Jewelry Making Daily

Happy Birthday to Us! Week 3: Win a Disc Cutter Set from Otto Frei

TammyJones — Fri, 17 May 2013 14:25:00 GMT

On May 3, 2010, Interweave announced their newest arrival: an online community for jewelry makers of all skill levels and all interests. From beginners to masters, Jewelry Making Daily was created to be a melting pot of learning, sharing, and having fun! Now three years later, we're celebrating our 3rd birthday. And what's a birthday celebration without presents?

For our birthday, we're giving YOU presents during weeks of giveaways to show our appreciation to all of our jewelry-making friends and community members. A new prize from our valued partners and advertisers will be given away each week.

Birthday Present #3 is a Top-Quality Disk Cutter Set of 11 (sizes 1/8" to 1") from Otto Frei

Find the best tools at the best prices at OttoFrei.com!

Simply leave a comment below to be entered to win, before midnight CT on Thursday, May 23, 2013.

NOTE: After you post your comment, look for the green box at the top of the page that tells you your comment is being processed.

Please don't post again. Duplicate entries will be deleted (and I hate doing that!). One winner will be chosen using Random.org's number generator. Good luck!

Meanwhile, have you seen all of our free eBooks?

From the JMD Archives and My Purse: A Fun Polymer Clay Jewelry-Making Mold Tip

TammyJones — Fri, 17 May 2013 07:45:00 GMT

We were riding back home from breakfast in the mountains on Mother's Day earlier this week when I heard my brother whisper to our mom, "Mama, why does she have a little thing of Play-Doh in her purse?"

Whenever he wants gum or something, I usually don't think twice about sending my brother into my purse. It's a scary adventure when a man ventures into a woman's purse, after all, but mine is generally a safe zone. He's more likely to question my sanity and/or maturity than be scared of anything he finds in there. And, as he fanned himself Southern-belle-style with a little folding fan I also keep in my purse, that's what happened with the Play-Doh.

Mama explained to him that if I'm out somewhere and see something with a unique pattern or texture on it, I can use the Play-Doh like a mold to capture the texture for my jewelry making. (Yay, Mama reads my blogs!) That was a good enough answer for him, surprisingly, and it reminded me that it's time we remember this great tip for making molds for any kind of clay jewelry--polymer clay, epoxy clay, metal clay--and maybe even for resin mold-making, though I haven't tried it yet. (Have you? Share in the comments below!)

Here's the tale of the tip, from the Jewelry Making Daily archives.

In a recent meeting of my local metal clay guild, someone shared the idea of using Play-Doh to make metal clay molds. It's inexpensive and readily available, it's hard when it dries, and it comes in convenient little sealed containers that are easily kept in your purse . . . because you never know when you'll need to make a mold of, oh, say, a ceiling in an historic building, right?

This set my mind to thinking differently, in what Pooh (or Dr. Seuss?) would probably call an upside-downside-inside-outside, negative-space sort of way. I'm accustomed to pressing things I own into metal clay--buttons, usually, but sometimes texture sheets and rubber stamps--and I enjoy electroforming or otherwise coating unusual things in metal to preserve their unique textures and appearance in jewelry, but the idea of making molds has somehow escaped me all these years. But now, Play-Doh is involved--don't you love the smell?--and I'm ready to capture the world around me in textures for use in clay jewelry making.

The one-ounce mini containers in the Play-Doh Party Pack are ideal because you can make a clay mold (or three, or more) out of each can, and they're easy to keep handy for all kinds of clay mold-making opportunities. You can write on the can what the mold inside was made from, so you'll always know. Play-Doh won't harm whatever you press it on, and in my experience, it doesn't leave any sort of residue or bits of dough behind. (If you're concerned about making a mold on precious fabric that you don't want to risk staining, use a layer of plastic wrap between the fabric and the mold-making material.)

Remember that some clays will shrink slightly, but in most cases, it's not even noticeable and hardly ever an issue in the end result--just something to keep in mind if you're making a mold that has letters or numbers, needs to be legible, or an exact accurate size match, etc. Remember to wait for the Play-Doh to dry hard and use a bit of mold release in it that you'd use for other types of molds.

Just imagine what you can capture by making molds and later using them to make metal clay or polymer clay jewelry. Capture the texture of the wooden bench in the park where your sweetie proposed and make him wedding cufflinks to match it. Copy the gorgeous wood trim on the antique dining room table where you had your anniversary dinner and turn it into a memorial bangle bracelet.

Press the Play-Doh onto the pretty iron doorknob of the historic inn you visited on a girls' weekend in Charleston and make all of you matching pendants from it, the sweetest souvenirs! Replicate wine labels, rock walls, nubby fabric, woodwork, etched glass, weathered wood, pitted iron, pressed tin, leaves and twigs, seashells . . . and then turn all of those memorable sights into metal or polymer clay jewelry.

Once you have all of those great molds for your clay jewelry creations, get inspired for using polymer clay in your jewelry designs with Ronna Sarvas Weltman's artistic polymer clay jewelry-making book, Ancient Modern Polymer Clay + Wire Jewelry.

Call for Entries: The Lewton-Brain Foldform Competition 2013

TammyJones — Thu, 16 May 2013 12:01:00 GMT

The Center for Metal Arts is announcing the opening of the Second Annual Charles Lewton-Brain Foldform Competition. The deadline for entries is July 1, 2013. This year the competition is using an online submission form to streamline the process. Visit http://tinyurl.com/d6xbu8b for entry details.


	2012 First Prize: Rauni Higson's Undersea Candelabra

The juried competition will select four entries for top honors. Judges are Charles Lewton-Brain, Hazel Wheaton, Editor of Art Jewelry Magazine, and Edward Mack, award winning metalsmith and director of the Center for Metal Arts. A preview screening of all of the entries will be presented at a dinner to be held at the Seligmann Center for the Arts. The top entries will be presented in a 2013 Jurors' Choice video. In addition, the publication of an art book of curated entries from the competition will follow the conference.

Winners will be named on August 5, 2013 at the Sixth Annual Charles Lewton-Brain Conference at the Center for Metal Arts in Florida, NY. Winners will also be posted online at the Center for Metal Arts blog and on Facebook. Prizes will include gift certificates from our generous friends at Rio Grande jewelry supplies.

The evolution of the foldforming technique as pioneered by Charles Lewton-Brain is best described as a creative combination of origami with other forming techniques. The conference is an opportunity for foldforming artists to work with and learn directly from Charles Lewton-Brain. Registration details for the conference are available at CenterforMetalArts.com.

For more information, contact the Center for Metal Arts at info@centerformetalarts.com or (845) 651- 7550.

Jewelry Making for Knitters, Crochet for Beaders: Introducing Craft Daily, All Types of Craft for All Us Crafty Types

TammyJones — Wed, 15 May 2013 07:55:00 GMT

The past few weeks have been exciting times for all of us at F + W Media and Interweave, because we've been hard at work on a big fun secret that we can finally share: Our newest creative cousin, Craft Daily, is live!

Being a long-time "crossover crafter" who dabbles in paper crafts and mixed media, knitting, sewing, and some others, I'm extra excited about Craft Daily. I know you will be too, because whether you're a jewelry maker or weaver, quilter or beader, mixed-media artist or crochet fan, you'll find so many things to love about Craft Daily, where you can watch videos all month (or all year!) long for one subscription price. There are over 100 hours of video instruction and tutorials there already, and more are being added every week!

With your subscription to Craft Daily, you can watch all the new ones as they're published, too. Subscribe for a month or for the entire year, and everything Craft Daily offers will be at your fingertips, day or night, from anywhere. If you're really into one of the categories on Craft Daily and not at all interested in the others, you can get a "niche" subscription just for your chosen category, too (such as Jewelry and Beading only).

Either way you want to do it, it's a great value (as little as $11.99 a month!) packed full of informative how-tos and video workshops by experts in all kinds of crafty fields. Whether you want to master your current craft passions or learn new ones, Craft Daily is a fun new destination for creatives. In addition to the 100+ hours of videos, here are some other great features of Craft Daily:

You can watch the 100+ hours of videos in a variety of formats--on your computer of course, but you can also watch on iOS devices (iPhone/iPad/iPod Touch) as well as many Android-powered devices (including Kindle Fire, etc.). You can even stream the videos to your television via an iPhone, iPad, or by using AirPlay with an AppleTV.
Video Bookmarks allow you to save your place and easily snap back to it if you get interrupted or need to review an important technique again.
Adaptive Bitrate Streaming--which is a fancy way of saying Craft Daily offers the most interruption-free watching experience possible. (Here's the nitty gritty on that: If you're watching on a "slower" Internet connection, the Craft Daily platform can detect that and will stream the best version of the video file for your available bandwidth, just like sites such as YouTube and Netflix. So rather than you being stuck in an infinite "buffering" loop when your bandwidth isn't operating at prime capacity, the system will adapt your stream to temporarily feed you a lower-resolution version of the video more quickly, so you can keep watching without all those stops and starts.)
Ratings & Reviews allow you to see what videos other users love the most--and you can add your own two cents as well, to rate the videos you watch. You can also add videos to your Favorites list to get to them easily (kind of like a Netflix queue--very handy!).
We're pleased to be one of the first sites of our kind to offer Closed Captioning on a streaming site.

Learn more about CraftDaily.com and be one of the first to subscribe to this fun new site!

Speak Your Heart: Telling Secrets with Acrostic Gemstones

TammyJones — Mon, 13 May 2013 06:40:00 GMT

From the JMD archives, here's one of my favorite blog posts ever. Judging from the amount of comments and feedback we received, it was one of your favorites, too! Enjoy this look back...


	The lovely old acrostic key brooch I saw on Antiques Roadshow. Can you read the message in these gems?

Have you heard about acrostic jewelry? I learned about it watching an old episode of Antiques Roadshow UK a couple of weeks ago, and now I'm fascinated by it. Just what I needed--a new reason to be hooked on gemstones!

What is Acrostic Jewelry?

Acrostic jewelry is jewelry set with gemstones that spell out a message. Each gemstone represents a letter--the first letter of their name--and they were used like a sparkly alphabet to create messages of love and romance in jewelry. For example, popular gemstones such as diamond would serve as a D, rubies as an R, emeralds as an E, and so on. So if you wanted to spell out "dear," you'd create a piece of gemstone jewelry that featured a diamond, an emerald, an amethyst, and a ruby, in that order. Sweet, isn't it?


Can you guess what word I've spelled here in gems? It's a tough one!

*How about this one? It's one I've written about . . .*

*And this one? Here's a hint: My beloved guy might wear stones like these in his ring . . .*

Read on for more about acrostic gems and the history of acrostic jewelry.

The Gemstone Alphabet

Here's a list of gemstones for the alphabet, off the top of my head--there are others that are less common. Some of them are a stretch, and I can't think of a thing for some letters (X? Y?). Can you think of others? Share in the comments below!

(Update: Thanks for all of your comments on the original blog! I've filled in the list below with your help, though some of these stones can be difficult to find and/or not suited for jewelry because of their softness or crystal structure.)

A - amethyst, aquamarine, agate, alexandrite, amber, ametrine, apatite, aventurine
B- benitoite, bixbite, black opal, boulder opal, beryl
C- citrine, carnelian, chrysoprase, coral, chalcedony, chrome diopside, chrysoberyl
D- diamond, demantoid garnet, diopside, dioptase
E- emerald
F- fluorite, faustite
G- garnet, goshenite, girasol
H- hessonite garnet, hematite, hawk's-eye, heliodor, hiddenite, hauyne, heliotrope
I- indicolite, iolite
J- jasper, jade, jet
K- kyanite, kunzite
L- lapis lazuli, labradorite, lepidolite, larimar
M- moonstone, morganite, malachite, magnesite, moukaite
N- nephrite
O- opal, onyx
P- pearl, peridot, pyrite, pietersite, prasiolite, prehnite
Q- quartz
R- ruby, rose quartz, rhodochrosite, rubellite
S- spinel, sapphire, sunstone, South Sea pearl, smoky quartz, sodalite
T- tourmaline, tanzanite, topaz, turquoise, tiger's-eye, Tahitian pearl, tsavorite
U- unakite
V- variscite, vessonite, vesuvianite, verdite, vandanite
W- watermelon tourmaline
X- xenotime, xonotlite (a new favorite!)
Y- yttrium fluorite, YAG, yuksporite
Z- zircon, zoisite, zebra stone

You'd think Z would be hard, but in this case, it's easy, and V, X, and Y leave me blank! There are some, of course--mostly collector's stones that are too rare or too soft and not suitable for jewelry. Thank goodness for all the kinds of garnet. Am I forgetting any gems? Help me out in the comments below!

Isn't that fun? To learn more clever ways to incorporate gemstones into your jewelry designs, subscribe to Lapidary Journal Jewelry Artist magazine. There are gemstone profiles, an artists' gallery, and projects in each issue that show how to use gemstones of all kinds in your jewelry designs--even some tutorials for cutting your own gems and cabochons!

Update: Here are the answers to my acrostic messages in these photos:

The first one is: citrine-hauyne-amethyst-ruby-moonstone-emerald-diamond = charmed

The second is: ruby-emerald-garnet-amethyst-ruby-diamond-sapphire = regards

The third one is: tanzanite-amethyst-moonstone = Tam, my nickname

Join Us for Our Next Live Webinar: Launch Your Jewelry Business with Nina Cooper

TammyJones — Sat, 11 May 2013 20:54:00 GMT

Join Jewelry Making Daily for this month's "must-see" webinar with Nina Cooper, owner of jewelry-making supply company Nina Designs!

On Thursday, May 23, 11 am PT (12 noon MT, 1 pm CT, 2 pm ET), Nina will join us LIVE to talk about how she launched her business and how you can too with Launch Your Jewelry Business. (If you can't join us live, don't worry: By registering you will automatically receive a download of Nina's webinar within 48 business hours that you can save on your computer and watch as many times as you'd like, whenever you'd like!)

Nina will guide you through the two questions fundamental to starting your own creative business: Can I do it? and should I do it? Once you're willing to take the leap, Nina will encourage you and guide you with a business model that is sure to set you up for success as you begin to market and sell your unique jewelry designs.

In our webinar, you'll have an hour with Nina to ask her all of your questions and share your excitement or concerns. She'll make sure that you walk away with the tools you need for successful bookkeeping, pricing, branding and more.

If you are passionate about your art jewelry and ready to share it with the world, then join us for this live webinar and take your jewelry business to the next level! As Nina says, "Don't be afraid to make mistakes! Know what you want and go for it!" Register now!

About Nina Cooper: Nina Cooper is one of those lucky people who discovered her passion early in life. She sold beaded jewelry at her first craft show when she was just 10 years old and hasn't looked back since. When she started Nina Designs, she wanted to build a company where art and life could coexist with commerce. After 30 fabulous years, she is ready to share her expertise and help you launch your own successful jewelry business.

Cooper contributes regularly to many jewelry-related magazines including Lapidary Journal Jewelry Artist, Beadwork and Stringing. She has also been published in American Cinematographer and Glamour Magazine. Cooper has also appeared twice as an expert guest on the PBS show Beads, Baubles & Jewels.

Happy Birthday to Us! Week 2: Win CraftOptics Telescopes from Rio Grande

TammyJones — Fri, 10 May 2013 08:28:00 GMT

Birthday Present #2 is a pair of CraftOptics® Telescopes, courtesy of Rio Grande

About CraftOptics® Telescopes: These lightweight, comfortable, high-resolution telescopes from CraftOptics® are mounted on a black titanium frame into which the user's prescription or reading correction is installed. A clear lens version is also available for those who don't wear any prescription or reading correction.

This amazing present is valued at over $400!

Simply leave a comment below to be entered to win, before midnight CT on Thursday, May 16, 2013.

NOTE: After you post your comment, look for the green box at the top of the page that tells you your comment is being processed.

Please don't post again. Duplicate entries will be deleted (and I hate doing that!). One winner will be chosen using Random.org's number generator. Good luck!

Meanwhile, have you seen all of our free eBooks?

Earrings: Lovely to Make, Lovely to Give, But What a Pain to Photograph!

TammyJones — Fri, 10 May 2013 07:01:00 GMT

Earrings are one of my favorite pieces of jewelry to make for friends and family. They can be a little more difficult than other types of jewelry, since in general, you want them to look alike so you have to make a cute design and then make another one just like it (unless you're making fun asymmetrical earrings). But earrings always fit--no sizing required--and they're a friendly, fun gift to give. Rings require just the right size but also they seem a little too personal to make for a friend sometimes, and pendants usually need a chain, and bracelets also need a bit of sizing . . . etc. Earrings are just a fun, easy piece of jewelry to make and give.


*bad: flat earrings*

But not, unfortunately, to photograph. I've had this issue for years, and I think I've narrowed down the crux of it: earrings are always moving (dangly earrings on ear wires, of course--not studs on posts). They don't look right when they're flat in a photo, because you can't see how they pretty they look when they're hanging. But when you hang them on a prop--a cord, the edge of a cup, etc.--they usually move. It seems like they have some sort of kinetic energy about them that keeps them moving long after they should be still, even just a tiny bit--and that tiny bit is enough to make it hard to get a good photo.

We also run into background and focus issues when we hang earrings, because you want the earrings to show up pretty and crisp but the background to sort of fade away. Getting that focus just right can be difficult, especially using a camera's manual focus settings, and you'll probably have to use a pretty fast shutter speed to get everything you want in focus to be in focus considering how earrings are prone to sway when hung. So we're back to the movement issue.


	*bad: lint, reflections, and blur*

Hanging earrings on the rim of glasses is a popular prop I see in online stores like Etsy and such--I've done it myself--but even that brings up its own issues for good jewelry photography, because you have a reflection to deal with. Plus it's hard to get a glass sooo clean that no smudges or bits of lint show up in the photo, creating photo editing work. As the kids say, ain't nobody got time for that! Even using an opaque cup like a teacup will avoid the smudge and lint issue, but the earrings' natural sway is still an issue.


*better: fitting background, earring support*

My workaround became a more solid prop that would allow them to hang but also support their entire length, preventing even the tiny movements that can thwart your good photo and focus: a peach.

Peaches fit my brand (Southern Baubelles--and what's more southern than peaches?), have the shape I needed to support earrings, and have beautiful color and very fine texture that are not too much, that enhance the earrings but not overpower them. I sometimes also used apples, but I've decided to stick with peaches because they fit my brand so well. My photos aren't professional perfection now by any means, but I'm much happier with these latter ones than I was with the flat, linty ones!


	*better: colorful, supportive prop, no blur*

And no, they aren't real peaches and apples; I bought a few very good faux ones in the floral department of a craft store. I just have to remember to use the same holes again and again, whenever possible; otherwise my peaches will get hole-filled and I'll have to buy more. Easy to remember. Otherwise, I haven't found a down side! But it took me quite a bit of trial and error to discover what worked for me. I tried glasses and cups, sand, pebbles, moss and Spanish moss (again, sticking with the Southern theme), rocks, branches, and I don't even remember what all else. If only I'd had an expert to give me some tips and advice and save me all that experimenting . . .

Whether for your online stores, jury applications, shop or booth art, promotional materials, or whatever, good photography is essential to presenting your jewelry in its best possible light and succeeding at your jewelry business. To learn the best ways to photograph all of your jewelry, take advantage of our favorite expert photographer's years of tips and techniques by getting Jim Lawson's How to Photograph Your Jewelry and How to Photograph Your Jewelry: Beyond the Basics in a special DVD bundle (or instant download video bundle). They're paired up now at a special price if you buy both in this handy and informative photography bundle! Jim is the man behind all of the amazing jewelry and gem photography you see in Lapidary Journal Jewelry Artist as well as some photography in Step-by-Step Wire Jewelry and many of our other books, magazines, and other products. He specializes in gem and jewelry photography, and he's sharing his years of expertise with you in his photography video workshops. You spend so much time making beautiful jewelry--don't you owe it a beautiful photograph?

Intro to Chasing and Repoussé: Ancient Ways to Move Metal Plus an Easy How-To

TammyJones — Wed, 08 May 2013 06:49:00 GMT

Chasing and repoussé are tied with gem cutting at the top of my techniques-to-learn wish list. I can't think of any other jewelry-making or metalsmithing technique that can create so many unique designs on metal or one that creates such an impressive effect--all made using techniques that are thousands of years old. Chasing and repoussé are used to create dimensional works of art in various metals, most commonly silver, for jewelry, flatware, serving pieces, accessories, home décor, and more.

What is Chasing and Repoussé?

In simple terms, repoussé means to push forward or push up (it means "push up" in French); it refers to the metal being raised by hammering from the back to create dimension on the front. Chasing (from the French chasser, meaning "to chase") essentially outlines the pushed-forward designs by pushing back around their edges to help define them.


*chasing punches*

*chasing hammer*

So the technique of chasing and repoussé means you'd hammer a general design onto the back of a piece of metal, flip it over, and outline the design from the front. You'd use pointed chasing tools (punches) and a chasing hammer (yes, that's where that comes from!) to outline the design; you may or may not use larger rounded chasing punches for the repoussé work. Alternately, you can use those chasing punches (metal stylus-type tools with a variety of tips) to "draw" your design onto the metal, flip it over, and hammer within (or around the outside of) the design, depending on what it is.

Chasing punches are very personal tools that are typically forged or at least modified by their owners. Many of the chasing punches found for sale are blanks that are ready to be modified to suit your needs. Their tips can be flat, domed, or detailed like flat- and Philips-head screwdrivers, pointed like awls, or textured in a variety of ways.

Metalsmithing How-To: Chasing and Repoussé

Chasing and repoussé are ancient techniques (possibly since 3000 B.C.) that are still done today basically the same way they were done hundreds and even thousands of years ago. Now as then, metal is placed in a pitch pot or pitch bowl (pitch is usually hard clay, wax, or resin) that supports the metal while it's hammered upon. Pitch is typically heated to soften it for repoussé work and allowed to harden for more detailed chasing work. If metal is hammered during the repoussé process on pitch that is too hard, it can create so much resistance that the metal is thinned, so the right temperature and hardness of pitch is important for successful repoussé work. Likewise, if chasing is attempted on metal with too soft a backing, it won't provide enough support and the punches can distort the metal too much or even pierce it. What a heartbreaking mistake that would be!

After the first round of repoussé work is completed, the raised areas are filled with softened pitch to support them. The pitch is allowed to cool and harden before the piece is returned to the pitch pot, face up this time, and the chasing work begins to outline and define the areas raised with repoussé. In very detailed designs, this process can be repeated many times--with cleaning and annealing between each step. Chasing and repoussé is a time-consuming technique that involves many steps and quite a bit of repetition, making it a true artisan craft that is becoming more and more rare.

Another ancient chasing and repoussé method involved using wooden tools or punches to press and hammer malleable gold, silver, or copper sheet into the carved cavities of hard rock, bone, or other harder metals to imprint the carved design onto the metal sheet. Early metalsmiths would carve one design into the harder material in a labor-intensive process, but then that one carved mold could be used to produce multiple pieces of dimensional gold work. Alternately, decorative designs using something as simple as wire were made and then metal sheet was hammered upon it.

Learn "Low-Tech" Easy Chasing and Repoussé

For a quick and easy introduction to creating dimensional metalwork with chasing and repoussé, get Janice Berkebile's new video tutorial, Chasing Made Easy: Form a Perfect Metal Leaf. In it you'll watch and learn as Janice forms a textured, three-dimensional leaf out of 24-gauge copper. In the process, you'll learn basics about chasing and repoussé that you can use to create other dimensional designs and effects in your metalwork, simply using metal sheet, a hammer, and a sandbag or similar surface--plus gain an understanding about how metal moves and works that you can apply to all of your other metalsmithing projects. Because she skips the part of the traditional technique that involves embedding your metal sheet in a pot of pitch, Janice calls her method a "low-tech" and "down and dirty way of getting some dimension into your sheet metal"--plus it's incredibly fun and rewarding!

What Has Your Hammer Done for You Lately? Make Fluted, Domed, Concave, and Convex Metal Designs

TammyJones — Fri, 03 May 2013 06:16:00 GMT

I often forget that hammers can do so much more than flatten metal and wire; I forget that they can move metal the other way, to literally create height, depth, curves and recesses where there were none. When used in a particular way, hammers can create three-dimensional metal shapes that look like they're either pressed, cast, or multiple pieces soldered together.

You can even turn one shape of metal into a completely different shape, just by the stretching, moving, and compressing/thinning that happens to it during hammering, by placing your hammer strokes in the right places at the right times with the right base behind the metal.

Whenever I see master metalsmith and toolmaker Bill Fretz's work, I'm amazed at the depth and three-dimensional metal jewelry he is able to build from flat metal, just by hammering. His bangles, cuffs, and pendants are stylish pieces that look like they should take days to make, not minutes. I'm continually fascinated by such work being achieved with just proper placement of metal on stakes and mandrels--and hammering the dickens out of it. And I know we all love to hammer!

Here are some of the ways I've learned from Bill to create that same kind of dimension, to build pretty fluted, domed, concave, and convex designs in metal just by hammering.

1. Hammer a round blank gently with a flat nylon hammer on a flat anvil, turning it in a circle as well as turning it over from time to time and keeping pressure on it with your other thumb and finger, to form a gentle, slight dome. Starting with slightly domed metal rather than perfectly flat metal can prevent warping from the heat if you plan to solder it or fire it in a kiln.

2. You can create a slight dome with a steel (rather than nylon) hammer, too, but be careful not to twist your hand or turn your wrist at all as you hammer; hit straight down onto the metal to avoid creating divots on it. This is important to remember for all hammering in order to avoid creating marks and texture on the metal that you don't want. (See number 4 if you do make a mistake mark.)

3. When hammering on an anvil, move the metal, not the hammer. Keep the hammer bobbing in a straight-up-and-down motion and just turn the metal piece. Hold the hammer lightly in your palm and let it bounce off the metal in a fluid motion. Hammer each blow with equal effort for uniform marks or textures. If you hammer softly most of the time and harder once in awhile, those harder blows will stand out. It might create a look you want or one you dislike--just know that it will create a different and noticeable mark.


	before after

4. After planishing with the round side of a hammer, you can refine the surface of your metal and smooth out the slight hammer marks by turning the hammer over and continuing with the flat side. Bill recommends this as a good exercise for creating better hammer control and accuracy. It is a more advanced hammering technique, because you risk errant blows creating unwelcome half-moon marks or divots on the hammered surface. If you do create a half-moon divot while you're hammering metal using the flat side of a hammer, you can turn the hammer over and use the round side to hammer it back out. Then continue refining the surface with the flat side.

You won't believe how easy it is to create the stunning three-dimensional shapes that Bill creates just by hammering the right way on stakes and mandrels. For a fun sampler of designs, many of the projects from Bill's best-selling video workshops are available now in an exciting new eBook, Jewelry Making Using Hammers and Stakes: Projects and Techniques by Bill Fretz.

P.S. Did you know today, May 3, is our 3rd birthday? Celebrate with us by winning great presents for you!

Happy 3rd Birthday to Us! Celebrate by Winning Presents for YOU!

TammyJones — Fri, 03 May 2013 06:00:00 GMT

On May 3, 2010, Interweave announced their newest arrival: an online community for jewelry makers of all skill levels and all interests. From beginners to artisan masters, Jewelry Making Daily was created to be a melting pot of learning, sharing, and having fun!

Now three years later, that's exactly what we are today. We've grown as fast as any 3-year-old ever has--by leaps and bounds! And what's a birthday celebration without presents?

I always celebrate my own birth-month instead of a birthday, but we're topping that. We're celebrating our 3rd birthday with weeks of giveaways to show our appreciation to all of our jewelry-making friends and community members. A new prize from our valued partners and advertisers will be given away each week.

Birthday Present #1 is a two-year subscription (8 print issues) to Metal Clay Artist Magazine...PLUS a digital copy of the current issue


Download a free issue of Metal Clay Artist Magazine!

About Metal Clay Artist Magazine:

Metal Clay Artist Magazine is the first and only print magazine in the world devoted entirely to the metal clay arts. Metal Clay Artist Magazine's mission is to share, exchange, and develop ideas; promote education; inspire creativity; and increase appreciation for the work of metal clay artists worldwide.

Produced by jewelry makers for jewelry makers, the magazine features a wide range of metal clay-related content, including step-by-step projects, articles, how-to's, guides, tips, techniques, artist profiles, and other valuable information about PMC®, Art Clay^TM Silver, bronze clay, copper clay, and mixed-media (including polymer clay, wire work, enamel, and glass).

Metal Clay Artist Magazine has an international focus, with content, subscribers and advertisers from around the world.

Packed full of inspiration, it is a fantastic reference for anyone making jewelry!

The Metal Clay Artist Magazine subscription present is valued at $56.80.

Simply leave a comment below to be entered to win, before midnight CT on Thursday, May 9, 2013.

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More, More, More: Our 11 Best Wire Jewelry-Making Tips

TammyJones — Wed, 01 May 2013 07:37:00 GMT

Whether it's jewelry making, beading, quilting, knitting, or some other hobby--or even housekeeping--one good tip is enough to make your day and change your world. Friday is Jewelry Making Daily's third birthday (whee!), and here are the 11 most memorable and helpful wire jewelry-making tips that we've shared in our fabulous three years (with a few new ones thrown in for fun).


	Linda Larsen's wire organizer

1. A common wire tip is to store different gauges and types of wire in separate, labeled plastic sandwich bags in an accordion style folder to keep them neat and organized. Here's the bonus: Add a piece of plain chalk to each bag to further prevent tarnish.

2. File wire ends easily: Did you know that those little emery boards can help file and smooth the ends of wires if you don't have a metal file handy? Or if you don't have a file small enough to fit in tight spaces? Plus you can get them practically free in the little cotton ball/cotton swab/nail file packets in some hotels. Remember to file the ends of ear wires for comfortable wear.

3. Just like custom dress and gown designers make a "muslin" version of a dress before they actually work with the fine fabrics, it's wise to use craft wire for practicing new wire jewelry techniques. It's less expensive than other wire, so if you make a mistake, it will only cost pennies, not dollars.

4. Argentium silver wire makes the best balled head pins: no fire scale, no wonky balls, no pointy ends. It draws up the wire beautifully in a flame and is extremely tarnish resistant.


Custom-Shank Earrings by Denise Peck

5. Turn any short length of wire into a paddle-shaped finding or design element just by hammering the ends. Hammer one end flat to create a "stopper" effect, slide on a dreamy lampwork glass or gemstone bead, and hammer the other end flat too (careful not to hit the bead). Then pierce, punch, or drill a hole in the top end of the wire and hang it on an ear wire. Voila! Quick and easy handmade one-of-a-kind earrings, all from a simple piece of wire. See more examples here.

6. Mark the jaw of your pliers with a permanent marker so you'll remember where to wrap the wire each time for consistently sized wrapped loops.

7. Silver alloys that contain copper are more prone to tarnishing. The more pure the silver you're working with, the less it will tarnish. For example, fine silver and Argentium silver keep their pretty white tarnish-free shine, making them ideal for intricate wirework like filigree, chain maille, and wire weaving where polishing to remove tarnish down the road could be next to impossible. Similarly, sterling wire will turn black when held in a flame (as a result of developing fire scale), but fine silver and Argentium silver will not. (From Denise Peck and Jane Dickerson's new book Wireworker's Companion)


	Abby's Earrings by Jodi Bombardier from Weave, Wrap, Coil

8. This one is so logical, but if I hadn't read it, I would have struggled with this: When you're weaving wire on an angled or tapered wire frame (thicker/wider on one end than on the other), start at the narrowest end or point of the frame and weave toward the widest point of the frame. If you weave from the widest to the narrowest point, the wire will slip down the frame. As my friend would say, well duh! But it wouldn't have occurred to me until I was pretty flustered from struggling with keeping the wire from slipping down the frame.

9. Memory wire is made of tough steel and requires heavy-duty memory-wire cutters to cut it. Beware, because it will ruin your regular wire cutters. Be sure to keep memory wire labeled and separate from your other wire stash. I put a little red piece of electrical tape on mine to alert me.

10. Have you ever wondered why larger wires have smaller gauge numbers, and vice versa? The number refers to the number of times the wire is pulled through gradually smaller holes in steel plates, making it smaller with each pass. So if a wire is 20 gauge, it was pulled through 20 times, but a smaller wire, say 28 gauge, was pulled through 8 more times, making it even smaller each time. Visualizing it that way helps me remember that smaller numbers means fewer pulls through the plate, not smaller wire.

11. And don't forget the wire jewelry tip of the year! When you're making ear wires, double the amount of wire you need to make one and bend it in half. Think of that bent end as the loop end. Then work that doubled wire into an earring wire just like you would any other wire--shape it around a mandrel like a marker, bend up the ends . . . but then stop. Instead of cutting apart the loop end, leave the ear wires as they are until you're ready to use them. Then just snip the wire in half at the loop end and finish off the loops. Voila! Perfectly matched ear wires.

You're ready to take on the world--the world of wire jewelry making, at least! So here's one BIG tip: You can get 8 tip-, tutorial-, and project-filled wire jewelry-making resources (books, video workshops, and more) along with three bonus eProjects in one amazing bundle for a limited time. Plus, you can get it all in digital format as an instant download if you prefer!

P.S. Want even more metal and wire jewelry tips? You got it! Here are 5 more... and then 8 more!

Step by Step Wire Jewelry, June/July 2013

mleonard — Mon, 29 Apr 2013 10:00:00 GMT

Some Projects in this Current Issue


Classic Cab
Karen Meador


Crystal Funk
Kate Richbourg


Fleur de Lis
Denise Peck


Cathedral Gate
Bill and Roberta Manly

Projects in Previous Issue


Tied in a Bow
Lilian Chen


Twist and Shout!
Karen Karon


Caged Cab
Dana James


Modern Tribal
Linda Larsen

Projects in our Store


spirit dancer
Cindy Wimmer


wilma flintstone cuff
Eva Marie Sherman


whimsy hearts
Jodi Bombardier


sugar plum petticoats
Kerry Bogert

ADVERTISING AND FEATURES

Advertising Sections

marketplace
advertiser’s index

Features

off the wire
By Denise Peck, editor-in-chief

Spotlight
By Jane Dickerson

Favorite Tools for 2013
By Ronna Sarvas Weltman

Color Canvas
By Kerry Bogert

Easy Wire Stone Capture: Make Woven Wire Bezels and Cages for Gems, Shells and More

TammyJones — Mon, 29 Apr 2013 07:03:00 GMT

"You can make anything with wire...It's just a fabulous, fabulous medium."

This line at the beginning of Janice Berkebile's new jewelry-making workshop, Easy Wire Stone Capture, sums up how I've been feeling about wire lately. It really is an incredibly versatile medium that can be used to make or do just about anything you want in jewelry making. And as Janice shows throughout her workshop, wire is also a great aid for incorporating gemstones--cabochons, both raw and faceted gems, and even polished rocks--in your jewelry creations...all without soldering a bezel! Because let's face it, there's more than one way to skin a cat, as my elders always say; and setting a stone or cab in a bezel and stringing gem beads aren't the only ways to incorporate gems in your jewelry designs.

I first got intrigued with the idea of "caging" gemstones when I saw Linda Larsen's Captured Objects necklace on the cover of Step-by-Step Wire Jewelry (Feb/March 2012). It caught my attention first because I love the rustic look of it and the Roman glass in it, but you could use beach glass, river rocks and pebbles, broken beads, crystals--anything that's large enough not to fall through the cage. That includes gemstones! It's the perfect "setting" for a few rough, raw gem crystals, and the same idea could be modified to make a ring, earrings, or a bracelet.

So I added that project to the top of my to-do list. Not too long after that I got hooked on Mary Hettmansperger's Weaving Wire Jewelry video workshop, in which she teaches how to weave, coil, wrap, twin, and otherwise build dimensional wire shapes and jewelry using basketry and weaving techniques. I loved the crossover from weaving to jewelry making so much that I took her class at Bead Fest a few months later, but I still hadn't made the connection to build all those cool wire structures around gems. Until now!

Just in time for making the big, bold pendants that I like to wear on chains and cords in summer to dress up a plain tee, Janice is here with all kinds of ways to do that. My favorite is her Enchanted Lantern weaving technique (above, right) that creates a woven wire cage around a center-drilled stone. (It can also enclose several smaller gemstones. I love jewelry that moves and jingles, and there's opportunity for movement in this one, if you just ensure that the openings in the wire cage are all smaller than the stones you put inside.) Another fun one, her Woven Bezel Cage technique (on the right) creates "frilly" curls and filigree-like wire bezels ideal for cabochons.

So if you have some large stones you want to turn into pendants or some small ones that need caging, pre-order Easy Wire Stone Capture: 4 Alternative Ways to Set Stones with Janice Berkebile (or download it instantly now), for step-by-step tutorials on making wire bezels to incorporate gems, cabs, ammonites, and rocks (even glass, shells, and more) in your wire jewelry creations. Bonus: Among other great tips, Janice shares how to estimate the amount of wire you'll need to make a bezel or cage using her techniques for any of your stones.

Our Newest Free eBook: Get 3 Free Epoxy Clay Jewelry Projects

TammyJones — Fri, 26 Apr 2013 06:48:00 GMT

Learn to Mold Epoxy Clay and Stud it with Crystals, Stones and More

Epoxy clay is a fun and relatively new jewelry-making material that's so easy to work with! It is known for its adhesive superpowers that allow you to set stones in it or adhere stones to metal (or even metal to metal) with no heat, no messy glues--just mix, press, and cure. And you can learn all about epoxy clay and how to make epoxy clay jewelry in our free eBook, 3 FREE Crystal Clay Jewelry Projects: Mold Epoxy Clay and Stud with Crystals, Stones and More. Known under other brand names (such as Crystal Clay), epoxy clay is simply a two-part adhesive clay that comes in a variety of colors as well as black and white. Epoxy clay air-cures in a matter of hours, allowing you to make dimensional epoxy clay jewelry today and wear it tonight!

As you'll learn in 3 FREE Crystal Clay Jewelry Projects: Mold Epoxy Clay and Stud with Crystals, Stones and More, epoxy clay couldn't be easier to use--you simply mix equal parts of the resin clay and the hardener until they're well blended (a full two minutes, or it won't cure properly) and then let your imagination run wild. Embed stones and crystals in it, sculpt shapes and bling them up, or set stones inside bezels and on other metalwork using a small ball of it.

For a last-minute gift, something fun and new to brighten up a tired outfit, or just an easy way to use stones and crystals in your jewelry designs--epoxy clay is the remarkably easy and fun choice! These are the three quick and easy (but bold and eye-catching!) free epoxy clay step-by-step jewelry projects you'll learn to make in 3 FREE Crystal Clay Jewelry Projects: Mold Epoxy Clay and Stud with Crystals, Stones and More--all three courtesy of Becky Nunn of Nunn Design.

		Crystal Flower Ring In a stylish pre-made ring bezel, you can use two-part epoxy clay to "set" a brass flower component and a dome of sparkling crystals to make a super quick, super pretty cocktail ring that's high on the girly bling and low in cost and time! This ring will cure just about as fast as the pretty manicure you're going to want to go with it.

		Red Crystal Chaton Ring This bold cocktail ring project opens up new ideas and possibilities for using colored epoxy clay to "set" a dome of deep, rich red crystal chatons. Once you've learned to make the basic ring, you can experiment--use white epoxy clay and pearly beads for a sweet or bridal look, black epoxy clay with black crystals for a moody goth look, pastel-colored epoxy clay with a variety of pink, blue, yellow, and green crystals for a fun confetti party look--the list goes on and on!

		Heart Dangle Earrings These pretty earrings are an example of a completely different way to use epoxy clay. While the two ring projects above allow you to "set" stones in the clay for a domed cocktail ring look, this project shows off epoxy clay's adhesive super powers to adhere a metal flower "bezel" onto a metal jewelry finding (a heart) and then adhere a crystal inside the flower--no heat, no solder, no torch, even no rivets required! It's the ultimate easy stone-setting and cold connection, and it couldn't be easier.

It's fun, fast, sparkly, and free--so what are you waiting for? Download 3 FREE Crystal Clay Jewelry Projects: Mold Epoxy Clay and Stud with Crystals, Stones and More now!

Chain Maille How-To: Make Charlene Anderson's Embellished Barrel Weave Necklace and Earrings

TammyJones — Wed, 24 Apr 2013 04:43:00 GMT

I may not know chain maille, but I know who knows chain maille! Enjoy this pretty summery project from Charlene Anderson, a chain-maille jewelry expert who was the 2010 artist of the year for Step-by-Step Wire Jewelry magazine.

Isle of Capri Embellished Barrel Weave Necklace and Earrings
by Charlene Anderson (originally published in Step-by-Step Wire Jewelry magazine, June/July 2010)

This necklace and earring set showcases sterling rings combined with Magatama beads in a shade of blue-green (reminiscent of the Blue Grotto on the island of Capri), which add a touch of color to this set. Capri's Blue Grotto is known throughout the world for its size, the intense blue tones of its interior, and the magical silvery light which emanates from the objects immersed in its waters.

The beautiful blue coloring of the Grotta Azzurra is created by the daylight which enters via an underwater opening located immediately below the entrance to the cave. The light is filtered by the water which absorbs the red tones, leaving only the blue ones to pass into the cave.

Barrel Weave may not be as well known as Byzantine or Jens Pind Linkage, but it is a lovely weave, fun to make, and its structure allows for an infinite variety of ring combinations and bead embellishments. Barrel weave looks great in mixed metals, as well as mixed ring profiles (square, round, twisted, diamond, etc.). Adding beads or charms to Barrel weave gives a whole new dimension and movement to what is a very structured weave.

Barrel Weave works best with an aspect ratio of about 3.5 to 4.7. This wide range of aspect ratio is related to the number of connectors you use between the units. There are two main variations of Barrel Weave: the first uses two connector rings between the units. Connector rings are the ones added in Steps 4-5. The other variation uses one connector between the units. The difference in the look is subtle, and the projects in this article show pieces made in both ways. If you are working with a ring on the smaller end of the suggested aspect ratio, just omit Step 5.

The step photos show Barrel Weave using two connectors so you can see exactly where the second one goes in Step 5. The Isle of Capri pieces featured in this article use one connector, so if you want to recreate the pieces exactly, omit Step 5.

Materials:

18-gauge 11/64" (4.4mm) ID (G18)
300-350 sterling silver jump rings
two pairs flat- or chain-nose pliers
clasp of your choice
10-gram pkg Magatama beads, size 4
2 sterling silver ear wires
tumbler and shot (optional)

Steps:

		1. Put two closed rings onto one open ring. Close the open ring. Add a new open ring through the same path as the first. You now have a 2-in-2 chain.

		2. Offset the pair of rings not attached to the twist tie so that you have created enough space to insert a new ring in between the offset rings. Add an open ring through this path, and close it. Double up the ring you just added.

		3. Using a new ring, put two closed rings on the new ring. Do not close this ring.

		4. Insert the open ring into the tiny opening made by the offset rings. Once you get it through, close the ring. You will be going through four rings: the two you placed on the new ring, plus the two offset rings.

		5. Optional: Double up the ring you just added. These last two rings will act like the rings you offset in Step 2. When spreading the rings apart, make sure you keep the same ring on top as in Step 2. Repeat Steps 2-4 until the piece is the desired length, less the length of the clasp.

		6. To finish the weave, add two more rings when you have finished Step 2. Don't add any loose rings to this final pair. You'll attach the clasp here.

		7. Place one bead on an open jump ring, and attach it to one of the outside rings of the weave. Continue across the necklace, adding one bead on a ring at each outside ring (along the same edge) on the necklace.

		8. Attach each half of the clasp by using one ring on each side of the necklace.

To make the earrings: Weave the earrings in the same manner as the necklace. When the earring is the desired length, add a single jump ring through the two rings at each end. Tumble. Add the ear wire through the single ring at one end of the earring, and a bead through the single ring at the other end.

If you're a fan of chain maille jewelry or any other wire jewelry-making techniques, subscribe to Step-by-Step Wire Jewelry magazine for a steady stream of inspiring wire jewelry projects from the industry's top designers!

Resources:
sterling silver jump rings: BlueBuddhaBoutique.com
pliers and ear wires: CharAnderson.com
clasp: AGrainofSand.com
Magatama beads (item 507-1312): Beadalon.com

Try these variations:

1. Bracelet in 16g (0.220" ID, approx 7/32"/5.59mm) square stainless steel for Byzantine from C&T Designs; clasp from the author at CharAnderson.com. This project uses one connector ring between the units.

2. Earrings in 16g 4.5mm sterling from UrbanMaille.com; ear wires available from the author; two pieces of drilled beach glass from The Deep Blue. This project uses one connector ring between the units.

3. Shoulder Duster Earrings in 18g 3.5mm rainbow niobium and matching ear wires from C&T Designs. This project uses one connector ring between the units.

4. Bracelets in 18g (0.223", approx. 15/64" 5.66mm) square copper and red brass for Jens Pind Linkage 5 from C&T Designs; clasps from the author. The positions of the red brass and copper are juxtaposed in the two bracelets. This project uses two connector rings between the units.

5. Bracelet in I18 (18 swg, 13/64", 5.2mm) aluminum with E18 (18 swg 9/64", 3.6mm) aluminum at clasp connection points from BlueBuddhaBoutique.com; clasp available from the author. This project uses two connector rings between the units.

Happy Earth Day! 10 Ways to Make Upcycled Mixed-Media Jewelry and Save the Planet

TammyJones — Mon, 22 Apr 2013 06:54:00 GMT

Happy Earth Day! In honor of our amazing planet, it seems only fitting that we think about ways to "reduce, reuse, recycle" today, and it's easy to do--even in jewelry making! Yes, even jewelry making can be a very environmentally friendly hobby.


Antique Shoe Buckle Bracelet by Marilyn T. Aronson

Upcycling found objects into gorgeous new little works of art jewelry is rewarding on so many levels, and mixed-media jewelry making opens the doors to a whole world of creativity with no rules. Recycled paper, plastic, rubber, glass, wood and yes, even metal--all of these things can be reworked into stylish jewelry with just a little inspiration and know-how.

On a recent post to our forums, a member asked about sharing jewelry supplies. I was so impressed by the clever and creative list of found objects for jewelry making that Jewelry Making Daily member Luv2CUSmile provided in response, I've been anxiously awaiting the right time to share with you.

1. any old coated wire: strip it off or even use it as-is for a base to wire onto

2. old guitar strings for stringing and the little "beads" that hold them on as spacers

3. old game pieces: a great treasure to use as-is or alter with paint, kitchen foil, etc.

4. marbles: check out how to get the crackle-glass effect with basic marbles and then wire-wrap them (cage them) to make your own very unique beads and focal pieces

5. bottle caps: a bit of paint, glue, glitter, etc. to alter how you like


	*Captured Objects by Linda Larsen*

6. old shirts and worn out clothes of any type that can't be handed down or sold: remove all metal findings from jeans, buttons, clasps, etc. and even sometimes the design in the shirt itself; cut strips and wrap with other fibers and wire to make beads; clothes with sequins, beads, rhinestones, etc.--don't discount yard sales and thrift shops to find items at a great reduction in cost

7. paper beads also are a big hit again and can be made so easily with recycled paper, magazines, etc.; the different glazes or varnishes used really make them look almost like glass

8. found tools/hardware findings: as beads, focal pieces, clasps, etc.; use as-is or alter them in many ways

9. leather/pleather from old belts, purses and straps: as a base for bracelets, chokers, etc.

10. cereal, cracker, pasta boxes: cut unique shapes from the cardboard and then layer up with glue, tissue paper, paint, etc.; then coat with Future, Mod Podge, glaze or other sealer for a great focal piece (editor's note: tins work great too and don't require so much layering, gluing, and sealing, just a little sanding on the edges)

There's enough stuff there (and lying around just about anyone's house) to make enough jewelry for days--and imagine how far it can go when you mix all those things with your own stash of jewelry-making supplies! Besides the obvious rewards of being earth friendly, reusing stuff I have laying around the house makes me feel a little better about spending so much on metal and fancy hammers.

It's a great list, but maybe you need a little inspiration to get you going? You're in luck, because there are still a couple of days left in our Spring Clearance Event. Here are my top picks for making mixed-media and found-object jewelry with expert jewelry artists--and they're all on sale through April 23, 2013!

Our Next Exciting Live Webinar: Step-by-Step Cold Enameling with Susan Lenart Kazmer on Friday, April 26!

TammyJones — Sat, 20 Apr 2013 05:42:00 GMT

Exciting news! One of my favorite jewelry artists and crafters ever, Susan Lenart Kazmer is joining Jewelry Making Daily for a live interactive webinar!

On Friday, April 26 at 1pm ET, Susan will join us LIVE to talk about her new cold enameling technique, in Step-by-Step Cold Enameling with Susan Lenart Kazmer. (Don't worry if you can't join us live--your registration will include a download of Susan's complete presentation after the webinar that you can watch over and over again, anytime!)

Susan is creating exclusive new projects just for us that she'll share in a live interactive presentation. Watch and learn as Susan walks us through her new cold enameling jewelry-making technique and explains each part of the process with step-out photos. Ask questions along the way and by the end of the presentation, you'll be hooked on a hot new cold enameling technique! (No torch required!)

With your registration, you'll have one-on-one access to a super-successful jewelry artist with product lines ranging from her ICE Resin and Art Mechanique bezels to her new ICED Enamels line, plus her Industrial Chic line of jewelry-making products in Michaels craft stores.

I love working with Susan's bezels, and the mixed-media vintage designs she and her creative team create continuously inspire and delight me. I've been a fan of Susan's work for years and written about her great DVDs and books so many times--so now I'm super excited to host this webinar and to share one of my favorite jewelry designers with all of you "in person"!

If you love working with metal, resin, enamel, mixed media, or found objects, don't miss this rare opportunity to watch and learn from a master of mixed-media art jewelry and jewelry-making products!

Step-by-Step Cold Enameling with Susan Lenart Kazmer
a Cold Enameling Mixed-Media Jewelry Webinar

LIVE online, Friday, April 26, 2013, at 1pm ET
(that's noon CT, 11am MT--or anytime, because a download of the recorded webinar is included with your registration!)

Susan teaches popular jewelry-making and mixed-media art classes at Bead Fest, Create, Bead & Button, and Art Unraveled. Join us for the next best thing and register for Susan's fun new online seminar at a fraction of the cost! Susan will share the materials involved in cold enameling and then show how to do it with step-by-step photographs of exclusive projects and live interactive instruction. We'll wrap up with more live Q&A, so you can ask questions about her product lines, her work, what's it's like to create a line of jewelry-making supplies for mass markets, and more.

Susan is so much fun and such a sweet friend--don't miss this unique opportunity to "hang out" with an expert mixed-media jewelry artist!

Learn more about Susan, her work, and her environmentally friendly jewelry-making product lines.

Basic Wire Design Components: 4 Ways to Make and Use Wire Coils for Jewelry Making

TammyJones — Wed, 17 Apr 2013 07:42:00 GMT


	*I like how JMD member PrettyWearJewelry repeated the wire coil from the ear wire as a design element on her Swarovski Wild Heart Dangle Earrings.*

Even being an old-fashioned girl, I sometimes forget about the basics that make the world go 'round. So any chance I get to remind and reacquaint myself with the basics--be it cooking, jewelry making, or some other hobby--I appreciate it. I was recently reminded of the value and versatility of basic wire coils when I saw my sparkly friend Stephanie Dixon (aka The Dixon Chick) demonstrate the CobraCoiler wire coiler from ParaWire in Tucson. I was reminded of wire coils again this morning by all the caterpillars on my front porch. (Don't caterpillars look like wire coils to you? No? Just me?) Anyway, I digress.

If you're a wire worker, making basic wire coils is probably one of the first skills you learned. You may coil wire by hand on a mandrel, use a jig, or use a cool gizmo like Stephanie did--or some combination of the three--but no matter how you do it, you can end up with interesting and unique coiled wire components in a matter of seconds. Here are some back-to-basics wire-coil ideas that I incorporate in jewelry from time to time.

1. Bulk Up: Probably the most common us e of wire coils, coiling or wrapping wire snugly onto a base wire or frame can add dimension, bulk, strength, texture, and style to the original wire, whether it's a ring band, a bangle bracelet, hoop earring, or a pendant frame for a focal bead or cabochon. I often make rings with a simple 18- or 20-gauge wire and then use 22- or 24-guage wire to coil over the ring band portion to make it more substantial and finished looking.

2. Faux Chain Maille: Some of the multicolor, larger loop, multilayered wire coils remind me of chain maille. Maybe it's just because I'm chain-maille challenged, but making short coiled wire components and then coiling more wire on top of them looks like intricate little chain-maille weaves to me . . . and it's much faster and easier! No jump rings to open and close, no little pieces to drop, just coil, coil, and coil again--and voila! These little components are also a great way to get a big impact from fine-gauge wire.

3. Stuff 'em: Inspired by SilverSilk's cool Capture line (knitted wire chain with bead chain inside) but on a larger scale, I got the idea of filling my own larger wire coils with beads or a long skinny somethingorother, like a twig, a glass rod, ribbon/cord, or a larger gauge piece of wire that I've shaped or textured. Basically it's making a long skinny cage (the wire coil) and filling it with something interesting. You can make the coil and the inserted object about the same size, or allow room for the inserted object to move around, shaker style (but not slip through the coils).

4. Space Out: A little tension is all that stands between a wire coil and a wire spring. When you're making a wire coil, change the spacing of the wraps around the mandrel after a half inch or so and wrap a wider coil for awhile, then go back to the snug coiling/spacing. You can also finish the coil snugly and then stretch out a section or two of it to add interest (keep it on the mandrel while you stretch it). In both cases, I recommend using hard wire; soft won't keep its shape very well in this case. Then you can string these coils on leather or cord as design elements for bracelets or necklaces, or hang a few from ear wires to make earrings that are fun and springy.

There are all kinds of ways to play with wire coils. You can go beyond these basic ideas to coil with two colors of wire, to build coils on top of coils, or invent some other clever design of your own!

To learn to make perfect wire coils and then to make fun jewelry with all the coiled wire components you make, turn to a pro! In Kerry Bogert's Wire Coiling Secrets video workshop (available as a DVD or instant digital download), you'll get expert wire-coiling instruction and then learn ways to use all the fun coils you'll make in jewelry designs. Whether you use precious metal wire, traditional metal-plated copper-core wire, or colorful craft wire, you'll be able to learn along with Kerry and make your own perfect wire coil components and designs before the day's up. Plus you'll get a bonus free 15-minute video earring project with Kerry!

PLUS see behind the scenes photos from the video shoot on our Wire Coiling Secrets Pinterest board!

Forming Metal with Pliers: Meet Lexi's Favorite New Jewelry Tools

Lexi Erickson — Mon, 15 Apr 2013 06:03:00 GMT

How Do I Wub Thee? Let Me Count the Ways

I am the first to admit when I'm wrong about something, and God knows I'm not perfect or always right.

So, about three or four years ago at Bead Fest, while showing a student how to make a bail for a pendant, I said, "Let me borrow your pliers." She handed me her pliers; I took them and, without paying attention to them, started bending the 10-gauge wire for a bail. Well, the pliers just tweaked and wouldn't bend the wire. I looked at them, and cute as they were, I said, "Sorry, you need to get some REAL pliers." (I don't think I was that rude, but if I really did say that, I apologize to that student.) I borrowed her neighbor's pliers and completed the large loop for the bail. I then picked up the offending pliers, saw they were Wubbers, and thought, "Cute name, too bad they don't work." That was it. For several years. End of story. Until . . .

Bead Fest Santa Fe, March 2013--yes, just a few weeks ago--and I was teaching "Bunches of Bails" class. I was honored, and a bit intimidated, to see Patti Bullard's name on my roster, because I knew she is the inventor of Wubbers. And oh wow, she was taking my class. I also knew she had some great bail-making pliers, and I knew many of my beading friends and wire-wrapping friends loved and owned Wubbers, but too bad they didn't come in large sizes.

Oh, how mistaken I was! After class Patti came up to speak with me, and I was charmed by the twinkle in her eyes, her bubbly personality, and the passion with which she spoke of jewelry making. She gave me a brochure on Wubbers, and I thanked her and put it in my bag, planning to read it when I got home. Class was over, students wanted to visit, it was late, my able assistants (my minions) and I were packing up and moving big tanks and torches to another room, plus I was tired. Besides, the really good pizza place across from the hotel was screaming my name.

My adrenalin was still flowing at 2 a.m., so I was looking for something to read. I grabbed the Wubbers brochure. I had written an article on pliers for Lapidary Journal Jewelry Artist several years ago and noticed that everyone made round-, chain- and flat-nose ones. Some were good, some were bad. Some were so rough around the edges that they scarred your metal. But these looked so well made. I was impressed. I also discovered that I had been using the Baby Wubbers to do an adult Wubbers job, those three years ago. I read that now there were big Wubbers!

I love quality, I mean QUALITY tools, so now, wide awake and really excited to see and touch these pliers, I promised myself to cruise the Bead Fest vendor room first thing next morning, just to check out Wubbers. Does it surprise you to know I am now the extremely proud owner of a number of Wubbers? I couldn't wait to get home and play with them.

Make Artisan Jewelry Bails and Bezels with Pliers

What I absolutely loved first was the quality and craftsmanship of the finishing on the pliers. Second, it was exhilarating to use the bail-making pliers and to be able to make the same consistent sizes of the little "question mark" bail for which I have become known. Also, the round and extra large round pliers have been a huge help in beginning soldering classes where my students need a mandrel to make a ring. The barrels are sturdy enough to hammer on with a rawhide mallet. In addition, I've just used my new Wubbers to make half-inch-wide hoop earrings. Soooo cool!


	*These earrings are William Morris rug patterns I etched on copper and then formed using round Wubbers.*

But wait! There's more! Oh Wow! I just did my first bezel with the square pliers. I got perfect 90-degree angles for my square stones. No more fitting it around the stone and hoping for the right angle. Then I made a square bail, then square earrings, then a square ring . . . OK so that one didn't turn out exactly as I planned, but it wasn't the Wubber's fault. Oh, I haven't even told you about the new oval Wubbers. They are brand new and make a great variation on my "question mark" bail plus many more neat shapes I'm just learning about. I'm literally a kid with a new toy. Now I have to find a new space for my beads, as my bead wall has become my Wubbers Wall. The quality of these pliers is unsurpassed, they are hand finished (and you all KNOW how much I love to do hand-finishing on artisan jewelry--it's my THING!). We can pound on Wubbers with rawhide mallets or nylon-head Fretz hammers (my other THING!). I love the way the longer handles feel, and because of their length, you get more leverage. Let's face it, they just plain ol' feel good in your hands.

So what I'm trying to say is, when you're making handcrafted jewelry, you have to have the right tool for the job. The Baby Wubbers are great for wirework and beading, but don't send a baby to do a big girl's job (or to you men readers, a real man's job). There are different tools for different needs. My huge duckbill pliers do a very messy job on forming 22-gauge French wires, but the Baby Wubbers are great for that. Try the classic flat-nose because they come in both wide and narrow--and you need both for bending sheet metal. Use the large round Wubbers as mandrels, so now you don't have to carry that bulky ring mandrel around to class all the time.

I'd like to thank the genius of Patti Bullard for her insight to know exactly what was, and is, needed out there. You've made jewelry artists' lives so much easier!

Remember: Always use the right tool for the right job; just any tool won't always work. And besides, Wubbers is just fun to say! Wubbers...Wubbers...Wubbers.....

Off to play . . . uh, work . . . yeah, that's it . . . work hard in my studio, with my Wubbers!

Hugs,
Lexi

P.S. Check out Wubbers.com to see tutorials on how to use the pliers. And now there is Wubbers University, which is just getting under way and will have all types of classes. Hopefully I can write more on that later. I'm so excited about these wonderful tools; maybe if I'm real good, Patti will ask me to do a tutorial sometime (hint, hint, pleeeease!). I'll have to bring a bib because I still drool over my Wubbers. Try them; you will fall in love as I have.

Wubbers are a great crossover tool for folks who work with wire but want to start working more with metal. Without a huge investment, you can create small metal jewelry projects using these pliers instead of the heavy-duty mandrels and stakes that more advanced metalsmiths often use and get, as Lexi shows, great results! If you're interested in expanding into introductory metalsmithing, the newest series of Beads Baubles and Jewels is a great way to make that transition. Pre-order this four-disc set (with 13 episodes and over six hours of instruction) to learn to make and mix metal components with wire, stringing, and other jewelry-making techniques like resin or stamping, from some of your favorite jewelry artists! --Tammy

Stone Cutting How-To and Adding Dimension to a Gem by Stone Carving with a Flex Shaft

TammyJones — Fri, 12 Apr 2013 06:35:00 GMT

Anytime I get a chance to share a stone-cutting or jewelry-making project by Roger Halas, I take it! He's a man of many talents and frequently shares them in Lapidary Journal Jewelry Artist magazine. This stone-cutting project is great for the lucky folks who know (or are learning) how to cut gems, and for those of us who want to but haven't yet learned how, we can follow his shortcut idea start with stone carving. Read on and enjoy! -Tammy

Carved Quartz Cabochon
It's easy to add dimension to a common form with a flex shaft.

by Roger Halas (originally published in the December 2010 issue of Lapidary Journal Jewelry Artist)

When you're faced with a translucent gem material, the next step is to figure out what to do with it. The question usually is: Do you facet it, or do you cab it?

If you have the equipment, either of these may be a viable option, but there is also another option: carving. This typically evokes the image of an animal or other figure, or perhaps something geometric, but carving is a broad term encompassing much more than that. It can combine curves with facets, or it can look entirely organic. The point is it's time to breach the limitations of the typical calibrated form.

Here, I worked with a piece of rutilated quartz, but what you'll do is take a piece of translucent material, whatever you have on hand, cut it into a cabochon of sorts, and then add a design element that takes it to an entirely new level of optical splendor. And you'll do this all with tools you may already have on hand.

I took my time on this, as it's always difficult to maintain that girdle when working freehand, and even then it was only three hours.

An Easier Way: Purchase a transparent or nicely translucent finished cabochon of something, anything, and then just focus on the flex shaft carving.

Materials

translucent cutting material (any size, preferably facet grade)
6mm onyx bead strand
Super Glue
water
1200-grit diamond compound
cerium oxide compound
Crystalube diamond extender
cabbing unit
flex shaft
standard 6mm round diamond burs, 200- and 600-grit (for flex shaft)
1mm or smaller engraving bur (for flex shaft)
marking pen

Steps

		1. Cutting the Cabochon: So, I had this piece of rutilated quartz. It looked close to facet grade, so it was perfect for this project. Clear or rutilated quartz is always cheaper than facet-grade amethyst or aquamarine, but if you have something like that on hand, don't hesitate to use it.

		2. Grind the material into a dome. I used an 80-grit turbine wheel on a modified Diamond Pacific unit I've had since high school. It works great and removes a lot of material fast. As you work the piece, keep dipping it in water and holding it up to the light. If you see any inclusions, you might have to grind them out--in effect losing material--which is always a judgment call, sometimes a painful one.

		3. After deciding on the initial shaping, mark the piece around the perimeter to set the girdle. As you go through the successive grinding stages (280, 600, etc.), repeat marking the line to remind you not to deviate from it. For purposes of setting, the girdle must always remain straight--even if the top and bottom profiles of the stone are altered during the sanding stages.

		4. My stone is roughly pillow shaped, at this point taken to the 600-grit sanding stage. Once again, I've marked the girdle because the 600 grit, though very fine, can remove material fairly quickly on a smaller stone such as this. One false move and that girdle can start to waver. But if it does, don't worry; just straighten it out and don't put so much pressure on it, as excess pressure is the typical cause for this error.

		5. This is where you have to make a critical decision. Because sanding wheels are often cushioned, most cabbing units aren't designed to put a sharp edge on a stone. The Genie, for example, comes with a 1200- and 3000-grit prepolishing wheel that I don't use; I replaced those wheels with one 6" x 3" expandable drum, which I use with 3M abrasive belts. This, coupled with the rotational force of the expandable drum, enables me to maintain a relatively sharp edge on a stone that is nearly as wide as the drum itself. This effect comes in particularly handy on the final stages. I used a 9-micron (1200-grit) belt to refine the girdle. Additionally, rather than using water, I usually run the belt dry and use the compound extender as coolant. Then, once this stage is complete, the entire stone can be finished with cerium oxide and extender on a resin belt, charged felt, leather, or even wood. At this point, you have a nice cabochon ready for setting and could be done with this project. However . . .

		6. Carving the Stone: Mark the stone with any number of dots, spaced however seems appropriate. There is no right or wrong way to do this, so long as it looks right to you. Use the 200-grit diamond cutter, the fluid extender, and the flex shaft to start cutting divots into the back of the piece. The deeper you cut, the greater the optical effect. The best way to do this is to vary the depth of the cuts and keep looking at the stone from the other side until you like what you see. The 200-grit will cut fairly quickly, so switch to the 600-grit for refinement. If you see any obvious chips around the edges of the divots, keep sanding until they go away.

		7. If you carve at all, you've probably noticed that 600-grit is as fine as grinding burs get. My solution to a finer grind is to use an onyx bead with 1200-grit paste. A 6mm bead is the same size as the grinding burs, with the bonus of a centered hole. Take a dulled 1mm engraving bur and jam it into the bead. If it doesn't fit in the bead hole, snap off the head or use a smaller bur that does fit. Then, put a drop of Super Glue on this little contraption and you're ready to go. Fill in the divots with black marker, then go over them with the onyx bead and the 1200-grit (with extender) until the marker is gone, which means you've sanded those divots smooth. Since you're dealing with such a small surface area, this takes no time at all--literally seconds. Inspect your work, and then proceed with another onyx bead and cerium oxide paste. When you're done, you will have discovered that gem carving, though complex, is an endeavor well worth the effort.

Polishing Pointer: The onyx ball bur applies to the 1200-grit prepolish, plus another onyx bur for 14,000 diamond, or tin, or cerium oxide final polish. -RH

For more stone cutting projects like this one, as well as lots of inspiring ways to use all kinds of gems in artisan jewelry, turn to Lapidary Journal Jewelry Artist magazine. The April 2013 issue is gem-packed, including a feature on fossil ammonites used as cabochons and how to bezel-set them; how to create a partial prong setting for a piece of freeform petrified wood; info about the gem charoite; how to set a freeform cab, a round cab, a faceted gem, and a drusy in a pendant; a new source of agates; and an expert demo of cutting a cabochon of it--plus other topics, all in ONE issue! (It's also available as a digital download.)

About the designer/author: Roger Halas is a self-taught lapidary, metalsmith, and jewelry designer in Southern California. When not making jewelry, he works as a professional photographer, martial arts instructor, and aspiring screenwriter and encourages others to explore their creativity. He's a frequent contributor to Lapidary Journal Jewelry Artist magazine.

Bail Detail: Design Better Pendants with Lexi Erickson

TammyJones — Wed, 10 Apr 2013 05:54:00 GMT

I always like things that are just as pretty on the back as on the front. I know of several professional jewelry designers who put a secret design or tiny gemstone on their pieces as a special little hidden gift for the wearer alone to know about.

Nunn Design's pendant bezels and ring bezels (on the right) have pretty designs on the back, and I love to see handcrafted artisan jewelry that is made beautiful on the back as well. It makes me happy to see artists take the time to go that extra little step. And I don't mean just well finished, but purposefully designed to be pretty on the back. Lexi did a post for Jewelry Making Daily on making pretty bails and back plates about a year ago, and it was so well received, it bears repeating--especially since now she has a whole video workshop on it, her Artisan Bails DVD, also available as an instant download.

Read on to learn more about making beautiful artisan-quality bails and back plates with Lexi and share her inspiration for doing so, all the way from Europe!

Best Practices: 6 Tips and Ideas for Making More Interesting Necklaces

TammyJones — Mon, 08 Apr 2013 07:03:00 GMT

I was browsing around an antique store the other day when I heard the lady behind the counter say to a customer who had just come in, "Wow, I LOVE your necklace!"

You can bet that I made haste trying to see the necklace all the fuss was about. It was bold, all silver and white, lots of wire, quite big and definitely eye-catching. The lady wearing it was dressed all in black and dark grays; I figured she probably knew that necklace would steal the show so she let it shine on its own.

Think about the necklaces (and bracelets) that catch your eye in stores, ones that you love to see your friends wear, or one that you love to wear yourself. Do they have anything in common? Through years of studying jewelry, making jewelry, stringing designs, and fabricating metal components, focals and clasps, a few ideas have stuck in my mind as "best practices" or go-to ideas to keep in mind as you design a necklace or to jumpstart a necklace design that just isn't working.

		1. Think balance, not symmetry. This is a basic idea in all of art, design, and photography. Symmetry can be boring; aim for balance instead. If you string a bunch of beads on one side of a necklace, use ribbon in the same or a similar color on the other side to create more interest. (In this case you'll probably need something to balance the weight on the ribbon side as well.) Another technique that I employ a lot in my Southern Baubelles necklaces is to put the focal piece on the side instead of the front. Things that aren't perfect and symmetrical are just more interesting to the eye, like a comfy lived-in room as compared to a stiff formal room that it looks like no one actually lives in. The wired element in Linda Larsen's Wired Vine necklace is on the side, not the front. This asymmetry gives the necklace more interest.
		2. Do good and repeat. There's value in repetition, especially when you're working with really bold designs. It might seem like it should be the opposite (only one outrageous piece per necklace), but repeating an outrageous element can actually add a sense of order that helps calm the eye and take the design from oh-my-gosh to oh-how-nice. I thought Tammy Bowman's Honeycomb Hive bracelet was a necklace when I first saw it. The same rule applies however; repeating her cute and bold chain-maille hive element makes this "bzzz-y" design smooth as honey.
		3. Be odd. On the other hand, sometimes an element can be pretty but just not enough. Repeat it three or five or more times (always stick with odd numbers) and a simple element can make a masterpiece. The flowers in Alice Garfield's Abstract Sakura necklace are delicate and wouldn't be enough on their own; repeating the design (three large, five total--odd numbers either way) made it just right.
		4. Don't skimp on the clasp. Don't assume the clasp is just a utilitarian piece to help you put a necklace on and take it off. You put so much time and effort into making a necklace; why not put the same love into a handcrafted clasp? Even if you don't make it yourself, look for unique handcrafted clasps when you're buying jewelry supplies. And haven't you ever had a necklace that just won't stay put but spins around so the clasp is always showing? Might as well make it pretty and special because you know it will show. Cassie Donlen's Slink-a-dink necklace is full of pretty handmade wire and lampwork glass design elements; why use a store-bought clasp? The clasp she made to go on her handcrafted necklace is as artistic and special as the rest--so much so it could double as the focal.
		5. Be versatile and provide options. When I participated in my first Bead Soup Blog Party a couple of years ago, the clasp I was given to work with was so beautiful, it could've easily been a focal piece. That led me to the idea of making necklaces with more than one "front;" which would allow the wearer to turn the necklace around to suit her outfit or her mood the day she wore it. In another very bold necklace I made a few years ago, I worried that it would be too over-the-top to sell, so I made the big-and-bold focal piece removable in case it was just too much for the already big-and-bold strand of large beads. This simple act made the piece more versatile and wearable, either for an over-the-top day or a really, really over-the-top day.
		6. Add a surprise. One of my favorite little touches to add to necklace designs is either an unexpected little addition at the clasp (usually a dangling pearl on a wire-wrapped head pin) or near the focal at the 4 or 8 o'clock position (only if the focal is at the 6 o'clock position). A contrasting bead (such as a bird-shaped bead on a strand of all round ones) or a contrasting pop of color (a bright red, pink, or turquoise bead in a design of all neutrals, perhaps) will add interest and give your design more of a handmade feel, too. One of the ways I made more "fronts" in the Bead Soup necklace I mentioned in number 5 above was to add pops of red in a necklace that was all greens and golds. Also from my first Bead Soup Blog Party, I discovered this necklace by Shannon Chomanczuk. Shannon's use of a little bird bead among the round beads is a surprise that really made her necklace special.

Employ one or a few of these ideas the next time you make a necklace and you're sure to make a more interesting, appealing necklace design. Another great way to ensure more attractive designs (necklaces, earrings, or any other jewelry) is to make the projects in our Step-by-Step Wire Jewelry eBooks, especially in 10 Wire Jewelry Projects: Designs from our Covers. Top designs taken from the best of Step-by-Step Wire Jewelry magazine, these pieces are made by favorite jewelry-making designers and chosen by expert editors as the cream of the crop.

Get more great ideas for making unique necklaces.

My Silver Love Affair and the Sterling Silver Alloys: Continuum, Argentium, and Sterlium Plus

TammyJones — Fri, 05 Apr 2013 07:38:00 GMT

Sterling silver has always been my favorite metal to wear, collect, and work with, and like many of you, my fingers are crossed for the day it becomes affordable again (if that ever happens). Meanwhile, I get my little joys from finding a $10 sterling silver fork or cup in an antique store that has been languishing there since silver was affordable or finding similar bargains on eBay.


	A balled sterling silver headpin on top vs. a balled Argentium sterling silver headpin on the bottom--which would you prefer?

I've amassed quite a little collection of sterling silver doodads--bubble wands and bubble wand pendants, a miniature teapot and candlestick no more than an inch tall each, all kinds of pretty little forks and spoons, orphaned salt or pepper shakers, and more. I buy these pretty little things thinking I'll recycle them into silver jewelry . . . but I get too attached to them and just keep them like they are. (Hoarders: Sterling Silver episode?)

So I'm back to having to buy sheet silver if I'm going to make jewelry out of it, and while silver shopping, I've discovered that I'm such a metal geek. I've always known I was a gem geek, but in the past year or two I've really noticed that I geek out on learning about all kinds of metals, too, especially ones used for jewelry making and most especially sterling silver and its fancy new alloy cousins. I had the pleasure of being invited to attend Stuller's Bench Jeweler Workshop a couple of weeks ago, during which I sat in on lectures about casting, refining metals, sterling silver alloys, and more. I was in geek girl heaven, and my favorite part was learning more about sterling silver alloys.


This Argentium design by Marie Scarpa won first prize in the 2009 Jewelry Arts Awards.

Imagine never having to scrub fire scale from your silver jewelry creations, drawing balled head pins that are as shiny as the wire was when you started, fusing sterling silver without solder, setting high-end stones in sterling silver without worrying about prong strength, not having to worry with tarnish, casting sterling silver jewelry that's as hard as 14K gold jewelry. These are possibilities with the sterling silver alloys Argentium, Sterlium® Plus, and Continuum^TM, along with a bright whiteness that rivals platinum for a fraction of the cost. They cost a little more than regular sterling silver, but for the right project, the added cost is worth it in the time you'll save. Here are just a few enticing details about each of these alloys.

Argentium Sterling Silver

Argentium sterling silver has roughly the same composition as sterling silver, composed of 92.5% pure silver, but instead of sterling's 7.5% copper content, Argentium sterling silver has germanium smelted into that copper. That makes Argentium sterling silver react to the torch differently. Regular sterling silver reticulates (wrinkles) and forms a lumpy appearance when balled, whereas Argentium sterling silver melts or balls into a smooth, shiny teardrop. And instead of fire scale that forms on regular sterling because of the copper content, Argentium sterling's germanium reacts with oxygen to create germanium oxide on the surface, which is bright, shiny, and attractive. The germanium content in Argentium sterling silver also makes it tarnish resistant and bright white much longer than regular sterling silver.


	JMD member Annabel Alleyne shared her Argentium filigree earrings in our gallery.

Argentium's fusing capabilities paired with its strength make it ideal for filigree. Argentium solder exists and you can also use regular silver solder (hard solder is not recommended). You should wait a moment before quenching Argentium sterling after heating, and don't pick up with tweezers, use a third hand, or otherwise assert pressure on Argentium when it's hot as it can shatter. Much like clay in an oven or glass creations are "cured" in a kiln, it's recommended that Argentium pieces are hardened before use. You can harden them by "baking" in an oven set on 500-525° F for about 90 minutes (or in a kiln for about an hour at 575-580°F).

Update: Here's a very thorough article from Rio Grande about working with Argentium sterling silver.

Sterlium® Plus Sterling Silver

Another sterling silver alloy that has superior tarnish resistance is Sterlium® Plus sterling silver, which also gets its user-friendly qualities and bright whiteness from the addition of germanium and requires no rhodium plating to maintain its brightness. Sterlium® Plus is ideal for casting and use with a rolling mill, and it's more malleable and ductile than traditional sterling silver. Sterlium® Plus is virtually free of fire scale, can be fused without solder (like fine silver, but regular silver solder will work on Sterlium® Plus too), and can be balled with a torch.


Also in the JMD gallery, member Howardlb shared this freeform pendant that he cast in Sterlium sterling silver. See his earrings cast in Sterlium silver and molds made from old spoon handles here.

Sterlium® Plus is not suitable for making mokume gane, and Sterlium® Plus sheet will not reticulate (wrinkle) under the flame like sterling silver, Continuum^TM sterling, or 80/20 reticulation silver will do. Sterlium® Plus is harder than standard sterling silver, allowing for more secure prong-setting of gemstones. Sterlium® Plus silver jewelry should be hardened at 600°F for about an hour.

Continuum^TM Sterling Silver

Continuum^TM is a sterling silver alloy that Stuller developed. It's over 95% precious metal and contains no nickel. It allows you to get the look but also some properties of 14K white gold or platinum at a fraction of the cost, because of its resistance to tarnish and oxidation as well as its hardness--the hardest sterling silver in the industry, which allows for the safe, worry-free setting of even higher-end stones in silver jewelry. But even after hardening, Continuum^TM sterling silver remains ductile and retains springiness.

Continuum^TM can be enameled, fused without solder (just like fine silver fuses to itself), and cast much the same way sterling silver is cast. Continuum^TM wire balls up nicely in a torch and, unlike Sterlium® Plus, Contiuum^TM sheet can be reticulated. The hardening process for Continuum^TM is two-part process and a bit more involved than for Argentium or Sterlium® Plus.

To learn more about working with sterling silver and its alloys, and how to make artisan-quality silver jewelry, trust the expert jewelry artists featured in Lapidary Journal Jewelry Artist magazine. You can keep an entire year's worth (nine issues!) of Lapidary Journal Jewelry Artist on hand in a clutter-free format with the 2011 LJJA collection CD or instant digital download.

Colorful Metal: Fun with Enamel Shapes and the 24-Cent Necklace

TammyJones — Wed, 03 Apr 2013 06:54:00 GMT

It's funny how our interests change. Each time I sit down to write to you on a particular topic, I think back about what we've discussed about it before, and I find more and more that I am liking techniques I didn't like in the past!

Take color and metal, for example. I used to be a purist--all silver, all the time--and then I warmed up to the idea of copper and soon really liked it. Naturally brass followed soon after, and I love brass now, possibly even more than copper. I've always loved the pretty verdigris on copper, and that allowed me to enjoy and enjoy creating other patinas, especially flame patinas or torch painting. I came to the realization that adding patinas, inks, enamel, or other color to metal doesn't hide the metal, it just adds a new dimension to it. The metal I love creating with is still there.

Now I'm hooked on all kinds of ways to add color to metal, especially enameling. A technique that I once thought might've covered up my metal actually does just the opposite, helping to bring out some of its unique features and shapes, especially in pierced metal. I find that when I'm enameling, I seek out metal components that have more unique shapes and more dimensional interest than I did before I got hooked on enameling. Enameling helps highlight a metal component's interesting negative space as well as its shape.

When I'm jewelry-supply shopping, I find myself looking for old iron skeleton keys with unique openings and teeth, scalloped pieces I can dome to turn into flowers (it's always about the flowers with me, you know!), and pieces with interesting curves or curls or coils. A simple coil of wire becomes a pretty design element when it's enameled, and a humble hardware-store washer can become a colorful disc to hang on a chain or layer with other pieces. Short lengths of pipe, bits of copper plumbing fixtures, even a copper penny can be enameled into a work of jewelry art.

In Tucson last February, I was lucky enough to sit in on Barbara Lewis's enameling class with some very talented students. I overheard one of them, Patricia Ford Ferguson, talking about her "24-cent necklace," but I thought she must have given it that name for some personal reason. It wasn't until later in the class that I realized she literally had 24 cents hanging around her neck, in the form of brightly colored discs that were actually enameled pennies. (Patricia said to use pennies from 1981 or before. See below for more info about enameling coins.)

I was fascinated. In all my trips to the craft and bead stores to find "things to enamel" when I first got hooked on it, it never occurred to me to use pennies, the cheapest of all "things to enamel." The enamel on Patricia's 24-cent necklace was thick enough to cover up all of the design on the pennies, but it gave me the idea of using transparent enamels with pretty coins so their designs could show through.

Foreign coins with pretty ships, queens, flowers, and crests make fun enameled design elements, and I like to dome some of them before enameling. Before doming and enameling, I pierce a hole in their centers (you see where this is going...) so I can stack different ones of different sizes together. And yes, of course, two or three domed and/or fluted coins can make pretty flowers, since all jewelry roads seem to lead back to flowers for me. Ha!

To learn all kinds of fun and unique ways you can add color to metal and really show off the metal elements in your jewelry designs, check out Coloring on Metal for Jewelry Makers DVD (or instant download), a video workshop hosted by one of my absolute favorite jewelry artists, Gail Crosman Moore. You'll learn to add color to metal in a bunch of fun ways--including inks, enameling, heat patinas, even nail polish! Not many things come in so many colors as nail polish, and certainly not for such a low price. Oh, the possibilities!

P.S. Be sure to check the dates on your coins (make sure they aren't valuable before drilling and/or enameling them!) and do some coin composition research. I've heard that enameling on zinc can be toxic (some pennies contain zinc), but my research on Ganoksin shows that the trouble with enameling on zinc isn't toxicity but poor adhesion and color. Be safe! You should always enamel in a well-ventilated area because it's almost impossible to know every metal in a piece, especially in found objects and alloyed pieces.