; ft thin wooden stic (sch s  coffee stirrer) 1mm dri bit Fbric contining metic fiber weve or stee mesh Roing mi

Jeweer’s sw; bdes; wx

Stering findings of yor choice (jmp rings, bi, cffin components, chin)

Cipers

Poishing componds:


Greystr nd roge Soft briste brsh mndres for Foredom; cotton bffs Compter; digit imges; adobe Photoshop or other imging softwre Printer; sheet of photo pper “8 mi” thic (not miimeters) Sm sheet Myr, t est 25mm x 25mm, “4 mi” thic (0.1mm) Jpnese or decortive ppers or minitre drwings


11

1

2

3

4

5

6

{Ph 2} Saw out center of “threelegged” square, being sure to cut along the inside of scribed line. File inside edges completely level and ensure corners are square. Saw along outside lines of square, cutting out three-legged shape from sheet. This will be inside layer of frame.

7 {Ph 1} Square off corner of 0.9mm thick silver sheet. Use calipers to mark off a parallel line exactly 2mm from one side of corner. Mark off lines exactly 14mm from both sides of corner. Finally, mark off lines exactly 16mm from both sides of corner. If you like, go over lines with a thin pen.

proteCtyourrollers You mgt wat to “saw” t mta s a sv fo o ptg s of a fo p of astok to pvt tasf of t mta s mpsso of t os of you m.


{Ph 3} Move frame to soldering block. Cut out many pallions of hard solder. Flux piece and heat slowly. When flux settles, distribute pallions evenly over top of piece. Heat metal until solder flows, using titanium pick to distribute solder and coat entire top of piece. Set aside.

Anneal an approximately 20mm x 40mm piece of 0.7mm sheet. {Ph 4} Wrap annealed sheet in metallic fabric of your choice. Ensure metallic thread runs horizontally — or parallel — to edge you are feeding through rolling mill. If using steel mesh, place wrapped piece between two small brass plates to protect rollers. {Ph 5} Insert wrapped piece into rolling mill. Make note of gauge setting, remove piece, and tighten rollers at least 1 turn more. Feed fabric-wrapped metal ⁄4


framing tip it may b as to mak you s aog t s of t fam by sbg tm 1mm fom t  gs. if you k, ta t sb s wt p.

sheet through mill. Cut roller-printed metal into 2 pieces, each at least 20mm x 20mm. {Ph 6} Return to soldering block. Flux one roller-printed square. Place three-legged frame, solder-side down, on top of printed square. Sweat-solder pieces together by heating evenly, until you see solder flowing around joint edge. Trail solder pick along seam as solder flows. Pickle piece until oxides are removed. Rinse and dry. Trim any overhanging edges and file gently until piece is once again square. Position piece with frame-side up. Use calipers to mark an inner window 3mm from outside edges. {Ph 7} Drill hole in center of square. Insert saw blade into hole and carefully cut out inner window. File edges level and corners square.


12

Polish piece before attaching chain. Apply polishing compounds to textured metal with soft bristle brush so pattern doesn’t wear away. Use cotton buffs for sides.

8

9

{Ph 8} Sweat-solder another frame and roller-print another square for other side of piece. File and sand outside edges. Position piece so window faces up. {Ph 9} Drill hole in center of solid back sheet. Saw 4 diagonal lines out from drilled center to each corner of window.

Using top window lip as guide, carefully saw out back window. File edges level and corners square. Wrap a thin, flat wooden stick or coffee stirrer in emery paper and

sand edges of both windows smooth and level. Cut a flat, 0.9mm thick copper or brass rectangular strip 30mm x 11.5mm. Insert strip into side groove of completed frame. If needed, use rolling mill to reduce thickness gradually until the strip slides in. With rawhide mallet, gently tap each side of frame and along protruding end of brass strip to ensure that inner grooves are aligned. Attach findings or jump rings of your choice. Inner frame layer will accommodate a drill hole up to 2mm — centerpunch exactly 1mm from side of piece.

Using Adobe Photoshop, crop or alter selected high resolution images. Resize to 11mm x 11mm, or cut decorative paper squares or drawings to this size. Cut two 11mm x 11mm squares of Mylar. Sandwich photos between Mylar sheets. Slide image sandwich into frame’s side groove, being sure to push inserts straight to back of frame.

SHoSHana Farber completed her diploma in art, craft, and design with a major in Jewelry and Small Object Design from the Kootenay School of the Arts in Nelson, British Columbia. She lives in Toronto and has built a studio where she designs and manufactures jewelry under the name Showsh Design.

l

Now You Can

Collect Them All! Download this must-have resource today to: • Get instant access to stunning projects and expert how-tos. • Master the most popular designs in Lapidary Journal Jewelry Artist . • Skip the guesswork, with helpful hints and step-by-step instructions. • Use endless variations to create even more one-of-a-kind designs!

Get started on these fun jewelry-making projects today at interweavestore.com Create strong designs with wire techniques.

Discover the vast potential of metal clay.


Mix up your metal jewelry with new cool techniques.



13

FoundoBJeCtpendant

y b t c e j o r P

a vitg rulr d typritr y mr  milsto

M


y friend Lucille wears four pieces of jewelry 90% of the time. The

same pieces every day — when you’re standing behind her, you know it’s her just by looking at the clasp on her necklace. She loves those four pieces and they look fabulous on her — so more power to her! However, having this kind of friend makes the whole giftgiving thing rather difficult when making jewelry is what you do. My solution? I made her a pendant and put it on a key ring to disguise its true nature. I also stamped a bunch of wrong information on the silver “card” purely by accident (if you knew me, you’d know that’s not uncommon), which I discovered when another friend was looking at the piece with a befuddled look on her face. The accident made the whole situation really funny. “Shut up! You

skills you need

•


•

sog


are not 50!!!” the message says

MaTERIalS

Soder — Hrd, EZ, nd Extr EZ

Crbide tip scribe

— and she’s not, because the

Vintge rer

Fx

Setting toos

gift was for her 53rd birthday.

Vintge typewriter ey (preferby with tbs on the bc)

ammoni, wter, nd iqid sop sotion

Hnd shers for ctting beze wire nd gery wire

Toothbrsh

Chmois bffing whee

Oxidizer or iver of sfr

Poishing compond

TOOlS

Third hnd

I’d even been at her 50th birthday party and all of the ones after it! I did have the best of

22-gge stering sheet

intentions, though — and luck-

Sm scrp of 20-gge stering sheet

ily, Lucille loves the piece, so I consider it a success.

Siver beze wire t enogh to cer srfce of rer nd typewriter ey 14-gge stering ded soft wire; 1 pproximtey 1 ⁄ 2” ong 14-gge stering jmp ring 22-gge stering sheet, 1” x 2” 3 22-gge stering dis, ⁄ 4”


Dri bit for 14-gge stering wire Vise; rwhide met or ft jwed piers Dri bit to contersin hoe for 14-gge wire Sm woodcrving chise or rzor bde monted in  hnde 2-0 sw bdes Permnent mrer Sw frme Rectngr joint-edge fie letter stmps for messge tg Fies nd sndpper for Torch smoothing met before poishing Rond nosed piers



14

1

2

3

4

5

6

{Ph 1} Cut length of ruler. With permanent marker, mark edges of ruler on 22ga sheet.

{Ph 4} Place bent arrow on ruler and slide along edge until you arrive at place you want arrow to point. With permanent marker, outline tab on back and mark where shaft lies on edge of ruler.

{Ph 2} With permanent marker, draw outline of pendant around traced ruler lines. Saw pendant out of sheet.

Make optional message tag if desired. Measure ruler edge. Measure distance between bottom edge of ruler and where on ruler you want arrow to point. For my pendant, arrow point is halfway up l ength of numerals. Arrow should look like a capital “T” with a triangle on bottom. The vertical line of “T” is the shaft, and horizontal top of “T” is the tab. Transfer arrow measurements to 20ga sheet and saw arrow out. {Ph 3} Bend tab at 90° angle to arrow.

message tag cut t tag out of 22ga st. esu t s a tt bt sma ta t pat. Us tt stamps fo t mssag, aag t mta po to stampg t f ssay. Stamp o a st bok fo t ast mpsso a to kp t tag fat.

Chisel out tab outline. Carve a little at a time and verify fit often by setting tab into niche. Tab should be flush with surface of ruler. {Ph 5} File groove for shaft of arrow on edge of ruler, using marker lines as guide. Groove must be deep enough for arrow to sit flush in ruler, so it doesn’t distort bezel fitting around ruler.

7 Clean Corners

Bend tabs of typewriter key back, to create legs — like a little table. {Ph 6} Using cushioned plier handle, tap on key letter to remove it and all interior parts. File or sand steel bezel of key so it is shallow enough for bezel wire to clear curved edge.

i us a vs a aw mat to amm t saft of t aow ow fo a a o, but you a aso us fat jaw o ofomg ps.

Make silver bezels for ruler and typewriter key using hard solder.

keyring design option .



10 Metal Clay Jewelry Projects

15 15

8

9

10

{Ph 7} Solder ruler bezel to cut out sheet with EZ solder.

drilled holes — much like making a countersink for a screw.

{Ph 8} Solder typewriter key bezel to

Assemble piece by attaching 14ga jump ring to drilled hole in top of pendant (and message card if you made one). Solder jump ring with Extra EZ solder using a third hand to hold jump ring.

rim of typewriter key into bezel. Verify letter is in proper position related to soldered wire on back of disk. Set key into bezel. Using round nosed pliers, bend 14ga wire on back of disk into a hairpin loop: curved loop on top where it hangs on the pendant, and straight from there on. Slide type key charm into hole at bottom of pendant.

File and smooth all silver cutouts and 14ga components, oxidize, rinse, and polish using chamois buff and compound. Rinse in ammonia/water/soap solution and scrub with soft toothbrush. Fit arrow into filed notch on ruler. Lay arrow and ruler into bezel; set. Lay letter, plastic lens, and steel

eLeanore MacnISH is a glass beadmaker and silversmith living in Albuquerque, New Mexico. She has been making glass beads for 9 years 1 and doing silverwork for 1 ⁄ 2 years. Visit www.emacnish.com to see more of her work.

disk with EZ. Pickle, rinse, and dry both bezel assemblies. {Ph 9} Solder 14ga wire to back of

disk with Extra EZ solder. {Ph 10} Using carbide tip, make an indention on each end of pendant for hole placement. Drill holes in indents. Use larger

drill bit by hand to remove burrs from

Flashcard Jewelry Artist ’s eNewsletter Flashcard is the best email source for studio jewelry artisans. Every other Tuesday, Jewelry Artist ’s Managing Editor Helen Driggs will share some of the coolest ideas and tips she’s come across to help you design and execute your own jewelry projects. Helen will be your guide into the fascinating and creative world of the art and science of artisan jewelry making. Sign up now, and stay informed about: ☛ Upcoming workshops ☛ Extraordinary exhibits ☛ Opportunities for showing your own work ☛ New tool and product information ☛ Expert insight into buying supplies ☛ Ideas for selling your own jewelry ☛ Time and money-saving studio tips ☛ Exclusive free bonus projects

GO TO WWW.JEWELRYARTISTMAGAZINE.COM AND SIGN UP TODAY FOR YOUR FREE JEWELRY ARTIST FLASHCARD. © Interweave Press LLC. Not to be reprinted. All rights reserved.



16

potteryshardBrooCh

y b t c e j o r P

a nostlgic kpsk from  brokn dinnr plt

JulIE JERMaN-MElka Opig Photo: JIM LawSOn Projct Photos: JULIe JeRMan-MeLka

enjoy the challenge of working with found objects

I

into the trash. In this simple project, I’ll show you how

and incorporating them into a wearable piece of

to recycle the broken shards and make a simple brooch,

jewelry. If you’re like me, you probably have fond

perhaps reminding you of one of those special times

memories of enjoying a special dinner with family or

with friends and family.

friends, using the “good” china, or maybe enjoying a

Instead of using a commercial nding for this piece,

cup of afternoon tea from vintage tea cups. Inevitably,

I decided to make my own pin mechanism. It’s easy

a piece of china or one of the prized teacups acciden-

to execute and gives the piece a simple, handcrafted

tally breaks, and it’s painful to just throw the shards

elegance with an extra personal touch.

SKILLS you need

•

sog

•

bz sto sttg


MaTERIalS Potter shrd 22-gge stering sheet: 2" x 1 " 1 / 2 1 " 22-gge brss sheet: 2" x 1 / 4

28-gge stering beze wire: 5mm height x 6" 20-gge rond stering wire: 6"

18-gge rond nice wire: 4"

330 epox liver of sfr

One 7mm hf-dried btton per

ammoni

#65 Dri bit

TOOlS

Hrd nd medim soder Textre to roer print (textre pper)


Soldering tools: torch, soder

pic, Soderite pd 6" x 6", pice pot with pice, copper tongs, cross ocing tweezers


Hand tools: met shers, wire

ctter, sw frme, sw bdes, beeswx or Br life, bench pin, 6" hf rond e, neede es, 1 " bent stee brnisher 2 / 2 Other tools: roing mi, bff-

ing mchine, dst ms, sfet eewer, Shrpie, Fbstre or bfng compond, 4" msin bff, ex shft


17

1

2

3

5

6

7

4

{Ph 1} Select pottery shard.

The shard I’ve chosen is 3/4" x 1 1/4", so all of my measurements are based on using a piece of pottery about this size. ➤

{Ph 2} Cut a 1 1/4" x 1" pie ce of 22ga sterling sheet. Anneal

and pickle. Rinse in water and dry completely. Cut a piece of 22ga brass sheet slightly larger than the silver sheet. Do not anneal. {Ph 3} Cut a piece of rice paper to 1 1/2" x 1 1/4". Sandwich

rice paper between silver and brass sheet and pass through the rolling mill under pressure to roller print. ➤

Your silver sheet will distort and elongate with this process.

{Ph 4} Make bezel for pottery shard using at nose pli-

ers. Solder bezel together using hard. Pickle bezel until clean. File any excess solder on seam. Rub bezel on sandpap er to clean bottom edge.

My ogal sketc fo te pece {Ph 5} Place shard on rollerprinted silver sheet. Trace

outside edge of shard with Sharpie pen to create an interesting shape for your brooch. Mark on metal sheet will be slightly larger than shard. Saw along Sharpie line and then ne-sand edge.

tIPS on SuPPLIeS n

if you o’t av a og m, you a puas mboss mta sts fom Mtafous: ww w. mtafous.om, 888-944-0909, o dav h. F: www.fo.om, 800 -822-1996.

n

i pf usg Fabuust bufg ompou baus t gvs m a ustous s a i  o’t  to ps. it otas a uttg a a posg ompou  o ba.

n

Txtu pap s ama pap a a b fou at at suppy stos. look fo pap  tat otas mts mb  t pap , w w gv you p a mo tstg txtu.

{Ph 6} Place bezel on sheet making sure there are no

gaps between them. Solder b ezel to roller printed sheet using chips of medium solder. If there is a gap, rub bezel on sandpaper again to true up edge before soldering bezel to sheet. ➤

{Ph 7} Decide where you want the pearl. Center punch

a divot in metal and drill a hole using #65 drill bit. Insert a 1 /2" length of 20ga round wire through hole, extending it 1/8" out of back of brooch. Solder wire from back of brooch with medium. Cut, le, and sand excess wire until ush with back.




18

9

8

12 This is also a good time to stamp the back of the piece with a sterling stamp and your personal maker’s stamp if you have one. ➤

10

11

13

14

{Ph 10} Curl wire for pin stem with

round nose pliers twice to create tension for mechanism. End of pin should extend slightly beyond catch. Snip end if too long, then le, sand, and polish.

{Ph 8} Use 4" of 20ga round nickel

wire for pin mechanism. Bend wire in half and solder ends to back of brooch with medium solder. Pickle and sand any excess solder. Make sure you locate the mechanism above the central axis so the pin will sit properly when worn.

{Ph 11} Set shard in bezel and check

height: bezel should just barely extend above shard. File bezel down if too high. Push walls of bezel over shard using bent steel burnisher.

➤

5

I use a triangle le to le the bezel corners. This creates a V shape, so the metal will not fold over itself during setting.

{Ph 9} Snip wire for catch at /16" and {Ph 12} Polish brooch on bufng

SettIng tIPS

rinse in cold water. Repeat until you achieve desired patina color, then let air dry. Polish lightly to bring contrast to piece. {Ph 14} Adjust height of stem for pearl

by cutting and ling until pearl sits ush with silver sheet. Mix equal parts of 330 epoxy on small piece of paper with toothpick. Put small amount of epoxy on stem for pearl and place pea rl on stem. Allow epoxy to dry. juLIe jerMan-MeLKa earned

n

You potty sa may av a gua top sufa, so you w av to  t bz to t pop gt  o to av a bz tat s vsuay pasg.

n

Pa t potty sa  t bz a  t bz to mat t g of t sa, makg su to av t bz xt byo t sa.

n

i stat wt pusg t bz ov o t s of t o st, a t po aou t sa.


{Ph 13} Dip brooch in solution and

➤

3

bend over.

machine to desired polish. Clean off bufng compound using weak solution of sudsy ammonia mixed with water and a soft toothbrush. Rinse piece under warm water and dry with soft cloth. Dissolve a p ea size piece of liver of sulfur in a cup of warm water.


her M.F.A. from Colorado State University in Fort Collins, Colorado, where she lives and works. Her work can be seen in galleries throughout the United States. She also teaches part time at Laramie County Community College in Cheyenne, Wyoming. You can see more of her work at www.yinganvildesigns.com.


19

sprInkleearrIngs St littl trts m  spdy gift

W

y b t c e j o r P


hile doing my resin research I embedded everything I could think

of! At an estate sale, I spied some cake decorations in a cabinet and thought, “Hey! I wonder if I could put those sprinkles in resin!” Before I tried it, I didn’t think it would work: I thought the resin would degrade the color coating on the candy, but I was wrong — it worked beautifully! These earrings make great gifts. They take about 20 minutes to make and 15 minutes to cure. They are exceedingly happy, bright, and truly sweet. You’ll need to work on a sunny day, at least if you use the same UV resin I did, as it needs to cure in the sun. If you choose traditional two-part epoxy resin, you can work on a cloudy day, too.

skills you need

•

•

sog

bas fabato


MaTERIalS

EZ soder

TOOlS

Finishing: chmois bffing whee,

20-gge stering wire: 3 two 1 ⁄ 4” engths

Resin

Soldering: torch, strier,

poishing compond, brss brsh, soft bristed toothbrsh.

Two 15mm stering beze cps Cndy sprines of yor choice Siver, copper, god, or pdim met ef White crft ge

ammoni, wter, nd iqid dish sop sotion Oxidizer or iver of sfr Tcy cy Pen


nices, sodering bric, fx, pice pot nd pice Hand tools: wire nippers,

ft nosed piers, fie, fine grit sndpper Other tools: gss drining

cp, btne ighter



20

1

2

4

5

{Ph 1} Cut two 1 3/4” lengths of 20ga wire. File ends smooth.

Lightly sand back of bezel cups and wire to remove any oils or dirt. {Ph 2} Lay bezels side by side on soldering block. Place nickel next to each bezel. Lay wire across bezel cup and nickel.

The nickel will support the wire at the same height as the bezel cup and keep it in position while soldering. {Ph 3} Flux, lightly heat until flux becomes chalky. Lay pallion of EZ solder on each bezel cup, ensuring solder touches wire. Solder.

Pickle, rinse, dry. Oxidize. Polish with buffing compound on a chamois wheel or with brass brush. Soak in ammonia solution for a few seconds and scrub with toothbrush. Rinse. Dry. {Ph 4} With flat nosed pliers, grasp end of each wire and twist a few rotations.

Wire anneals and becomes softer during soldering; twisting the ear wire work hardens it and makes the metal stiff again.

6

7


3 While you’re twisting, make sure you keep the wire straight. Five or 6 rotations are usually sufficient. {Ph 5} Apply a very light coat of white craft glue to interior of bezel cups. Press metal leaf into glue.

The metal leaf will be covered up with the sprinkles, so there is no need to be tidy or exact — wrinkles are okay. {Ph 6} When glue has dried, remove overhanging metal leaf from bezels.

If you prefer, just polish the interior of the bezel cups instead of adding the metal leaf. Either way, the final outcome is better if the interior of the bezel cups are shiny. Make 2 small balls of tacky clay. Mash balls down into pancakes on a hard surface. Lay earrings down on clay and press. Embed earring backs into clay and level them. Fill leveled bezels with sprinkles until flush with top edge. {Ph 7} Apply resin. Wait a few seconds to see if air bubbles surface. When bubbles rise, wave flame of lighter close to resin surface to pop them.

8 Best of Lapidary Journal Jewelry Artist, Volume 4

If you’re using two-part epoxy, follow the manufacturer’s instructions very carefully with regard to mixing or you’ll end up with a sticky mess that will never harden. I use a one-part epoxy UV resin that comes in a bottle and is ready to go. {Ph 8} Put earrings (still attached to hard surface with tacky clay) in sunlight. Place drinking glass over them to shield from dust. Leave in sunlight approximately 10 to 15 minutes. Rotate every 5 minutes to allow light exposure to all parts of resin — both the walls of bezel cup and sprinkles will cast shadows.

If you’re using two-part epoxy resin, cure it for 48 hours before bending the ear wires. {Ph 9} When resin is fully cured, bend wires over pen to create a “U” shape. With flat nosed pliers, bend ends of wires to finish hooks. eLeanore MacnISH is a glass beadmaker and silversmith living in Albuquerque, New Me xico. She has been making glass beads for 9 years and 1 doing silverwork for 1 ⁄ 2 years. Visit www. emacnish.com to see more of her work.

9 10 Mixed Media Jewelry Projects

21

pvC&sIlverBrooCh

y b t c e j o r P

Fux bo — ftstic plstic for jlry or

F

aux Bone™ is a new material for artists that is easy to use, affordable, and non-

toxic. In this project, I used Faux Bone with sterling silver, pearls, and a Chinese carnelian bead. Owing to its basic indestructibility, all riveting, drilling, stamping, electric etching, and hammering can be done without fear of chipping or cracking — and without the use of heat or spe-

•


•

•

vtg

MaTERIalS

TOOlS

OPTIONal

Fx Bone

Jeweer’s sw; #1 nd #2/0 bdes

Eectric etcher

22-gge stering sheet pproxi1 mtey 1” x 2 ⁄ 2” (textred or not) 13-15” 18-gge rond stering siver wire

be left pure white, or pigment

6mm rond bed (or simir)

can be rubbed into stampings or

acryic pint or simir

bit of shoe polish for a bonelike

Brown (or other coor) shoe poish

look and feel. Faux Bone invites

Msing tpe or simir

possibilities are as endless as

g


cial treatment. This material can

experimentation and play — its

Projct Photos: JIM LawSOn

skills you need

Freshwter pers (or other beds, pers, stones, etc.)

scratchings and finished with a

ROBERT DaNCIk

Bench pin

Tringr scrper Checering fie

1 Dri; bits size ⁄ 4”, nd #’s 54 nd 60

1 ⁄ 8” dri bit

Contersin bit

Fies; medim nd fine Siicon crbide sndpper; grits 320, 400, 600 Scribe Torch (sm crème brûée torch is fine)

Cynocryte ge

your imagination.



10 Mixed media Jewelry Projects

22 22

1

2

3

4

5

6

{Ph 1} Draw a 21/4” x 11/2” oval on sheet of Faux Bone.

down, and 3/8” to the right of the oval centerline — with silver on the left.

{Ph 2} Using jeweler’s saw with #1 blade, cut out oval. File edges and sand with 320-grit sandpaper. Sand two flat sides and edges with 400-grit sandpaper.

{Ph 4} Use countersink in drilled hole to widen top. Bevel should not go deeper than about 1/6”.

vise vertically with edge of oval facing up. Locate drill bit on edge, in line with guideline passing over bead hole. Drill slowly through edge into bead hole and across into other side of bead hole, keeping drill turning as you retract it.

{Ph 5} Draw line on face of oval perpendicular to centerline, which passes through center of bead hole. Place oval in

{Ph 6} Countersink or use 1/8” drill bit to make slight well so ball on end of wire will seat into edge of oval.

{Ph 3} Measure, mark, and drill bead hole with a 1/4” drill bit. My bead hole is 7/8”

Better pin stems

n

n

To mak a , sap pot o t p stm, f a saow “V” goov to o g of t b p o to a bok of woo. T goov sou stat ppua to t g of t bok a b as p as t tkss of t w, tapg away fom t g. T goov sou tap to fus wt t bok sufa about 1”  fom t g. if t fatt  of t fs p stm w s too w to ft  ts o, f a bt fom a g of t fat  so tat t a just b fo to t o. it s vy mpotat to kp t fat to pvt t fom spg  t o.


n

To us t goov, pa t w  t wt t  amost at t saow  of t goov. Usg a mum f, posto t ov t w a fus wt t sufa of t woo. F t  of t w as you tu t — takg off a bt of t  of t w a t way aou. Bg t to a pot. W f vy, pogss toug t sag gts to 600 a pos o a buff wt ompou, o by a wt a buffg stk to pvt t p stm fom saggg o t fbs of otg.



23 23

7

8

9

11

10

Position strip on face of oval and secure with tape. Mark silver strip with locations of rivets. Remove strip and drill holes with #60 drill bit. Replace strip on face of oval. Tape into position.

{Ph 7} Hold bead so hole is in line with wire hole. Insert wire through side of oval, through bead, and into other side of hole. Measure trim amount for ball to seat in well, retract wire, and trim accordingly. Set bead and wire aside.

{Ph 8} Using drilled hole in strip as guide, drill one hole through Faux Bone. Insert 18ga wire into hole to secure. Repeat for next rivet hole and remaining holes.

Hammer texture into silver, if desired. Anneal if needed. Quench, pickle, and dry. {Ph 8} Place silver with texture side up. Position oval on silver sheet so long, square edge of oval lies next to long side of silver. Trace outside edge of oval onto sheet. Remove oval. Draw second line parallel to first at about 1/4” inside. Draw any design in space between lines — I used a saw-tooth for this piece.

Draw a line along center of edge. Plan and mark pearl placement for 8 pearls on side of oval, ensuring they do not intersect with rivet wires. Remove sterling strip and set aside. {Ph 9} Place oval in vise. Drill holes into edge for pearls about 1/4” deep, keeping bit perpendicular to edge. Make a well to seat pearls in top of each drilled hole. On back of oval, create wells where rivet wires exit.

Saw out shape, file and sand edges of silver, progressing through to 600-grit sandpaper.

riveting tips n

it’s mpotat to pa t pamt of t vts to o t sv stp a t ps to su t pas — so tat ty o’t tst. Stat by g w t vts w go to o t sv, kpg  m tat you w  at ast 3 vts — o at a  a o  t m. You may wat to us mo fo sg puposs, but 3 s t mmum.


n

W postog t sv stp o t ova fo vtg, t s mpotat to  oy o o at a tm a st t ws bfo g t xt o, baus postog t pats s ay mpossb uss t ws a st o at a tm.


Cut 8 lengths of 18ga wire, each 3/4” long. Ball one end of each wire with torch by holding each wire vertically at the top end in crosslock tweezers. Dip end to be balled into paste flux. Heat wire about 1/8” above bottom end with torch. Flame should be small and pulled away as soon as metal begins to ball up wire. Quench, pickle, and brass-brush wires. Set aside. Cut 18ga wire 2” long for pin stem. With hammer, flatten one end to about 1/4”. File tapered point on other end. With round nosed pliers, grasp wire 1/4” above flattened end and wrap long end around pliers tip 1/4 turns. Wire should point at 90° angle to flattened end. Set aside. Cut 18ga wire to 3/4” for catch. With hammer, flatten one end to about 1/4”. Grasp nonflattened end and twist to form a number 9 shape. Offset end of wire until it looks like beginning of a spiral. {Ph 10} Measure on back of oval 1/4” to 1/2” from each end to position pin stem and catch. Use #54 drill to drill hole at each mark. Holes should be 1/8”- 3/32” deep.

Insert flat end of pin stem into hole near top of piece, filing edges as needed for fit. Dip flat end into glue and insert into hole with pin stem lined up with centerline of the oval. Repeat for catch. {Ph 11} Texture oval, coloring as desired.


24

al dsis The versatility and ease of using Faux Bone allows for many design possibilities

12 {Ph 12} Position strip on oval by lining up rivet holes. Insert all wires into their holes; secure with tape. Trim protruding wire to about 1mm above surface on back of oval. Square end of wire with file. Rivet in place with round faced hammer. Rivet will fill countersunk well. Repeat with remaining rivet wires. {Ph 13} Thread balled wires into each pearl. Insert into pearl holes, trimming as needed. Pearls should seat into c ounter-

13 sunk wells. Squeeze out a small bead of glue. Retract each wire, dip end into glue, and reinsert wire into oval. Using tip of craft knife blade or thin wire, place small amount of glue inside hole for bead wire. Insert wire through edge of oval, through bead, and into glue of inside hole. Tap balled end of wire to seat into well in edge of oval.

robert dancIK has been an artist/ teacher for over 30 years. He presently teaches and exhibits his jewelry and sculpture in the U.S., Europe, the UK, and Australia, and is the originator of Faux Bone™. He lives and works in Connecticut and can be reached through his Web sites: www.robertdancik.com and www.fauxbone.com, which also offer a complete set of instructions and potential sheets for Faux Bone.

Give piece final buffing.

faBriCation tips n

i usuay ut a sma p of Faux Bo fom t ag st fo as of ag.

n

O way of atg a ova s to us a bat (usu1 ay about 2 ⁄ 2”  amt) o somtg sma as a tmpat to ta t two ss of t ova. daw a  1 2 ⁄ 4” og a pa t bat atop t ; s t ut t s g of t bat tsts t s of t . Ta t s uv of t bat a pat fo t ot s of t ova.

n

n

n

dpg o t uv of t ova, t may b as to sa t outs g of t sv stp aft t s atta to t ova. T sv stp may b pk a bass-bus o oxz  v of sufu po to vtg t to t Faux Bo.

n

T sapap us s fo wt sag — a sag sou b o wt ots of wat.

n

if t os  t pas o bas o watv you a usg a too sma fo 18ga w, t may aso b ssay to  tm wt a #60  bt. if so, o t pas  pa ps, a us a ubat su as Bu lf o t bt w g.

n

To su tat you o’t  too py, wap a p of tap at t pop sta fom t  of t  bt a  just ut t tap tous t sufa.

Ay ba o ot objt a b st to t o  t ova usg t sam wg poss. T oy ff s  t sz of t o a ts oato o t ova.

To pott t sufa of t ova, you may wat to ov t wt maskg tap to pvt sats.




25

finishing faux Bone n

T a a amost ft umb of sufa tatmts fo t Faux Bo ova. T pojt p s sat wt a sb, t wt a t t, stamp o wt mta stamps, a as paa s ma wt a kg f.

n

To afft a fa “pos” o t sufa, tu t 600-gt sapap ov to t pap s a ub vgoousy ut t taks o a soft s. F “a aks” a ag s a put  by awg t sap g of a aft-kf ba ov t sufa wt o pssu xpt fo t wgt of t kf. Ts w b fut va w t p s ubb wt a bt of bow so pos — t ast stp  t fsg. Aow t pos to st fo a ou o so a t ub vgoousy wt a soft ot — o buff t wt a a, usw mus w o a fx saft o posg ma.

n

if sma bus a as o t sufa of t p, you may ws to av tm, o sa wt 600-gt sapap ut smoot. To oo t p, ub wt ay pats, w a aow to y, t sa o mo to mov as mu of t pat as s.

Let us inspire the artist in you! With Jewelry Artist you’ll find great jewelry and gem projects in an easy-to-follow format, columns on trends and gems, a showcase of jewelry designs, and a spotlight on a different jewelry artist in every issue.

PLUS you will: •

Subscribe Today jewelryartistmagazine.com or call (800) 676-4336 © Interweave Press LLC. Not to be reprinted. All rights reserved.

• • • •

Discover in-depth explanations on using materials and applying techniques See innovative designs that stimulate your creativity Find a new design challenge Explore the creative secrets from master artisans Learn about cool tools and add to your store of hip tips



26 26

ColorFulresInearrIngs Prtnd pliqu-à-jour nml

y b t c e j o r P

TOM & kay BENHaM Opig Photo: JIM LawSOn Projct Photos: TOM & kaY benHaM

a

friend’s new pendant immediately caught our eye. At rst glance we thought it was a piece of enamel

— but then she explained that she had recently created it in a resin workshop. She had added some glitter to the resin to create the enamel effect. We were so intrigued that we had to give it a try. Working with resin wasn’t as easy as we’d initially thought. We experimented with several resin systems and colorants before deciding on this project, a pair of earrings that give the impression of plique-à-jour enamel (open on both sides), using transparent resin in place of enamel. The resin holds the wire design in place once it cures. The addition of ne glitter creates a stained glass effect with the open back letting the light shine through. Best of all, no kilns necessary!

SKILLS you need

•


•

sog

•

s


MaTERIalS 24-gge stering siver strip: .020” x .125” 28-gge ne siver beze wire: .013” x .125”

ICE Resin nd Hrdener (we chose this prodct becse of its biit to prodce  gistening dome nish) assorted coors of ne gitter Renissnce Wx

Stering siver semess tbing: .188” OD x .156” ID

TOOlS

18-gge stering siver rond wire

Hand tools: ssorted piers; s-

Dobe-sided crpet tpe Five-minte, two-prt epox

sorted es, jeweer’s grm sce, tbe ctting jig; jeweer’s sw nd bdes, sh ctter, cp br


Layout tools: penci, pper

SOuRCES:

Finishing tools: beeswx, vibrtor

Tools & Materials: Most of the toos

tmber

nd mteris for this project wi be vibe from we stoced jewer spp vendors.

Other tools: disposbe mixing

cps, spt, micro-spt, ee dropper, wooden toothpics, cetone

ICE Resin: www.objectsnd

eements.com

Soldering tools: torch nd tips,

strier, x, es soder, sodering boc, qench nd pice



27

1

2

3

4

5

6

7

8

{Ph 4} Use tube cutting jig to cut four

{Ph 8} Mix resin with spatula

.125" lengths of sterling silver tubing.

for two minutes per manufacturer’s recommendation. Because we wanted our earrings to match, we mixed a batch large enough so that we could ll comparable partitions in both earrings in one application.

Two tubing lengths will create the openings for the ear wires; the second set to create 2 teardrop shapes — which we formed with our small needle-nose pliers. ➤

9 Once we agreed on our design, we used tracing paper to create our pattern. {Ph 1} Use pattern as a guide. With

ngers and assortment of forming pliers, create frames of earrings from lengths of sterling silver strip, similar to forming a bezel. Mark and cut strips, then le ends square. {Ph 2} Solder outer frames using easy

solder. Quench, pickle, rinse. File and sand solder joint smooth. {Ph 3} Again using ngers and

assortment of forming pliers, this time with lengths of ne silver bezel wire, form each partition piece to t pattern. Take time to adjust and readjust each par tition until satised that it ts pattern snugly. © Interweave Press LLC. Not to be reprinted. All rights reserved.

{Ph 9} Add glitter in small amounts {Ph 5} Mix up small batch of ve-

minute, two-part epoxy to secure each intersection with outer frame. Apply epoxy to each joint with tip of wooden toothpick, then place assemblies under work lamp to allow a proper cure.

using a micro-spatula. Add glitter in several small batches, rather than adding too much to avoid having to mix up another batch. Mix glitter thoroughly into resin after each addition.

We did not bond the teardrop shapes or the ear wire openings at this time. ➤

{Ph 6} Place a strip of double-sided

carpet tape to a sheet of paper, then remove release strip from top side of carpet tape. Carefully press each assembly onto tape to seal bottom of assembly so it won’t leak when liquid resin is poured into each cavity. Press small teardrop shapes and pieces of tubing for ear wires onto carpet tape according to the pattern. {Ph 7} Carefully weigh equal amounts

tI p Success with resin is dependant upon careful measurement. You must be sure the proportions of resin and catalyst are mixed according to the package directions, and E that molds, mixing imple g A ments, and inclusions p are clean, dry, and free of potential contaminants.

of resin and hardener with jeweler’s gram scale.



28

10

11

{Ph 10} Using dropper, add each batch

of resin in appropriate cavities. Fill cavities only 3/4 full to allow for nal doming layer of clear resin. Clean eye dropper with acetone between each resin batch.

12

temperature for one hour, and then place under work light for 24 hours. Remove from light and allow to cool to room temperature before removing tape from back.

temperature for one hour according to directions. Place assemblies under work light for 24 hours. Then turn light off and allow resin to cool to room temperature before proceeding.

are teachers of both metalsmithing and lapidary, are members of The Florida Society of Goldsmiths and The Central Florida Mineral & Gem Society, and have been Contributing Editors for this magazine for 7 years. toM & Kay benHaM

Avoid touching the resin surface as it can acquire ngerprints for several days before it is fully cured. ➤

{Ph 11} Allow resin to cure at room

Before attaching earrings to wires, apply a coat of Renaissance Wax to protect resin surface.

Create ear wires with 20ga sterling silver round wire. Round each end with the cup burr lubricated with beeswax before shaping.

{Ph 12} Mix a large enough batch to

dome both earrings at same time. Again, with eye dropper, add resin slowly and carefully so it domes up. Don’t allow resin to ow over sides. Allow resin to cure at room

We placed the ear wires into a vibratory tumbler for a couple of hours to work-harden them. ➤

Riveting!

WATCH – LEARN – CREATE! Learn how to create artistic and long-lasting connections PLUS make two distinctive pendants using wire rivets, screw rivets & tube rivets. Combine found objects, metal shapes and frames, and other unique elements in one-of-a-kind designer pendants using one of the strongest cold connections in metalworking: rivets. Jewelry design superstar, Susan Lenart Kazmer gives you step-by-step instructions along with helpful tutorials on the tools you will use to make the pendants. $24.99 Approximately 60 minutes

interweavestore.com




29

MultIteChnIque enaMeledpendant C o m b i n  m  t  l c l  y, c l o i s o n n é ,  t c h i n g , ston stting, nd chin mking in on dsign

o

y b t c e j o r P

CyNTHIa alDERDICE & lOIS MaNSFIElD Opig Photo: JIM LawSOn Projct Photos: aaGPa eDITIOnS

ur design, called “Alchemic Synthesis,” combines cloisonné enamel with textured 22K gold sheet, metal clay, the design and

creation of custom etching plates, keumboo, and setting faceted and cabochon gemstones. It was created to explore and combine several advanced and specialized jewelry making techniques into a beautiful but challenging piece. First, we’ll create the etching plates, etch them, and create the textured metal clay pendant backing. After ring, we’ll use the “tear away” technique — developed by Celie Fago for metal clay surface design — to transfer the same texture to gold. Our original designs for the etching and tear-away plates were developed on the computer, and we used Adobe Illustrator to create positive and negative images, but you could use any imaging software to do the same thing. The etching plates were used to impress patterns on the PMC base. Additional texture was achieved by traditional roll printing in a mill. Then, we’ll create the cloisonné, fabricate the pendant, and create the handmade chain for the necklace. We like the way the colorful cloisonné enameling enhances the overall design.




30

SKILLS you need

•

•


•

sto sttg

•

amg

•

tg

sog mta ay


MaTERIalS

Fine siver PMC

Strofom boc

TOOlS

22k god sheet: .012" to 1 / 4" high

PMC+ C

Dct tpe

Hand tools: cipers, ov mndre,

18-gge rond 22k god wire

Scpe III Pomer C

Ninomi enmes

rond nose piers, beze psher, brnisher

24k god foi for emboo

24k god coisonné wire

kr-Fire

22k god sheet: .013"

18k god soder

liver of sfr

19-gge ne siver sheet

14k god soder

Two 6mm cbochon stones

20-gge ne siver sheet

Medim siver soder

12-gge brss sheet: 3" x 5"

Ferric choride

One 8mm x 10mm fceted stone: bot 3 crts

18-gge rond ne siver wire

Miner spirits, pper towes

1

Other tools: roing mi, Thermo-

Fx therm copier, photo si screen nd resist, si screen pstic frme, compter with imging softwre, boobinding press, 2 pressed wood bords (MDF) Metal clay tools: pstic roer for

PMC, Teon sheet, pin too, ov tempte, distied wter in spr botte, textred etching ptes

3

2

3

4

{Ph 1} Plan design using Illustrator

{Ph 2} Create pattern using component

{Ph 3} Enlarge pattern to t 3” x 5” brass

or other computer drawing program.

parts of design.

etching plates. Print both positive and negative images using laser p rinter.

Postve plate

negatve plate

two IMageS For etcHIng Fo t PMc poss, you’  bot a postv a gatv of you a sg. Ou pat us ts mags.




31

4

5

6

7

8

9

10

11

thermal printed image.

{Ph 8} Mount etching plates to foam

Etching times may vary depending upon the complexity of the design. Check plate every hour. Our plates took 6 hours to etch fully. Rinse plates under running water for several minutes to wash away etchant. Neutralize plates from any lingering etchant in a solution of baking soda and water and dry.

{Ph 6} Transfer peeled image to

block with duct tape and oat on surface of ferric chloride etchant solution.

{Ph 9} Remove resist from plates with

{Ph 4} Place printed image under

presensitized thermal screen, sandwiched between backing paper and transparency lm. Run through Thermo-Fax thermal copier.

The image is transferred to the brass plate as the acid resist passes through the silk of the open areas of the mask. You’ll need to create another mask and frame to create a negative image plate by following the same procedure. ➤

{Ph 5} Peel silk screen mask from

screen. Mount screen to plastic frame. We use 3 parts acid to 2 parts water for our etchant recipe, but follow the specic directions for your chosen brand. remde: always add acd to wate, ot wate to acd. ➤

{Ph 7} Apply acid resist to top of frame

and squeegee to bottom of frame.

mineral spirits and paper towels. Rinse and dry. On backs of plates, indicate direction of top of design and negative (N) or positive (P) with Sharpie.

How SILKScreen worKS Sks ptg s us to tasf a mag to a st of pap, ot, postboa, o ot matas —  ts as a bass pat — by way of a ut st tat s a to a p of vy wov sk tat as b stt  a fam.

negatve plate po to etcg


T uut aas of t st pvt k fom passg toug t s, a t op aas of t st aow t k to pass toug t s oto watv sufa s bow t fam.

Postve plate po to etcg



32

12

13

14

16

17

18

19

20

{Ph 10} Oil etching plates and all tools

{Ph 18} Dry at least 24 hours. Sand

for PMC +.

and rene edges. Fire in kiln for 2 hours at 1650º.

(Ph 11} Roll PMC to desired thickness.

Our design is 14 cards thick. {Ph 12} Sandwich rolled clay between

positive and negative plates. {Ph 13} Position plates in center of 2

{Ph 19} Create a “tear away” texture

plate. Anneal 22K gold sheet and then pickle in Sparex acid. Roll print tear-away design onto annealed and pickled 22K gold sheet. Clay paper can be used only once for this procedure.

pressed wood boards. You can roll any texture onto the gold sheet, but if you’d like the patterns to match exactly, the “tear away” technique is the best method for achieving this. ➤

{Ph 14} Place boards in center of book-

binding press to a chieve even pressure. If you don’t have a bookbinding press, you can carefully roll the sandwiched clay and plates between the wood boards after inserting risers of the desired thickness on either side of the plates and clay. A wooden rolling pin will work for this method. ➤

{Ph 20} Saw out design shape.

Use the tracing paper shape from the design as a “view nder” to aid in placement of the pattern on the gold sheet. ➤

15

ne silver sheet through rolling mill. Saw out design using tracing paper pattern as guide. Clean textured silver with Comet cleanser and toothbrush to remove all grease. Rinse and dry well. Spray 50/50 solution of Klyr-Fire and distilled water on back of piece. Carefully sift Soyer Enamels #3 ux on back. Repeat t wice. {Ph 23} Repeat ux and sift procedure

on piece front. Handle carefully and place back side down on mica sheet. {Ph 24} Dry in front of kiln, then place

on ceramic shard on top of kiln to dry further. Fire approximately 1-2 minutes in small enameling kiln. Dip cloisonné wires in Klyr-Fire and place on surface. Fuse small cloisons, ll with selected colors, and re separately on mica. Arrange these shapes and add additional wires to complete design. Fire again.

{Ph 15} Carefully remove top plate to

{Ph 21} Create design layout with

reveal pressed clay image.

enamel and test color chips.

{Ph 25} Fill cloisons with chosen

{Ph 16} Cut desired pendant shape

{Ph 22} Make drawing and pattern

with pin tool, allowing for clay shrinkage.

for placement of 24K gold cloisonné wire shapes. Form wire shapes according to design. Run textured brass plate and .020

colors. It may be necessary to ll a nd re as many as 10 or 11 times. Fill top layers with nishing ux N-1 Ninomiya.

{Ph 17} Peel excess clay from cut shape.




33

21

22

23

24

25

26

27

28

{Ph 26} Adhere wooden dowel to

reverse side of enamel using dop wax. Sand underwater, starting with 220 wet-dry sandpaper and progressing to 1,000 grit. {Ph 27} Form outer bezel from .013

22K gold 1/4" high joined with 20K gold solder. Solder gold bezel to 19ga ne silver sheet using 14K gold solder. Trim and sand. Solder bezel unit to PMC + base using medium silver solder. Bezel for stone is .013 22K gold sheet 1/4" high. Solder stone setting to ne silver base with 14K gold solder. Line up carefully to center of piece and solder unit using medium silver solder. Solder textured gold to 20ga ne silver base with 14K gold solder for strength. Inner bezels (which are different heights) to accommodate enamel piece and 22K gold textured element must butt together evenly. Set enamel and gold unit using bezel roller and b urnisher. Set stone in same manner. {Ph 28} Anneal ne silver wire. In-

sert one end of 18ga round wire in vise, the other around 7/8" wooden dowel. Wind wire tightly and keep even tension. Remove from dowel and anneal. Place back on dowel and tighten.

Te back of te pedat s embellsed wt 2 cte cabocos ad fsed wt keumboo ad lve of sulfu patato. © Interweave Press LLC. Not to be reprinted. All rights reserved.



34

Mixed Media Jewelry

Recommend Documents