Step by Step Wire Jewelry - August - September 2016

step by step

� MINUTE RING:

wear it tonight! See page ��

j jeewelry Make this Flower Cuff, get the kit!

p. �

FLOWER GARDEN CUFF by Heather Lawrenz page 34

EPOXY, CLAY, & CONCRETE BASICS for jewelry makers p. �

plus: The ABC’s of separation enamel with a torch

LEARN METAL STAMPING

on ring bezels and shanks!

p. ��

VOL. 12 N O. 4 AUG-SEPT 2016

stepbystepwire.com

Add bezels & stones with a micro torch p. ��

S E L L I N G YO YO U R C R A F T S ! Whether you’re looking to expand your online presence or you’re just beginning

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Indulge your jewelry making passion with a five-day getaway this summer! Discover an oasis of jewelry making supplies and interactive workshops at Bead Fest Summer’s 15th anniversary celebration! Renowned jewelry-making jewelry-making masters from across the country are fusing their knowledge and enthusiasm into hundreds of hands-on workshops—all skill levels are welcome! Whether you are a beading buff, or a metal-working marvel—the workshop of your dreams is waiting at Bead Fest Summer. Join us August 17-21 in the Philly area for this legendary jewelry show!

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save the date!

contents

in this issue

Vol. 12 No. 4 August–September 2016

projects

10|

ruffl es and lace l ace bracelet bra celet

38|

B� S�� T� T��

16|

B� D��

42|

separation enamel B� K�� P�� G��

20|

48|

stamped bezel ring

fair and square rings B� A�� F��

55|

the scroll cuff B� E�� M�� S��

30|

single bunting necklace B� B�� S��

B� J�� F��

26|

chain shank ring

5-minute jewelry B� H�� L��

wire wrapped leather bracelet B� B�� N��

34|

separation enamel By Kieu Pham Gray

flower garden cuff

��

B� H�� L��

fair and square rings By Aisha Formanski

��

��

2

| STEP BY STEP WIRE JEWELRY | August-September 2016

Get this

exclusive project kit at

��

www.interweavestore.com/ garden-cuff-project

��

On the Cover flower garden cuff By Heather Lawrenz

34

��

features & departments 4|

off the wire B� D�� P��, E��-��-C��

6|

advertising sections 52| 53|

marketplace advertisers index

hardware store basics get a makeover B� M�� C��

9|

color canvas: fall farmer’s market B� H�� P��

46 |

spotlight B� S�� R��

51 |

wire basics

54|

meet the artists

��

www.jewelrymakingdaily.com |

3

off e e wire Favorite Jewelry Jewelr y Bracelets and rings are my favorite pieces of jewelry. And do you know why? I can see them the whole time I’m wearing them! It’s funny how many of us have an earring habit (I include myself in that!). Admittedly, they’re often affordable, and they’re itty bitty pieces of art. But we can never see them on ourselves! Mine are actually displayed on the wall within a huge picture frame, because there I can appreciate them. And though I love every single pair, once I choose a pair to wear, I never see them again that day. In fact, how many of you immediately feel for what you’re wearing when someone compliments you on your earrings? Right? But rings and bracelets, those you get to appreciate all day long. Right there, on your hands and wrists. In this special issue, we have four brand-new bracelet projects and four rings! Heather Lawrenz’s beautiful Garden Cuff, on the cover, is available as a kit from the Interweave Store. Everything you need so you don’t have to source anything yourself! And if you’ve ended up with fine-gauge wire in your stash like I have, there are three beautiful bracelets and a ring that call for fine wire. You can start right in! There are a couple ring projects inside that require soldering. Use them to hone your soldering skills — all done with a micro torch. No need for an elaborate metalsmithing studio! If you’re a little soldering-shy, do some tests on copper so you don’t risk your sterling. The more you do it, the easier it will get, I promise. So jump into this special issue and get those hands and wrists adorned! You know you love them!

Denise Peck, Editor in chief [email protected]

step by step

jewelry jewe lry GROUP CONTENT STRATEGIST CONTENT CURATOR, JEWELRY CONTENT CURATOR, WIRE CONTENT MANAGER, JEWELRY CONTRIBUTING EDITORS

EDITOR, JEWELRYMAKINGDAILY.COM

Kristal Wick Merle White Denise Peck Karla Rosenbusch Sara Richardson Melissa Cable Heather Powers Tammy Jones

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Samanth a Wranosky Samantha Kerry Jackson Jim Lawson

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Marilyn Koponen [email protected] (877) 613-4613 Stephanie Griess [email protected] (877) 613-4630 Jenn Rein [email protected] (970) 613-4695 Cari Ullom

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Step By Step Wire Jewelry (ISSN (ISSN 1555-9939) is published bi-monthly by F+W Media/Interweave Press, 4868 Innovation Dr., Fort Collins, CO 80525-5576. USPS #017-249. Periodicals postage paid at Fort Collins CO 80525, and additional mailing offices. All contents of this issue of Step By Step Wire Jewelry are are copyrighted by F+W Media, Inc., 2016. All rights reserved. Projects and information are for inspiration and personal use only. Reproduction in whole or in part is prohibited, except by permission of the publisher. Subscription rate is $29.95/one year in the U.S., $36.95/one year in Canada, and $41.95/one year in international countries coun tries (surface delivery). U.S. funds only.

POSTMASTER: Please send address changes to Step by Step Wire Jewelry, P.O. Box 433289, Palm Coast, FL 32143. Subscription Services: P.O. Box 433289, Palm Coast, FL 32143, stepbystepwirejewelry @emailcustomerservice.com, U.S. and Canada (800) 676-4336, International (386) 246-0105. Retailers: If you are interested in carrying this magazine in your store, please contact us toll free at (800) 289-0963 or email [email protected].

Did you know: You can get solder in paste form. It comes in a syringe You and is already mixed with flux. Just dot along the seam, like sheet or wire solder. s older. And it comes in easy, medium, and hard, which refers to the temperature at which it flows — easy flowing at the lowest temperature.

4


Step by Step Wire Jewelry magazine is not responsible for any liability arising from errors, omissions, or mistakes contained in the magazine, and readers should proceed cautiously, especially with respect to technical information, following all manufacturers’ instructions and precautions. Step by Step Wire Jewelry magazine does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Step by Step Wire Jewelry magazine. Nor does Step by Step Wire Jewelry magazine magazine evaluate the advertisers’ claims in any way. _______________ ____________ ___ VISIT US ON THE WEB:

www.jewelrymakingdaily.com


5

TM TM

N IN ES I RE E R CE I C ANNE IA I D EL B Y ZE BE Z NELL KN A C K RA C R

Hardware Store Basics R E V O E K get a MA By Melissa Cable

If you’re like me, the hardware store is your craft store. I spend hours roaming the aisles examining pieces of pipe and electrical fittings, small nails and screws, sc rews, paint chips, and tools. My favorite finds include concrete, twopart epoxy, and putty epoxy, and all have become staples on my bench. While I enjoy the functional aspects of these hardware-store hardware-store basics, their aesthetic virtue is often lacking. Sometimes they are an unattractive color, are too thick or thin, dry too fast or slow, or are packaged in costly, giant tubs.

ICE R ESIN T M B Y Y S SUSAN LEN AR T T KA KAZ MER

Luckily, I am not alone in feeling this way. Thanks to talented and clever entrepreneurs who recognize that these supplies have a place in the art and jewelry making world, we now have access to hardware-store basics in colors and sizes that better fit our unique use.

Liquid Epoxy While liquid epoxy and resin is used in the jewelry industry as adhesives, more often they are used to fill bezels, cast in molds, or to protect the surface of embellished metal and polymer clay. Because appearance is key, products created for art and craft use tend to have superior clarity.

MAGIC-GLOSTM PENDANT

Ice Resin™, originated by Susan Lenart Kazmer, is a two-part epoxy y that that includes a resin and a hardener. Once mixed, it has a workable time of 45 minutes, dries in 6-10 hours, and cu cures res in 3 days. It is extremely durable and scratch resistant, so the time investment is well worth the wait. Minimizing bubbles takes practice, but otherwise, it is easy to use. For a faster solution, you can turn to resins that cure with ith

MAG IC-G LOST M B Y Y L LISA P AV EL K KA A

6


C R R Y S ST A T L C LA Y T M M BAN G GL E W IT I H T H S W WA R O OV S V K S I M I T M C R R Y S ST A T LS

M TM T AL CL A Y TA S T YS C R Y

UV light. Lisa Pavelka’s Magic-Glos™ Magic-Glos™ is a one-part resin that cures in just 5 to 15 minutes under direct sunlight or by using a UV light. I appreciate the quick curing time when I am building a piece in layers and need to apply several rounds of resin. In fact, this product cures best and shrinkage is minimized when used in layers. It is especially great over polymer clay.

Clay Epoxy Clay epoxy is a two-part adhesive that consists of an opaque resin clay around a core of hardener. To use, simply pinch off the desired amount and nd hand knead until the color is consistent. Clay epoxy is especially popular in the jewelry industry as a base for embedding objects. Crystal Clay™ Clay™,, for or example, has a working time of up to three hours, giving the user plenty of time to hand embed any number of objects. It cures in 14-16 hours andd comes in over 25 colors.

KLA Y R RE S I IN T M N B Y S HER R R I I HAA B

For a clay that cures in around 10 minutes, KlayResin™ by Sherri Haab works great for creating beads and shapes in addition to embedding items. ms.. ms It comes in white, copper, steel, and concrete colors. When making metal al flowers, I will often make a small loop at the end of the metal and place a KlayResin™ ball over it to form a stamen. I have just enough time to roll it,t, dimple it, and apply some PearlEx™ powder before the clay hardens.

Concrete I love the industrial look of concrete, so much so that I recently invited Robert Dancik to include his concrete under my Create Recklessly™ brand. When I first began experimenting with concrete, I quickly found that not all concretes are equal. Some have aggregate (the sand that makes up concrete) that was too large, some som e was difficult to mix in small batches, batc hes, and others cracked easily. Luckily, Luckily, two resourceful experts in our field have done the experimenting for us. Create Recklessly™ with Concrete by Robert Dancik comes in a convenient size and is easily mixed with water. The product is incredibly strong, and the yogurt consistency means it pours easily into bezels or N IN ES I RE E O F KLA Y R DE NGS MA D IN R I B Y SHE R R I HAA B


7

H TH LESSL Y W I T KL E C K RE E R TE EA T RE C R N A E R T D C I K BE O B RO E B Y R TE E T RE ON C R CO C TM TM

EN CAP T TU R E AR T TI I S A S N CON CR ET ET M B Y P AT T TI I B BULLAR D D

N T E PEN DA C ON C RE T T DAN C I K B Y R O BE R

a mold — you can even pour it onto a rubber stamp to get a textured piece of concrete. Another tried-and-true brand, Patti Bullard’s EnCapture Artisan Concrete™ comes in a kit that includes enough concrete for 8-16 pieces and a bottle of activator to mix into the concrete. My favorite tip from Bullard is to create a subtle gold sheen on the surface of the dried concrete by using a brass bush. Both brands have a workability of 5 minutes, cure in an hour and offer powdered pigments to create colored concrete. As with all products, be sure to follow manufacturer’s directions and take all safety precautions. And keep roaming those hardware store aisles! You never know when you may discover the next jewelry-making trend. While you are there, be sure to grab some supplies for this simple organizer.

Epoxy Resin Clay �-�-� We asked Debra Saucier, creator and developer of Crystal Clay, for her top three favorite tips for working with epoxy resin clays. 1. Epoxy resin clay consists of two parts, a resin and a hardener.

The resin will crystalize and become rock hard when it reaches temperatures under 40 degrees Fahrenheit. To To soften it, simply place the resin under hot water or in a 100 degree Fahrenheit toaster oven for five minutes and it will become soft and pliable again, even when it cools. 2. To remove fingerprints and other imperfections, use

a little olive oil to smooth out the clay. This will also give it a slight sheen and is a great trick for keeping the clay from sticking to your hands. 3. Besides making rings, one of Debra’s favorite ways to use epoxy clay is for

repairing things around her house. When adhering clay to objects needing repair,, be sure to roughen the surface of the object to get the best bond repair between it and the clay.

C ON C C R RE T E E E P E EN D N DA N T TS B S B Y P AT T TI I B BU LL AR D D

8

RESOURCES Ice resin: www.rangerink.com Magic-Glos: www.lisapavelka.com Crystal Clay: www.crystalclay.com KlayResin: www.sherrihaab.com Create Recklessly with Concrete: www.fauxbone.com Encapture Artisan Concrete: www.wubbersushop.com


DE B RA E R SA U C I

COLOR CANVAS:

fa farmer s’ market BY HEATHER POWERS

I love when mums take over the farmer’s market at the end of the season. The abundance of blooms and warm autumn hues are some of my favorites to translate into jewelry designs. I always carry my camera to the farmer’s market; inspiration lurks everywhere. I pulled out the analogous colors of plum, violet-red, orange, and golden yellow as the main elements in my necklace. Analogous colors are those right next to each other on the color wheel and a sure-fire color palette for harmonious color combinations. I had an autumnal collection of felted wire in the perfect shades to match this photo. Felted wire is wool fibers spun on a wire core. The hand-dyed wool has beautiful transitions of color. I wrapped the felted wire around 19 gauge steel wire links to create wrapped beads. I pulled together lampwork leaf headpins in the same colors to dangle from the pendant.

Resources: Polymer Clay Flower Pendant: Humblebeads, www.humblebeads.com. Lampwork headpins, Thornburg Bead Studio, www.thornburgbeadstudio.com. Felted Wire: Wooly Wire, www.woolywireetc.etsy.com.

www.jewelrymakingdaily.com | 9

STEP BY STEP WIRE JEWELRYS

Advance Your Skis

�� FEATURED ARTIST

SKILL LEVEL �

Sarah Thompson

ruffl ruf fles and and lace BRACELET by Sarah Thompson

Create a stunning lattice-work bracelet with pops of color using the Modified Soumak weave weave and your favorite color of crystals. I’ve done the step photos in copper wire as an alternative to the sterling st erling..

10 | STEP BY STEP WIRE JEWELRY | August-September 2016

tools and supplies

�.

Cut one 8" length of 14g wire, mark at 1½", 4" (center mark), and 6½". Cut two 8" lengths of 18g wire, mark the centers. Cut two 12" lengths of 20g wire, mark the centers. Take Take one length of 20g wire, and bend it at a 90° angle at the center mark with the tips of the flat-nose pliers. Continue to make alternating 90° bends with the tips of the flat-nose pliers, going up one side. It should look like a zig-zag.

o 14-gauge sterling round half-hard

wire, 10½" o 18-gauge sterling round half-hard wire, 16" o 20-gauge sterling round half-hard wire, 4' o 26-gauge fine silver soft wire, 3' o 28-gauge fine silver soft wire, 35' o 3mm or 4mm beads to fit between ruffles, approximately approxi mately 38 3 8 beads o Ruler o Permanent marker o Flush cutters o Flat-nose pliers o Round-nose pliers o Chasing hammer o Bench block o Needle files o 7mm-8mm dowel o Liver of sulfur o 0000 steel wool o Soft brass bristle brush or a toothbrush

�. Make enough enou gh ruffles to fit between bet ween the 1

center mark and the 6½" mark on the 14g wire. Do not go beyond the 6½" mark. Flip the wire over, and finish the other half; the ruffles should shoul d fit between the 1½" 1½ " and 6½" marks. Repeat Steps 1-2 with the remaining 20g wire.

RESOURCES: Wire: Monsterslayer,

www.monsterslayer.com; beads: Fusion Beads, www.fusionbeads.com. 2

�. Start on the left, and work toward the right. Grab a 20g wire, an 18g wire, 14g wire, 18g, and the last 20g wire. Line up the center marks, and tape them together just below the marks. This project will reference the wires by number, starting with the left as Wire 1, followed by 2, 3, 4, and 5.

�.

Cut a 15' section of 28g wire. Leaving a 7½' tail, and coming in from the back, slip the 28g wire between Wires 2 and 3. Wrap around Wire 2, bringing the 28g wire to the back of the base wires.

3

4

5

6

�. From the back, slip the 28g wire between Wires 3 and 4, wrap around Wire 3. Bring the 28g wire between Wire 4 and 5, and wrap around Wire 4.

�. Lash (wrap around) the two wires to secure them together around Wires 4 and 5. The 28g wire should end up between Wire 4 and 5.


11

7

8a

8b

9

10

�.

Cross over Wire 4 and 3 with the 28g wire, and down between Wire 2 and 3. Wra Wrap p around Wire 3 so that the 28g wire is in the front. Bring the 28g wire over Wires 3 and 2 to wrap around Wire 2.

�.

Lash Wires 1 and 2 together. The weaving wire should end up between Wires 2 and 3. Repeat Steps 4-8. NOTE: It is important that the lashes are in the 90º bends of the t he ruffl ru ffles.

�. Weave Wires 2, 3, and 4 together until you are just below belo w the points of the th e ruffles, touching the edge of the base wires.

��. Lash the points to the weave as you did in Steps 4-8. Continue to weave in this manner, lashing the points to the weave as you come to them, making sure to always have the first lashing start on the right-hand side for consistency.

��. Weave Wires 2, 3, and 4 together for ¼" after attaching the last ruffles. Coil around Wire 3⅛" up and trim the 28g wire flush to Wire 3. Spread Wires 2 and 4 away from Wire 3.

��.

Take Wire 5, and curve it in and across Wire 3, directly above where the weave ends, and over the center of the coils. Coil Wire 5 around Wire 3 twice, and trim off the excess wire.

11

��.

Repeat with Wire 1, this time with it crossing over and above the coiled end of Wire 5. Coil around Wire 3, and trim off the excess. Flip the bracelet over, remove your tape and repeat Steps 1-13 for the other half of the bracelet. Pay attention to what side has the lower ruffl es; this is the side you should start the first lashings to keep it consistent. 12

12


13

��. Cut two 12" lengths of 20g wire, and mark the centers. Take one 20g length, length , and starting in the center, make 90º bends with the tips of the flat-nose pliers. Line up the new ruffl es with one side si de of the th e inner inne r ruffles. The points should touch. The outer ruffle needs one o ne more ruffl r uffle than the t he inner inn er ruffl e. Flip over, and repeat on the other half.

��. Cut a 10' section of 28g wire. Leaving

14

15

a 5' tail, lash the center of the outer ruffle to the center of the inner ruffle where they touch. Lash twice. twi ce. Coil the outer out er ruffle, stopping when the outer and inner ruffles touch. Lash the two ruffles together twice.

��. Continue this pattern of coils and lashes to connect the outer ruffl ru ffle. The very last ruffl e will be connected conn ected to the curved cu rved portion of Wire 5. Flip the bracelet over, and finish connecting the outer ruffl e with the 5' tail. Repeat Steps 14-16 on the other side (left side of the bracelet) with the remaining 20g wire.

16a

16b

17

��. Starting on the right, coil the outer ruffle for ⅝" with the 28g wire. Curve it in and across Wire 3, directly above the trimmed end of Wire 1. Coil the 20g wire around Wire 3 twice, and trim the excess 20g and 28g wire off. Repeat on the left side.

18

��. Curve Wire 4 (the 18g wire on the right) in and over Wire 3. Coil around Wire 3 once. Trim off the excess wire. Repeat with Wire 2 (the 18g wire on the left). Flip the bracelet over, over, and finish the ends in the same manner.


13

19a

19b

20

21a

21b

22a

22b

��. Hold the remaining length of Wire 3 over a bench block, and paddle it flat with the chasing hammer. Repeat on the other end. Round one end with the file, and mark the center of the hammered section. Grip the round-nose pliers at the mark, and fold over the top around the jaws to form the hook. Keep it open enough to slip a 14g wire through. Curve the tip up with the roundnose pliers.

��. Trim the other hammered side to ⅝"; round the end with the files. Mark the center, and fold over the round-nose pliers to form a small hook. Curve the tip up with the round-nose pliers.

��.

Form the bracelet around a bracelet mandrel, with the hooks facing out.

��.

For the hook, cut a 2½" length of 14g wire. Form one end around a dowel between 7mm-8mm in diameter. A little extra wire will help you grip and pull the wire around to ensure a nice shape. Bail-making pliers also work well. Trim Trim this extra wire off after you have formed the wire. Cut the remaining wire coming off of the loop to ½". Loop the ½" length in the opposite direction as the larger loop with the round nose pliers, forming a smaller loop. It should look like a figure 8. Hammer it flat with the chasing hammer. Slip the small loop of your eye onto the smaller hook on the bracelet. Compress the hook to close the opening. With your fingers, bend the larger hook in slightly at the opening. This will make it easier to slip the eye onto the hook.

22c

14


��. Cut an 18" length of 26g wire. Slip a 4mm bead onto the center of the wire. Find the center of the bracelet; position the bead in the opening between the inner and outer ruffl ru ffles on one side, s ide, coming comin g in from the back. Thread the two ends of the 26g wire through the openings directly below and above the bead.

��. Starting with the top section of 26g wire, wrap around the lashings connecting the ruffl es together. toget her. This will secure sec ure the bead inside the opening. Add another bead to the wire and fit it inside the next opening. Thread the 26g wire through the opening above the bead. Wrap around the lashings connecting the ruffles, and repeat, working your way up one side.

23

��. When you get to the last bead, wrap

Are you getting better and better at weaving with wire? Sarah’s book, Fine Art Wire Weaving, is filled with projects like this one that take wire weaving to a whole new level. Available in paperback or instantly as a digital download.

the 26g wire around the last lashing, and coil around the 26g wire holding the last bead. Coil twice and trim. Flip the bracelet, and finish the other half with the remaining 26g wire.

��. Cut another section 18"of 26g wire, and add the remaining beads inside the ruffles on the other o ther side sid e of the bracelet. bracel et. Give the bracelet a slight domed look by gently bending ben ding the outer ou ter ruffl es back with your fingers. Oxidize with liver of sulfur and polish with 0000 steel wool. Use a toothbrush or soft brass bristle brush to remove the steel wool caught in the weave.

24

25

25

www.interweavestore.com/fine-artwire-weaving


15

Chaenge Yourself SKILL LEVEL �

sepaaration sep ENAMEL by Kieu Pham Gray

Separation enamel is a great process to create fun designs in your enamel. While it’s traditionally done in a kiln, these instructions will show you how to create it with a torch. Most people who do torch-fired enameling use this process for the “instant gratification.” However, However, this process will take at least five firings to achieve this great effect. If you are making several pieces, consider a production line process, working several pieces at the same time, while sifting the same colors.

16


tools and supplies

�. Clean the copper to be enameled of all

o Enamel, Counter or Black

(for back side) o Enamel, Wax Yellow (Thompson Enamel, #2110) o Enamel, Foundation White (Thompson Enamel, #1030) o Enamel, 2 contrasting colors of transparent (Thompson Enamel, Nile Green #2305 and Copper green #2410 were used in the project) o Enamel, Iris Purple #1760 o Enamel, Ivory #1238 o Separation enamel o 24-gauge copper shape of your choice (in this project a leaf was chosen) o Holding agent or ClearFire o Penny Brite o Vintage chain with clasp, 18"-22" o Vintage charms for an accent, 2-3 o 19-gauge 6mm jump rings in matching vintage color, 2-3 o Sifter o Trivet o Spatula o Paint brush o Clean paper (magazine) o Butane torch o Tripod with mesh o Fire Tweezers (cross-locking are best) o Alundum stone o Chain-nose pliers, 2 pair

oil residues. The easiest way to do this is by scrubbing the piece with Penny Brite. Rinse with clean water. Note: Be sure to wash your hands thoroughly with dish soap and water to remove oils and lotion. The one cause for enamel not to stick is oil. You may also burn off any oils on the metal with a torch, however you will need to pickle the piece after firing to remove firescale. When handling clean metal, hold it from the sides to eliminate any potential of contaminating work surface. count er-enamel the back side �. You will counter-enamel 1

first. Place a clean piece of paper (magazine or telephone book paper is best) on your work surface. Then place the copper piece onto a raised surface on a (Example: a stack of pennies, a pair of tweezers, a film canister, etc.) This helps you lift the piece for transfer to the firing surface. Using a paint brush, brush a thin layer of a holding agent or ClearFire on the back of the metal piece. This helps the enamel stay in place during transfer to the trivet. Allow the holding agent to dry thoroughly before firing. Firing wet enamel may cause bubbles on the enamel surface.

2

Counter-enameling is the process of firing enamel on the back side of the working surface. This reduces the stress on the enamel caused by the cooling of the metal. Enameling both sides of the metal distributes the stress equally to reduce warping, warping, and prevents the enamel from popping off. When torch firing, it is advised to fire the counter-enamel first as to reduce the risk of ruining the finished design. Counter enamel can be any color, black, or just a mix of leftovers that form gray.

RESOURCES: All materials from The Urban

Beader: www.theurbanbeader.com

�. Place the counter enamel into the sifter, and sift evenly over the metal surface until the entire surface is covered and you cannot see the metal through the enamel. For a consistent color throughout the piece, ensure that every layer of enamel is sifted evenly. Tip: When applying the enamel, sift in a circular pattern starting from the outside edge and working your way to the middle. Tapping the handle of the sifter with the tweezers will help distribute the enamel. Enamel run-off should be returned to its container. Use the paper the funnel the run-off back into the container. You You should use separate papers to catch each run-off to reduce the risk of contamination of the colors. Tip: Mark the papers so that you do not get mixed up or throw out the paper after every sifting. This will eliminate cross-contamination. 3


17

�.

Using a metal spatula, carefully transfer the metal piece to the trivet for firing. If there is a drilled hole in the metal blank, make sure you clean it out before firing. If you do not do this, the hole will fill with enamel during the firing.

�. Begin firing the enamel by torching it

4

5a

5b

5c

from underneath the metal. If you fire from above, you will risk blowing the enamel off the surface and overheating the enamel. Move the flame around the trivet so that the enamel will fire evenly. Heat it until the enamel looks like the surface of an orange peel. Use a spatula spatul a and/or and/or fire tweezers to remove the enameled piece from the trivet, and place it on a cooling block (fire brick). When the enameled piece has cooled, clean the front side, again with Penny Brite, to remove the firescale. Enamel will not fuse to the metal if there is firescale.

�. On the front side, add ClearFire, sift, and fire the enamel colors one at a time to the orange peel stage in the following order: Wax Yellow Yellow #2110, Foundation White #1030, Transparent Transparent colors. (This project uses Nile Green #2305 and Copper Green #2410). To To create a little extra interest, in terest, Iris Purple #1760 was sifted around the edges. Allow the enameled piece to cool completely. It helps the enamel powders to adhere at each step if you add ClearFire each time. 6a

18


6b

7a

7b

8a

8b

7b

�.

Mix the separation enamel with water or a holding agent to create a creamy consistency. Using a number 2 paint brush, paint a design onto the surface of the enamel with the separation enamel. Paint the design lines no closer than ⅛" apart. Allow to dry completely before firing. To To create a little more interest in the leaf design, a line of Ivory enamel is sifted in the middle of the design. Ivory #1238 was sifted in a thin line down the middle create a “vein.”

�. Place the unit on the trivet and tripod for a final firing. During this firing, the separation enamel will turn black as it is burning off, and it will disappear. Finally, it will start to separate the layers of enamel to reveal the colors below. Be sure to fire the unit for 2-3 minutes. Watch for the changes in the enamel. Allow it to cool completely.

8c

9

�. Cut the chain to your desired length, and attach the enameled leaf and vintage pieces to the chain. Terminate the chain with a jump ring and clasp.

8d


19

Advance Your Skis SKILL LEVEL �

stamped stamp ed bezel bezel RING by Jeff Fulkerson I love handmade stamps. There is an organic quality that you just don’t get with a machine-made stamp. That said, there are a few little things you need to know about handmade stamps. The first thing is — they aren’t perfect. To me, that’s their charm, but you have have to deal with a stamp that may not be exactly symmetrical or flat. Always start by testing stamping on scrap copper.

20


tools and supplies o Cabochon o 22-gauge sterling sheet,

approximately 2" x 2" o 16-gauge sterling sheet, ½" x 3" o 20-gauge fine silver sheet, ⅛" x 4" o Jeweler’s saw with #2 blade, or shears o Decorative stamps o Hammer o Steel bench block o Sharpie o Pickle o Copper tongs o Flux o Butane torch o Easy, medium, and hard solder o Solder brick or tripod o Ring mandrel o Scribe o Rawhide mallet o Metal file o Needle files o Burnishing tool o Parallel jaw pliers o Steady Stamp (optional) o Silver black or liver-of-sulf liver-of-sulfur ur o Rotary tool with felt (Bobbing compound) and muslin (Zam) buffs o Diamond file (optional)

�. I use 20g fine silver for the bezel because thicker metal takes a deeper impression. Once you have figured out how to place the stamp to get the impression where you want it, stamp the bezel. 1

2a 2

2b

�. Wrap the stamped bezel around the

RESOURCES: Diamond file from Harbor

stone, mark, and cut to length. When soldering, remember you need a joint that fits side-to-side, top to bottom, and each side needs to plane in with the other side. To help you align the bezel for soldering, use a pair of parallel jaw pliers and grab the joint. Bend the wire forward, backward, and back to the center. This will take all of the “fight” out of the metal and help you align the joint.

Freight, www.harborfreight.com; Danny Wade stamps: www.ferrovalleytool.com; metals: www.riogrande.com

�. Solder the bezel with a small piece of hard solder. Pickle, rinse, and check the joint to make sure it’s soldered.

3

�. With a needle file, file down the seam as needed, and re-shape the bezel around the stone. File or sand the bottom of the bezel so you will have a good fit when you solder the bezel to the back plate. If the top also needs sanding, do it now. Double-check the fit on the stone in case you deformed the bezel a little with the filing/sanding.

4a

4b


21

�. When designing with stamps, use a piece of paper and an ink pad to work out the design. Draw the outline of the stone on a piece of paper, and play with the design until you’re happy with it. You may want to draw several outlines as this gives you a chance to figure out which stamp(s) you want to use and how to space them. Cut out a piece of 22g sterling sheet to use as the back plate.

�. Use a Sharpie to draw the outline of the

5a

5b

stone — with the bezel around it — on the sheet, so you know where to stamp. Start stamping the design on the back plate. Start with the larger stamp, if you have one — in this case a half round one. If you need help holding the stamp perpendicular, you can use a stamping aid like the Steady Stamp. Once you have finished with that stamp, stamp the smaller design in between the larger stampings.

�.

Cut out the stamped back plate using a #�⁄ blade in the jeweler’s saw or shears. Leave just a tiny lip around the impressions to give the piece a nice border. File the back plate until everything is even. Use a ring clamp to hold pieces while filing.

6a

6b

If you don’t have liver of sulfur or a blackening agent, you can use a black Sharpie. Just fill in the stamped impressions with the marker and let it dry well. Then use a Pro Polish pad or very fine steel wool to polish the piece. If you love the idea of stamping with custom-made stamps like the ones Jeff uses in this project, our stamping collection comes with an exclusive Danny Wade stamp made especially for us!

www.interweavestore.com/newdirections-in-metal-stamping-collection

22


7b

7a

�.

Set the bezel on the stamped plate, flux, and place medium solder on the inside of the bezel. Line up the bezel with the Sharpie outline you drew as a stamping guide. Solder from the bottom, if you have a soldering tripod. Pickle, rinse, and dry off. Stamping leaves marks on the backside of the metal, so sand down the bottom of the back plate, so you can polish it later later..

8

⅛�

½�

Ring 9a

9b

�. Cut a piece of 16g silver ½" wide and about 5mm shorter than the ring size you want to make an open shank. To lay out the shank, mark the middle with the scribe, come in ⅛" on both sides, and draw a line from there to each end, creating a little bow tie.

��. Cut out the shank just outside of the

10a

10b

lines using the jeweler’s saw or shears. Put the shank in the ring clamp, and file down to the lines so you have good, clean lines to stamp to. Stamp the perimeter of the shank, and stamp each end. Our shank now has wavy edges because of the metal displaced by the stamps. You can either file them straight or leave them as a design element.

��. When you round up the shank (not yet!), we have to file off the ends so the shank sits flat on the back plate with no lip or sharp corners. File the ends at an angle while the shank is still flat. Once we get the bulk of the metal filed off, you’ll have a much easier time getting it flat after it’s been shaped.

10c

11a

11b


23

12a

12b

��. Using a rawhide mallet, form the shank around the ring mandrel. Make it smaller to start, as it’s easier to enlarge it than to make it smaller. Once you have it shaped and have the correct size, make sure it sits flat on the back plate without rocking. File as needed.

��. Place the shank in the middle of the back plate lined up with your Sharpie line, and solder with easy solder. Pickle, rinse, and dry.

��. To bring out the stamped impressions,

13

blacken the ring with either Silver Black or liver of sulfur. To To get a high polish on the ring, use a rotary tool with felt (Bobbing compound) and muslin (Zam) buffs.

Tip: Before soldering the shank to the back plate, look at the top of the plate and determine the line you want the ring to follow (how it will sit on your finger). Mark the top and bottom with a Sharpie, and transfer the marks to the back of the plate; draw a straight line between them to give you a guide to align your shank to.

14a

15

24


14b

��.

When you go to set the cab, many times the fit will be a little too snug, and if you force it, you might chip or break the stone. Take Take a diamond file, and carefully file the stone’s girdle where the stone is too tight against the bezel. You You can take off just enough to get the stone to slide in.

��. Once the stone is in the bezel, use a burnisher to push the bezel over the stone to secure it. Since this is a thick bezel, you will need to use a little pressure to bend the bezel. You You may find you have better control with a prong pusher, so use whatever works for you.

16a

16b

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25

Advance Your Skis SKILL LEVEL �

ee scro  scro cuff by Eva Marie Sherman

Incorporating silversmithing techniques while designing wire jewelry has definite advantages. The use of positive/ positive/negative negative space as a design element opens up a whole new world of creative possibilities. Use this project to jumpstart your own exploration into creating soldered jewelry using sterling wire. Although I use a hydraulic press in this project, you can either use a rubber mallet with the bracelet press, or make your bends using pliers.

26


tools and supplies

PLEASE NOTE: I WOULD RECOMMEND

o 14-gauge dead soft sterling silver

wire, 40" (5 lengths at 8") o Scrap copper wire o 3mm pre-fabricated tube bezels, 7 o 3mm faceted stones, 7 o Flush cutters o Metal file o Medium and easy solder o Flux and brush o Butane micro torch o Butane o Solder board o Cross locking tweezers o Round bracelet mandrel o Bangle press o Rubber or rawhide mallet o Hydraulic press (optional) Weighted d rubber mallet o Weighte o Heavy-duty wire cutters or jewelers saw o Crock pot & pickle o Copper tongs o Soft bristle brass brush o Oval steel bracelet mandrel (optional) o Bezel setting burnish punch o Fine steel wool o Tumbler (optional) o Burnishing compound (optional)

THAT YOU HAVE A WORKING KNOWLEDGE OF SOLDERING, SAWING, AND STONE SETTING TO COMPLETE THIS PROJECT.

�. Trim and file the ends of the wires so the ends are flush. Fold them in a loop so the ends are touching.

11a

1b

2a

2b

2c

3a

3b

RESOURCES: All materials from Rio Grande:

www.riogrande.com.

�. Set the join on top of a small piece of medium solder. Flux and heat the metal with a butane torch until the solder flows. Pickle, rinse, and dry. Repeat with the remaining wires.

�. Shape all the wires on the round mandrel.


�.

Insert the wire in the bangle press, making sure the wire is centered.

�. Insert the bangle press into the hydraulic press, and apply pressure until the wire is compressed. Repeat with the remaining wires. As an alternate compression method, hammer the bangle press with a weighted rubber mallet until the wire is compressed. Or make your own bends in the wires using flat-nose pliers.

4a

4b

5b

5a

�. Stack the compressed wires, and anchor them together with a piece of copper wire.

�. To determine your cuff size, measure

5c

6

7a

7b

your wrist, and deduct ½". Remove a section of the wires (that includes the join) with a saw or heavy-duty wire cutters, so that the remaining wire length equals your cuff size. NOTE: Measure the wires on the inside to get the correct length.

28


�. Solder the wires together at each end

8a

Still a little hesitant on soldering? All the soldering in this project is done with a handheld micro torch, so you needn’t fear the hoses and tanks! And you don’t need a big space or dedicated studio. You can solder on a soldering brick on a baking sheet to protect your table. Learn all the things you need to know to get comfortable with soldering in Kate Richbourg’s book, Simple Soldering!

8b

www.interweavestore.com/simplesoldering

with medium solder. Pickle, rinse and dry. File the ends until they are softly rounded. Shape and work-harden the cuff on the oval steel mandrel.

�. Set the pre-fabricated tube bezel in place, and solder with easy solder from the back side. Repeat with the remaining bezels. Pickle, rinse, and dry the cuff, and burnish it with a soft bristle brass brush. NOTE: Make sure the seats in the tube bezels are facing toward the top of the cuff.

��. Set the cuff on a steel mandrel, and set the faceted stone into the tube bezel. Make sure the stone is sitting flat, and the girdle of the stone is slightly below the top of the bezel wall. Use a chasing hammer to hit the bezel setting burnish punch to angle the bezel wall. Repeat with the remaining stones. Polish the cuff with fine steel wool, or tumble polish as desired.

9

10a

10b


29

Chic and Simple SKILL LEVEL 

wire wi re ap appped LEATHER BRACELET by Becky Nunn

I created this bracelet in my home office (that would be at the kitchen table) one night and brought it in to the office at Nunn Design the next day to shoot the step photos. After Aft er the third member of my team asked me, “Did you make this?” I started to get a little bit of a complex. I tend to have a classic, romantic feel to my work, so to create something that was a little more on-trend, I guess, was out of character for me. Regardless, ALL of us love this project. We hope you do, do, too!

30


tools and supplies

�. Fold over one of the ends of the 7" strip

24-gauge e silver craft o 24-gaug

wire, 5' o ¼" width chocolate brown leather, leather, 7" o 8mm silver jump rings, 5 o 6mm silver jump rings, 5 o Silver spring ring o Silver Itsy lotus charm o 4mm silver faceted round metal beads, 13 o Flush cutters o Chain-nose pliers, 2 pair o Ruler o Scissors RESOURCES: Kits (available in both gold-

of the leather. Use chain-nose pliers to create a 90° angle on the end of a 3" piece wire. Place the wire down onto the backside of the folded over leather end. Wrap the wire around the leather 3 times, wrapping over the starting point to secure the wire to the leather. Use chain-nose pliers to tug firmly on the starting point, making sure the start of the wrap is very tight and secure. Trim the excess wire. Continue to wrap the wire around the leather another 6 times.

1

plated and silver-plated) available from Fusion Beads: www.fusionbeads.com

�. To finish off the wrapped end, thread the wire into the folded over loop of the end of the leather, and pull on the wire firmly. Cut the excess wire. Use the chain-nose pliers to make sure the end is tucked in firmly into the inside edge of the leather loop, so it will not snag on anything. Measure about 5¾" of leather from the newly wrapped end, and repeat Step 1 on the other end of the leather.

2

3a

3b

3c

�. Measure 1½" from one looped end of the leather. With a 4.5' piece of wire, wrap around the leather 3 times, tucking the end under the wrap. Thread on one of the 4mm faceted beads. Wrap the wire through the bead 3 times. After you have threaded the wire through the bead, and wrapped it around the leather 3 times, wrap around just the leather 3 times. Repeat this process until you use all 12 of the 4mm faceted beads. th e wire �. To finish off the wrapping, tuck the

4a

4b

under several wraps, and pull it firmly. Trim Trim the excess wire.


31

�. Open one of the 8mm jump rings with both pairs of chain-nose pliers, and thread it through one of the leather ends. Close the 8mm jump ring. Create a chain by linking together the jump rings in the following pattern to create a chain: a 6mm jump ring, an 8mm jump ring, a 6mm jump ring, and the spring ring. Attach the chain to the first 8mm jump ring.

�. On the other end of the leather, open an

Wrapping the ends of leather Wrapping cording with wire to make a loop is just one way to finish leather ends. Learn many more finishing techniques from Melissa Cable, founder of the Create Recklessly line of leatherworking tools. Get her compact tool kit and her accompanying DVD with lots of tips and a nd projects using leather.

5a

8mm jump ring, and thread it through the leather end. Close the jump ring, and create the following chain: a 6mm jump ring. An 8mm jump ring, a 6mm jump ring, and an 8mm jump ring. On the last 8mm jump ring, thread on a 4mm faceted bead, and an itsy lotus charm that is attached to a 6mm jump ring. Close the 8mm jump ring. Attach the chain to the first 8mm jump ring.

5b

www.interweavestore.com/basicleatherworking-collection-for-metal jewelry jewe lry-mak makers ers

6

www.interweavestore.com/int ermediateleather-jewelry-making

32



33


Get this

exclusive project kit at www.interweavestore.com/ garden-cuff-project

floweer garde flow garden CUFF by Heather Lawrenz

This delightful, unusual cuff is made with Lillypilly Designs leather cut-outs. Though the end result looks complex, the techniques are quite basic. Get lots of practice punching holes in metal and making wrapped loops in this design. And get lots of compliments when you’re done!

34


Save S a e ttime! i !

GET G E T THE E KIT! KI

tools t l l and d d supplies i li l o Lillypilly Designs tiny leather

flowers, circles, and teardrops, 14-20 o 1¾" wide brass cuff o 21-gauge 2" gunmetal head pins, 14 o 1.6mm screw down hole punch o 1.25mm metal hole punch pliers o Chain-nose pliers o Round-nose pliers o Flush cutters 11a RESOURCES: Leather flowers, circles and

�. On paper, arrange the leather

teardrops, brass cuff : Lillypilly Designs, www.lillypillydesigns.com; headpins: Fusion Beads, www.fusionbeads.com; screw down hole punch, metal hole punch pliers: Beaducation, www.beaducation.com.

components into a composition that will fit within the width of the cuff. With the metal hole punch pliers, punch holes in any leather components without holes.

�. Mark the holes of each component onto the paper, and cut it into a strip roughly the size of the cuff. Place the paper onto the bracelet blank, and use the metal hole punch pliers to make divets at each mark, for hole starters.

1b

�. Using the screw down hole punch, punch all of the holes in the cuff.

2a

2b

3


35

4a

5a

4b

�.

From the inside of the cuff, thread a head pin, and stack the leather component onto the head pin. Make a 90° bend with the chain-nose pliers, approximately ⅛" above the leather component.

�. Create a very small loop with the roundnose pliers, and wrap the tail 2-3 times, moving toward the component, until it is snug against the cuff. Tip: Grasp the tail with another set of pliers to make it easier to get a tight wire wrap.

You can add touches of leather to lots of jewelry designs. Add a leather tassel to a long necklace or hang a chain maille pendant from soft leather lacing to make the pendant stand out. Learn lots of leather techniques from Melissa Cable in her “Intro to Leather Jewelry Making” DVD.

5b

tuck it in with the chain-nose pliers. Repeat Steps 4-6 for each leather component.

5c

www.interweavestore.com/intro-toleather-jewelry-making-dvd

6


�. Cut the wire tail close to the wrap, and

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37

Advance Your Skis SKILL LEVEL �

chain shank RING by Delilah

The base of this ring is a small rolo chain. I always use the whole piece of chain and cut it only when I’m sure the length is what I need. I advise you measure it on your finger or a ring mandrel while working from time to time.


tools and supplies

n k i d e o f s h h a s i d

o 28g silver plated, or craft wire,

approximately 13' o 20g silver plated or craft wire, approximately 24" o 4mm stardust beads o 3mm rolo chain, approximately 6½" o Flush cutters o Wire scissors o Round-nose pliers o Ring mandrel or a pen o Flat-nose pliers RESOURCES: Chain and wire: www.Etsy.com

11a

�. Cut both wire lengths in half. Twist the 3mm rolo chain. Hold about 1½" of the chain. Twist the chain the same way you will twist two plain wires together. The only difference is that the chain will start looking like a snake or herringbone herrin gbone weave. Twist Twist it and loosen it until you see how it should lie. The last photo shows how the chain should look when it is completely twisted.

�. Take one 12" length of 20g wire, and start coiling the 24g wire around it, about 5" from the end of the base wire. Leave about a 24" tail of wrapping wire before starting the coiling.

1b

1c

2

3

4a

4b

�. After coiling 5 times, wrap the first link of the chain to the base wire, and coil another 5 times.

�. Twist the chain as in Step 1, and with the wire, catch the second and third links in the row. Repeat until the shank is just over 2" long. It should measure about a size 8 (US measurement). Twist it around the ring mandrel to ensure both ends meet at your desired size.


39

�. Repeat Steps 2-4 to wrap the rolo chain to the other length of 20g wire.

�. Now that both edge wires are attached, make sure the twisted chain is right in the center. If not, carefully pull the wires in order to align them. Wrap the ring around the mandrel to ensure it will be the right size. Continue coiling down the 20g wires.

�.

5a

5b

6

7

When the 20g wires are completely coiled, bend the ring around the mandrel, and twist two opposite sides together in the middle as shown.

�.

Twist them together again at least two more times to create a mounded spiral. Keep the spiral on top and the other two 20g wires off to each side of the ring as shown.

�. Twist each side wire twice around the mound. Using one of the coiled wires on the top, make a double loop as shown. Use round-nose pliers and tuck it right beside the mound.

8a

9a

40 |

STEP BY STEP WIRE JEWELRY | August-September 2016

9b

8b

Coiling wire gives a whole new dimensionality to the look of wire jewelry. Be sure, when you’re coiling with very fine wire, that you keep the wire from kinking, and let the wire slip gently through your fingers as you go. If you hold it tightly, the wire will twist as you coil, coil, and that ruins rui ns the smooth look of the coiling.

10a

10b

��. With the tail of the coiled wire, make

If you love the look of Delilah’s ring, you’ll love Kerry Bogert’s -star book, Weave Wrap Coil. It’s filled with more beautifully coiled designs and lots of wrapping tips.

a small loop next to the double loop, like a figure 8. Uncoil the extra 28g wire from the 20g wire and trim the 20g to fit the figure 8. Use the leftover 28g wire to lash the small loop to the shank. Bring the 28g wire up through the shank and through the double loop and thread the stardust bead on top of the double loops. Lash the bead to the shank with the 28g wire.

��. Repeat Step 10 on the other side so they look symmetrical, adding another stardust bead in the same manner. Carefully wrap the 28g wires a couple of times before cutting them. Hide the ends carefully to be sure they won’t scratch you while wearing the ring.

10c

www.interweavestore.com/weavewrap-coil

��. On each side, unwrap and cut the 20g excess wire as shown. Bend the end in toward the figure 8 and lash it snugly to the shank Press it with the flat-nose pliers, carefully. Cut the extra wrapping wire and hide the end carefully.

11

12a

12b


41


singlebu single bunt ntin ing g NECKLACE by Brenda Schweder

Feeling a bit celebratory? The SingleBunting Necklace pays homage to America’s patriotic swags of stars and stripes. These instructions make a 16" necklace.

42


tools and supplies o 16-gauge copper or 18-gauge

annealed steel wire, 8' o Now That’s a Jig! o SingleBunting Necklace pattern template (download and print on printable vellum paper at 100%) o StarterKit (JigBed, Bracket, StartrPeg Pak, Screwdrivr) o BigRounds (1", 1¼", 1½", and 2") o Puncher & CornerTaks o SwiveLok (optional) o WireLiftr (optional) o Permanent extra-fine point Sharpie marker (white chalk pencil, steel version) o Semi-flush wire cutters* (heavy duty cutter, steel version) o Chain-nose pliers* o Bent-nose pliers* o Bench block or anvil o Hammer: 4-6 oz. chasing (utility* or ball peen* hammer, steel version) o Needle file o Liver of sulfur patina (XL Gel, Liver of Sulfur Extended Life Gel) wo ol (00) (or other o ther buffi ng pad) o Steel wool o Renaissance wax and soft cloth, steel version * When using dark annealed steel, use pliers (and tools) dedicated for steel wire use.

1

�.

Align the SingleBunting Necklace Pattern to the top of the JigBed with the Punchr & CornerTaks, CornerTaks, and screw-in the pegs and SwiveLok for any one of the Bunting Setups.

�. Cut four 7" lengths of 16g copper wire. Center and trap a wire length between the bottom of the Bunting Setup and its associated SwiveLok. Further tighten the Lok with your ScrewDrivr.

2

RESOURCES: Now That’s a Jig!: www.Now-

Thats-a-Jig.com; necklace pattern template: www.BrendaSchweder.Etsy.com.

�. Wrangle both wire ends up and around the sides of the BigRound, counterclockwise, all the way around the ⅛" peg to the upper left, and clockwise around the ⅛" peg to the upper right.

�.

Mark the wire just short of the intersecting points on each side with a Sharpie marker. Lift the element up and off the JigBed with the WireLiftr.

3

4

5

6

�. Trim with a cutter. Repeat Steps 2-5 to form the rest of the SingleBunting Elements for each BigRound size. Note: The 1¾" BigRound is deliberately not used in the design.

�. If necessary, file the ends smooth with a needle file to remove any burrs, and hammer each element to harden and texture.


43

�. Cut eight 4" lengths of wire, and screw-in

7

8a

the pegs and SwiveLok for the CurvedBarbell Link Setup to the JigBed. Center and trap one wire length between the bottom of the CurvedBarbelll Link Setup and the SwiveLok. CurvedBarbel Further tighten the Lok with your ScrewDrivr as per the Bunting Setups above. Wrangle Wrangle both wire ends up and around the sides of the ¾” peg, counterclockwise all the way around the ⅛" peg to the upper left and clockwise around the ⅛" peg to the upper right. Mark the wire just short of the intersecting points on each side with a Sharpie and trim with a cutter as per the Bunting Element above. Repeat to form a total of eight links. If necessary necessary,, file the ends smooth to remove any burrs, and hammer each element to harden and texture.

�. Cut two 12" lengths and one 3" length of wire, and screw the ⅛" peg into the JigBed on the JumpRing Setup. Coil the wire length tightly. Fill the peg, and trim the wire at the top. Repeat for a total of two coils. Note: Each coil should yield 7-8 full wraps. Cut wraps. Cut JumpRings from the coils for a total of 14 rings. Replace the ¼" for the ⅛" peg at the JumpRing Setup, and coil the remaining wire length around the peg to cut and create one ¼" JumpRing. File any burrs from the cut ends. 8b

9a

�. Cut a 4" length of wire, and screw the ⅛" and 1¼" pegs into the JigBed at the TinyClasp Setup. Trap the wire length between the peg and the SwiveLok, leaving a 1" lead. Further tighten the Lok with the ScrewDrivr. Wrap Wrap the long tail between the two pegs, and completely around the ⅛" peg. Wrap the short tail. (Note: The wire will fit quite snugly between the pegs.) Mark the cut-line at the intersection, remove the clasp from the JigBed with the WireLiftr and cut.

��. Patina all the elements with liver of sulfur, as per the manufacturer’s directions. Rinse and dry. Buff off the blackened coating with steel wool. Clean each element with steel wool. If using steel wire, seal each element with Renaissance Wax by rubbing a tiny amount (as you would lip-gloss) over the entire piece, and buff with a clean cloth.

9b

��. Lay out the elements of the SingleBunting, smallest to largest. Pick up the first two smallest BuntingElements and stack the larger over the smaller, staggering them so the top the lower loop connects to the bottom of the upper loop. Open and close a small JumpRing to connect them in this position. 11

44 |


10

Save your hands with a jig! Much wire manipulation is made easier on a wire jig. And A nd you can make ma ke identical components components again and again, which can be a challenge with pliers. Join Brenda for more tips and designs on making simple, consistent links in her instant download. download .

12

13

��. Repeat Step 11, adding on the next larger element over the last, and the next over that one, until all four have been connected.

��.

For the necklace link-lengths, connect four CurvedBarbell links together with three of the small JumpRings. Repeat with another four links and three JumpRings to form the two sides of the necklace.

��. Connect the SingleBunting focal

www.interweavestore.com/makingdesigning-simple-single-links-now-thats jig-video-d jig-v ideo-downloa ownloadd

component to the link-lengths with small JumpRings.

14

15a

��. Connect the TinyClasp to one side, and a large JumpRing to the remaining side.

15b


45

spotlight

by Sara Richardson

A Beaded Gift Glass Beads Tennessa McClean learned her craft from her be ad-making Mom, Lynne Knudtson of Paradise D esigns, as a way to stay at ho me with and financially contribute to her family. She took to it like a moth to a flame! These beautiful beads are her marbled Zulus . They’re tumbled for a velvety soft, matte finish. Black & coral or ganic mini discs have larger holes (⅛" or 3mm) for lots of fun design options, like stacking in pairs as spacers. They’re also tumbled for a soft matte finish. Che ck out all her gorgeous beads and color ways at www.Abeadedgift.etsy.com, [email protected] .

Danny Wade Metal Stamps Danny and his crew at Ferro Valley Tools have almost singlehandedly created the wild resurgence in popularity of decorative stamping. Their selection of han dmade stamps is unrivaled in diverse designs of all sizes. Check out how Jeff Fulkerson uses these stamps on his beautiful turquoise ring on page 20, and imagine how you c an decorate your work! Get your own exclusive Danny Wade stamp in our st amping collection www.interweavestore.com/new-directionsin-metal-stamping-collection , or see more at www. ferrovalleytool.com.

Earth & Elegance: A Bohemian’s Guide to Creating Artisan Leather Jewelry by Laura Gasparrini

Parawire's New Texture Hammer Latest Color and an d Latest Add texture to wire and metal sheet with this brilliant 6-in-1 Texture Hammer! The different texture heads surround the head of the hammer, so there is no need to switch out the heads or find other texturing tools. Th e heads do screw off so you can better aim the one you’re working with. Patterns include spirals, squares, stripes, and circles. Their newest silver-plated silver-plat ed craft wire colo r is a gorgeous coral, using Parawire’s exclusive coloring process, which produces th e brightest colors with a resilient finish. Coral is available from 16-gauge through 28-gauge. Visit www.parawire.com for more information! 46 | STEP BY STEP WIRE JEWELRY | August-September 2016

Laura Gasparrini, the creative mind behind Om Tara, has self-published her first volume of dynamic leather jewelry projects. This volume focuses on knotting, braiding, and macramé. It's great for beginner and experienced jewelry artists. You will also learn several techniques, including four different knots, halfhitch skills, braiding, and looping. Eight step-by-step projects in the book help you make creative necklaces, lariats, bracelets, and even a clasp. Purchase the book through her website, www. omtara.com.

Love th Love this is magazine? Then you’ll love lov e our our fre free e community for anyone interested in creating handmade jewelr jew elry! y! Whether you’re new to jewelry making, looking to learn advanced technique, or are simply interested in sharing, learning, and being inspired, this is the place for you!

Get started with a free eBook and sign up for free: www.JewelryMakingDaily.com/Free-eBooks download


47

STEP BY STEP WIRE JEWELRYS

Chaenge Yourself

�� FEATURED ARTIST

SKILL LEVEL �

Aisha Aish a Formanski Formanski

fairr and fai and square square RINGS

by Aisha Formanski

We’re seeing hints of gold with classic sterling silver si lver in this year’s trends. And stamping continues to be a style that continues to strike a chord. This ring project is quick and easy, but the style is understated, classic, and will appeal to a wide variety of tastes. The hardest part of this project is deciding what to stamp!


tools and supplies

Tie back your hair, wear safety glasses, protect your work surface, and always work in a well-ventilated area when using a torch. You can also purchase a Smoke/Fume Absorber to help keep fumes away from your face. Solder paste contains fluoride, which can be harmful to your health. Follow Follow all the manufacturer’s guidelines and safety precautions. You can also request the MSDS (material safety data sheet).

o 2mm plain finger ring bands,

available in US sizes 6, 7, and 8 o Square blanks in gold-filled and sterling silver in 8.5mm and 12.85mm o Easy solder paste o Bench block with rubber base o 1 lb. brass mallet o Stamp Letter Set — Beaducation model number SET001 o Stamping tape o Clear plastic graph ruler o Fine point permanent marker o Butane torch — Max Flame o Butane fuel — filtered o Flux brush o Handy flux o Non-combustible work surface o Solderite board o Quench bowl and tweezer o Third hand with tweezer o Solder pick o Pickle pot & pickle o Copper tongs o Pro polish pad o Nylon ring bending pliers RESOURCES: Rings: Halstead Bead: www

.halsteadbead.com. Blanks and stamps: www.beaducation.com.

TIP: You can also use the reflection of the letter in the metal to help place the next stamp where you would like it. Write out your phrase on a piece of paper paper.. This will help prevent any misspelling, and will help you plan out the layout.

11a

�. Polish the square blank lightly with the pro polish pad. Draw a line using the clear plastic graph ruler and the fine point permanent marker. This line designates where the bottom of the letters will be. Once you have the bottom line drawn, place a second line above it. The clear plastic graph ruler is nice for this, because you can see through it to align the two lines.

11b

2a

2b

�. Lay a piece of straight tape onto the top line, you’ll use the top edge of the tape as a bumper. Drag the stamp to the tape’s edge, and strike the stamp.

2c


49

�. Use the nylon bracelet bending pliers to shape the square blank into a slight “C” shape. Place the blank into the pliers with the stamped side up and the jaw of the pliers downward like a frowning face. Squeeze the jaws of the pliers closed.

�.

You’ll want the curve of the blank to match the outside curve of the ring. Check the fit, and make any adjustments if needed.

�. Place the blank face down onto the 3a

3b

soldering board. Hold the ring in the third hand tweezer. Double check that the ring is touching the square blank. Brush a thin layer of flux onto the back of the blank, place a small dollop of easy solder paste onto the square blank where it meets the ring, on the front and the back.

�. Strike the butane torch, and slowly and

4

evenly heat the whole piece with the fluffy part of the flame (which is beyond the bright aqua cone), until the solder paste flows. Once the solder flows on both sides, remove the flame, and turn off the torch. Be careful; the third hand tweezer will be hot. Quench the ring in water, and place the piece into the pickle pot until it’s clean. Rinse it in 5a water, and thoroughly dry it with a paper towel. Rub the ring with a pro polish pad until you have the desired shine.

There are a couple of tools that can help you make your stamping straight and neat — the Steady Stamp holder and Stamp Straight Tape. Tape. Get both bot h of these and a custom c ustom Danny Wade decorative stamp, plus Aisha Formansk Fo rmanski’s i’s and Lisa Niven Kelly’s Kelly ’s pioneering pioneering books on stamping metal jewelry, in this bargain bundle! 5b

www.interweavestore.com/newdirections-in-metal-stamping-collection 6a

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6b

wire basics p 1 a r w e r i w

k o 1 o h l a r i p s

s l 1 a r i p s

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s g 1 n i r p m u j 2

e t t e l o i r b

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c s i d 1 d e p p a r w

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51

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53

mtt e artists m AISHA FORMANSKI has worked in the DIY jewelry and beading industry since 1994. Aisha's first book, Punched Metal Jewelry , 20 Clever and Easy Stamped Projects , was published by Interweave Press in Winter 2013. Her passion for creating jewelry inspired her to open her own business in 2010, Everthine Jewelry. She currently resides in Saint Paul, MN.

HEATHER LAWRENZ has been "artsy" her whole life but was bitten by the jewelry bug 15 years ago after taking a basic jewelry-making class. She launched her own jewelry line in 2003, and although her styles have evolved, her love of non-traditional materials has remained constant. Heather designs out of her home studio in MN, where she lives with her supportive husband and sassy Mini Schnauzer. Find Lawrenz Jewelry online at www.lawrenzjewelry.com www.lawren zjewelry.com or at art fairs and boutiques around the Midwest.

EVA SHERMAN began beading as a way to spend time with her daughters but soon became hopelessly addicted. In 2005, she traded in her architectural career for the opportunity to spend all her time among beads and opened Grand River Bead Studio in Cleveland, Ohio. She has discovered an affinity for working with wire and metals, and she prefers to design in an organic and unstructured style. Eva is the coauthor of Organic Wire & Metal Jewelry , and her second book Cool Copper Cuffs is is scheduled to be released in the summer of 2016.

JEFF FULKERSON has been creating imaginative jewelry for 30+ years and has taught at museums, schools, and events. The award-winning silversmith has studied such Native American greats as Richard Tsosie, Jesse Monongye, and Michael Cheatham. Noted for his meticulous execution and attention to detail, Jeff loves the creative process of seeing his ideas take shape and come to life. See more of his work at www.aldenjeffriesdesign.com. www.aldenjeffriesdesign.com.

BECKY NUNN is the founder and owner of Nunn Design. Her mission is: “Through collaborative relationships, Nunn Design inspires and nurtures creativity.” Becky believes that everyone is creative and that we are born with natural abilities and a desire to express ourselves in some creative form or another. To To be inspired and nurtured, visit Nunn Design at www.nunndesign.com.

SARAH THOMPSON has been exclusively working with wire weaving for the last 5 years and has been teaching this technique for 4 years. She has written a book, Fine Art Wire Weaving (Interweave), as well as a few magazine articles. I n 2014, her Thistle design won best in show at the Bead and Button show. She lives in Spokane, WA, with her husband and five kids.

KIEU PHAM GRAY has been creating jewelry for almost 20 years. She started from the need to “look the part” while working in retail management for Neiman Marcus. In making jewelry for herself and friends, Kieu’s jewelry line was created. Since then she has sold to over 30 stores in 10 states and participated in numerous juried art shows. Today, Kieu and her husband Andy own and operate www.TheUrbanBeader www.TheUrbanBeader.com, .com, where they work to provide the industry with specialty supplies and tools. Most recently, she co-founded www.EverCrafting.com, www.EverCrafting.com, a social media site for serial crafters.

54

BRENDA SCHWEDER is an

LUMINITA VIRTINEANU is her

artist, author author,, teacher teacher,, real name, but she goes creativity columnist, by delilah. She has and inventor of Now been working with wire That’s a Jig!, The Wire and stone continuously Bending System that since 2010 and started Sits Tight and Stays creating tutorials a Put! She’s written Collaborate: Friends in the Making , couple of years ago when Steel Wire Jewelry , and Junk to Jewelry and Vintage crafters showed interest in her designs. See more Redux . Her designs and fashion jewelry forecasts have of her work at www.mssd www.mssdelilah.etsy.com. elilah.etsy.com. been published more than 100 times in books and magazines. Visit her websites at www.BrendaSchweder. www.BrendaSchweder. com and www.Now-Thats-a-Jig.com, www.Now-Thats-a-Jig.com, and catch her on Etsy, Facebook, YouTube, and Pinterest.


five-minute project

Fast and Easy

engrav engr aved ed gems ge msto tone ne ri ring ng by Heather Lawrenz

A beautiful beautiful gems gemstone tone bead bead with with two holes is perfect perfect for wire wrapping onto a ring shank. Wrapping through the two holes makes for a secure attachment with no wobble. Be sure to use a wire that can fit twice through the drilled holes, for strength.

tools and supplies ¨ 10mm x 20mm double-

drilled engraved gemstone, 1 ¨ 4.5mm wide hammered ring, 1 ¨ 24-gauge craft wire, 3' ¨ Flush cutters ¨ Chain-nose pliers

RESOURCES: Gemstone:

Lillypilly Designs, www .lillypillydesigns.com. Ring: Nunn Design, www .nunndesign.com. .nunndesign. com. Wire: Artbeads.com, www .artbeads.com.

�. Start in the center of the 3' length wire, and wrap about ¼" around the ring, approximately 8 times.

1

2

3

4

5

6

�. Holding the gemstone against the top of the shank, feed the right, working end of wire through the right-side hole in the stone. Wrap fully around the ring and back through the same hole, pulling the gemstone snugly against the ring. Repeat with the other end of the wire through the other hole in the stone. Tip: If the wire doesn’t feed easily through the gemstone hole on the second pass easily, use the pliers to push the wire into the hole.

�. With the left end of the wire, wrap around all the wires between the stone and the shank, until you have approximately 8" of wire remaining.

�. Repeat step 3, wrapping in the same direction, with the wire on the right side.

�. Wrap the 8" tails, on both sides, down the ring shank, using 4" of wire. Wind the remaining 4" back up toward the gemstone, over the previous wraps.

�. Cut the remaining tails, and tuck the ends into the wraps using chain-nose pliers.


oduc ts Ne w Pr v i t y ea t i v r C r u o nsp ire Y In om to I ng em s.c

moun ta i e r fi fi . w w w

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Step by Step Wire Jewelry - August - September 2016

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