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Art Jewelry July 2015 (Digital)

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FROM THE EDITOR

Tools,and where to put them There’s a common affliction that shows up in chefs, carpenters, and jewelry makers — anyone who works at a craft, really. And that’s tool addiction. We love our tools. Even while old-school craftspeople tell us that just a select few high-quality classics are more than sufficient, we can’t resist the latest shiny thing that is just bound to make our lives easier! This issue is our fourth annual Tools & Studio issue. This time out, we’re taking a look at tool use, tool reviews, how to make your own tools, how to care for your equipment, and how to set up a workstation. But even with all that in the issue, we’re not forgetting the dark side of tool acquisition. Because it’s not just about…

FROM THE EDITOR

Gemstone Safari: Tanzania

What: Adding authentic minerals and gemstones to your jewelry is a treat, but being able to mine and cut those same stones makes for a rare and personal connection to your work. Travel to Tanzania on a customized mining adventure, and learn about the local geology while you work. At each location, a group of local miners will assist you, but all the stones you find are yours to keep. Visit the spinel and sunstone mines in Morogoro, followed by the Umba Valley gemstone mines for sapphires. Or visit the Tanzanite mines in Merelani, along with the nearby emerald and Alexandrite mines. Excursions to visit gem traders and the animal parks of Tarangire and Lake Manyara are also available. Extend your trip to visit the Winza ruby mines and more…

Gemstone Safari: Tanzania

Kudos I have been making glass earrings and pendants for 20 years now. I wanted to let you know that I love your magazine. Your articles have helped me figure out new designs and have made my work look better. Keep up the great work! I also wanted to let you know that I have a great shot of your November 2014 magazine on my website, hope that’s OK! — Allan Varey Via email Editor Hazel Wheaton responds: Thanks so much for your kind words about the magazine; I’m glad that you have been enjoying it! We often get questions about what’s permissible in photographing, displaying, or posting images of the magazine. As far as we’re concerned, a photo that shows the Art Jewelry cover in the background is wonderful!…

Enameling on Silver Clay 2-DVD Set

With its running time at around four hours, I was a bit intimidated by this DVD set. I thought either I’d be way out of my comfort zone with technical jargon flying over my head, or it would be too slowpaced, and I’d lose interest. Happily, I was wrong on both accounts. Pam East’s personality is instantly engaging, and she keep things fast-paced and light during the duration of the video. This was much more than just an enameling how-to. In the DVD set I watched (she also has an Enameling on Copper Clay DVD duo available), East walks you through the entire process of creating three different projects out of fine-silver metal clay. Each project is a little more difficult than the last, keeping the at-home student challenged, but…

Enameling on Silver Clay 2-DVD Set

Lucas LowBoy Rheostat

When it comes to flex-shaft attachments, it may seem to be difficult to get worked up about a foot pedal. Sure, it’s necessary to the system, but compared with all the bits and buffs, it’s not exactly … sexy, you know? And at first glance, the Lucas LowBoy doesn’t change this; its squat profile is as far from sexy as a designer could get. However, working with the LowBoy reminded me of an old movie in which an executive struck upon the hot new trend in advertising: plain truth. The slogan he devised for Volvo? “Boxy, but good.” The LowBoy? Boxy, but extremely good. It’s responsive without being oversensitive, which means it’s easy to hit the speed you want and stay there. The LowBoy is remarkable for being unremarkable; maintaining…

Lucas LowBoy Rheostat

What: Join master goldsmith Georg Schulte from Münster, Germany, for a five-day mokumegane workshop in the small, car-free village of Braunwald, Switzerland. Learn about this 3,000-year-old Japanese metalwork technique while surrounded by the breathtaking views from a Swiss mountain village. Students will learn how to weld thin sheets of copper alloy, silver, palladium, and gold into layered ingots. Then, the students will forge, engrave, and roll the ingots to produce the distinctive “wood grain” (mokume) patterns. After class, students can further refine the layered billets and ring blanks into finished jewelry pieces. When: August 30–September 4, 2015 or September 6–11, 2015 Where: Braunwald, Switzerland For more information: www.stuessi.de…

Imagine an inverted buffing wheel with the spindle pointing up (or, for you lapidaries out there, a split lap). Then, picture it with the ability to be used vertically, horizontally, or handheld, and available with a ton of accessories, including an optional flex shaft. Well, that’s what the JoolTool brings to the table. Detailing all the things it can do could fill several pages; here’s an abbreviated list: Can be used vertically or horizontally The plastic hood is removable. A retractable handle allows you to carry it and use it as a handheld polisher. Hidden storage tray on the bottom of the body can attach to the front for use as a water container for lapidary work Variable-speed knob; can adjust the speed based on the abrasive you’re using Optional…

International Pearl Design Competition, Sixth Edition: 2015–2016

What: The Cultured Pearl Association of America (CPAA) is sponsoring the International Pearl Design Competition. Artists may enter up to five different pearl designs; each entry can include five different digital images and/or hand renderings. The actual piece of jewelry does not have to be made for submission; only the winners of each category will be asked to make their piece for exhibition. All entries are considered eligible for any of the awards being given. Each entrant will receive a one-year membership as a Designer member in the CPAA (a $500 value). Collaborative pieces are permitted, and a CPAA membership would be given to each artist. Winners will be announced on November 2, 2015. Winning entries receive a personalized award, recognition in worldwide press releases, and their piece will be…

International Pearl Design Competition, Sixth Edition: 2015–2016

Post-show Strategies

Now you’ve done a show or two — maybe they were highly successful. If so, congratulations! Or, maybe they were less so. If so, chalk it up to a learning experience. Either way, just because the show is over, don’t assume that your job’s done. After the doors close on a show, you can still build on the momentum you created during the show. Once you’ve packed up your booth, headed home, either had a bit of a cry or indulged in a celebratory dance and taken a well-deserved day off, there are some things you should do to keep the sales coming. When I was running a design firm, I always kept track of sales that were made after a show closed. I found I would often get good…

Post-show Strategies

what’s a line sheet?

If you’re new to the wholesale-show game, this term might be unfamiliar to you. To put it simply, a line sheet is your catalog, which makes it easy for buyers to order from you. “Catalog” might sound fancy, but it can be as simple as a printed spreadsheet. Here are a few things that you should be sure to include on your line sheet: Your information: So easy to overlook, but such a roadblock when it’s missing! Your logo, your name, your contact information, and your website should all be prominently placed and easy to find. Images: Include a photo or sketch of each piece of jewelry in your line. These are not glamour shots, but purely informative — they need to be consistent in style and show the whole…

Pliers; or, How I Learned Not to Pinch My Finger

Pliers (and their cousins, wire cutters) are relatively new, as far as tools go, coming into use about 3,000 years after the first percussive tools (hammers). In art from that time, the Greek god Hephaestus (that’s Vulcan for you Roman mythology fans) can be seen working metal at his forge with a pair of tongs. Pliers are one of the six (some claim two*) simple machines; they fall within the same family as the lever and fulcrum. Archimedes of Syracuse did not invent the lever and fulcrum, but he was the first to explain the principle. Depending on the placement of the fulcrum and the length of the lever, you can increase the output of energy. Picture a big kid on the short end of a seesaw and a small…

Pliers; or, How I Learned Not to Pinch My Finger

Stumped! Setting Up a Forming Station

One of the most common pieces of equipment in a metalsmith’s studio is a humble piece of nature — a section of a tree trunk. The stump, or a suitable stand-in, is used for a wide variety of metalsmithing applications and is itself an essential tool for much of our work. The ubiquitous stump is typically adjacent to the workbench — it’s a personalized studio centerpiece configured to suit the particular needs, tasks, and work habits of the individual practitioner. A pounding place A central, multi-purpose forming station is a mainstay for most metal workers. Having an area devoted to specific tasks that aren’t suited to the top of the bench is practical. Activities like hammering, forming, and shaping with sandbags, blocks, dapping tools, and mandrels often require more space…

Stumped! Setting Up a Forming Station

michael’s anvil stand

I want my anvil close to my rolling mill and hot-work area to aid with efficiency when melting, milling, and annealing metal. I also use it for demos, so it must be visible from the student benches. I made my anvil stand from part of a 4 x 6-in. (1.2 x 1.8 m) beam salvaged from a garden project. The height of the anvil is suited to jewelry-scale forging and forming at a standing position. Shelves below the anvil are for storing swage blocks, bezel blocks, and dapping and forming equipment. I made hammer-hanging racks from a pair of bicycle hooks, U hooks, and clip holders.…

michael’s anvil stand

michael’s forming station

I repurposed odds and ends of scrap lumber to make a dedicated work and storage station for my metalsmithing equipment. The top has a vise and two stake holders to enable me to work with several interchangeable pieces of forming equipment in place at any given time. This station is positioned between my two primary benches. The fixtures are equally accessible while seated at either bench, allowing two people to work at this compact station at the same time. I designed my forming unit with a shelf underneath, to store a set of small stake attachments, and an open base inside for larger stakes. There are four U hooks for storing hammers and mallets inside the frame, and belt loops on the outside for hanging four hammers and two mandrels.…

michael’s forming station

Metal Clay & Wire Fusion

Fall is my favorite season. I adore the earthy smells and vibrant colors, but mostly I’m intrigued by the lacework patterns found throughout the autumn foliage. Wanting to capture those rich, organic textures, I developed a process of fusing metal clay paste onto woven fine-silver wire. Although I use PMC3, cast sterling silver, and fine-silver wire, you could tweak this process to work with other metal-clay slips and metals. materials Fine-silver metal clay, 25g Pure essential lavender oil Sterling silver form, 18-gauge (1.0 mm) or thicker Fine-silver wire, 26-gauge (0.4 mm) (or smaller), round Faceted stone and fine-silver bezel cup, of matching sizes (optional) toolboxes, page 75 Metal clay Resin (optional) Stone setting (optional) additional tools & supplies Eyedropper Drill bit(s) (optional) Enameling trivet (optional) Patina (optional) Acetone (optional) Razor…

Metal Clay & Wire Fusion

ADAPT Textile-weaving Techniques TO METAL

My career as a fiber artist stretches back to the early ‘70s. I originally learned to weave metal in a workshop I took from Susan Elizabeth Wood in 1998, and after that workshop I traded in my yarn and adopted wire as my “fiber” of choice. Flattened wire is a wonderful material with which to weave. It has smooth edges, and it’s simple to make a variety of widths by using a range of wire gauges. It’s easy to dress up a simple weave by incorporating more than one width of wire, or adding different types of metal wire. Small sheets of metal can be created from woven wire to incorporate into your jewelry. materials Sterling silver wire, various gauges (10–24/2.6–0.5 mm), dead soft, amounts determined by design toolboxes, page…

ADAPT Textile-weaving Techniques TO METAL

wire-weaving vocabulary

WEAVING Textile craft in which sets of yarn are interlaced to form a fabric YARN Flattened wire will be used as a “specialty yarn” in this technique. LOOM An apparatus for weaving yarn into a textile; in this article, the “loom” consists of flattened wire, a brass strip, masking or artists tape, and cutting mat. WARP WIRE Flattened wire arranged vertically, top to bottom, on the loom WEFT WIRE Flattened wire woven horizontally across the warp wires PLAIN WEAVE Weaving the weft wire repeatedly over one warp wire and under one warp wire SHED The opening formed in the warp to pass the weft wire through WEAVING PICK Pointed rod used to pick up the shed in the warp. For this technique, I use an upholstery needle. SELVAGE Referred to…

weave variations

There are a number of ways to vary the appearance of woven metal, one of which is varying the width of the flattened wire by using 10–24-gauge wire, as I did in the process photos. There are other options, though: • Use two or more different metals to create a striking color contrast. Sterling silver, copper, gold, and bronze wire all work well for metal weaving [A]. • Use the woven metal sheet in different orientations. The earrings (below) were cut out on the bias (diagonal) [B]. • Texture the wire as it is flattened in the rolling mill. • Ply (twist together) finer wire and then flatten it to add another interesting texture in the weft wires. • Incorporate weave structures, such as basket weave and twills [C]. Here…

weave variations

toolbox, page 75 Soldering/Annealing materials, tools & supplies Sterling silver sheet, 26-gauge (0.4 mm), amount determined by design Toothpick or spotter brush Soldering blocks: honeycomb and magnesia T-pins Shears or scissors Dapping block with punches (optional) A woven-wire sheet can be the major element in a piece of jewelry or just an accent. It can be cut out like fabric to the desired size and shape. Before cutting the woven sheet, you must first solder a “lining” of 26-gauge (0.4 mm) sterling silver sheet to it. This prevents the woven sheet from unraveling and gives it more structural strength. As with any soldering procedure, the weaving and liner must be flat, and meet flush at all points. • Use a fine-tip permanent marker to trace the outline of the lining…

Tactics for Tool Storage: HAMMERS

You don’t need elaborate or expensive hammer racks to keep your most-used mallets, hammers, and mandrels close at hand. Take a cue from home- and garageorganization systems to streamline your workspace — it’s easier than you might think. The key benefits of creating a do-ityourself tool-hanging system are convenience, customization, and affordability. NOTE: We mounted each tool-hanging system on a 1 x 3-in. (25.5 x 76 mm) piece of wood, which we then attached to the side of the Art Jewelry workbench (this had the added benefit of allowing us to use the mounting screw on each end of the board to hang other tools). You can do this, or mount the hooks directly on the side of your bench or on a nearby wall. Hooks and Clips There is…

Tactics for Tool Storage: HAMMERS

“The human body has two ends on it: one to create with and one to sit on. Sometimes people get their ends reversed.” —Theodore Roosevelt [page 41] When her designs were described as “too industrial,” Martha Seely set out to create pieces with elegant lines yet still using her beloved cold connections. These graceful sterling silver Metamorphosis earrings with freshwater pearls were the result. 1 in. (25.5 mm) long. www.marthaseelydesign.com. [A] Fascinated by the way natural forms such as shells and leaves are endlessly repeated, yet never identical, Jane Adam created elements that are the same size and shape, yet hang differently and display different colorings. Her Large Blue Scale Necklace, of dyed anodized aluminum and stainless steel wire, is 221⁄2 in. (57.2 cm) long. www.janeadam.com. [B] For her Facebook…

An Affection for INSECTS

As long as human beings have been creating personal adornment, they have been using imagery from the insect kingdom to do so. It’s no surprise that insects, with their infinite variations, have fascinated artists — there are over 350,000 varieties of beetle alone! Just as her own designs are informed by her love of — and research into — entymology, our cover artist Jeanie Pratt has collected the work of other contemporary makers who share her enthusiam. Here are just a few of the pieces from her extensive collection.…

An Affection for INSECTS

Fold-over Earrings

The settings for these earrings are designed to highlight the individual stone. The metal that folds over the top of the stone provides all kinds of possibilities for interesting shapes. Texture it, patinate it, or leave it plain or shiny — all are great options for an extraordinary result. The stones in this project were cut to my specifications, but if you don’t know a lapidary, don’t worry. Any flat or slightly domed stone will work. materials Stones: flat or slightly domed, 2 Sterling silver sheet: 24-gauge (0.5 mm), amount determined by design Sterling silver tubing: 2.57 mm diameter, heavy walled, amount determined by design Sterling silver wire: 20-gauge (0.8 mm), 6. in. (16.5 cm) toolboxes, page 75 Sawing/Piercing Soldering/Annealing Wirework tools & supplies Digital calipers Paper Texturing tools (optional)…

Fold-over Earrings

DIY Dapping Punches

Wooden dapping punches are useful little things to have about the jewelry studio. They are gentle tools and won’t mark your metal the way steel punches can. To the uninitiated, they may look a little tricky to create, but the truth is just the opposite. I love putting these together and being all, “Ta-da!” in about, oh, five minutes. materials Unfinished wooden cabinet knobs, variety of sizes and shapes Dowel screws, one per punch, size determined by wooden cabinet knobs Wooden dowels, 4 in. (10.2 cm), diameters determined by cabinet knobs tools & supplies Ruler Fine-tip permanent marker Hacksaw or jeweler’s saw with #4 blade Coarse sandpaper (optional) Compass or dividers Bench vise Center punch Drill bits, size determined by wooden cabinet knobs Hand drill, flex shaft, or rotary tool…

DIY Dapping Punches

find the center of a dowel

Rest one tip of a compass (or dividers) against the side of a dowel near the flat end. Open the compass/dividers to approximately half the diameter of the dowel. With one leg of the compass resting on the edge of the dowel, draw (or scribe, if you are using dividers) an arc across the end of the dowel. Move the compass to at least two more spots around the circumference of the dowel, and draw a new arc each time. If the compass is set to exactly the radius of the dowel, the arcs will intersect at the center of the end of the dowel. It’s more likely that the arcs will create an open space at the center of the dowel. The center of this space is the centerpoint…

find the center of a dowel

ORGANIZATION 101 Studio Storage Solutions

Small studios can be efficient and productive, but when clutter is left unchecked, it can quickly overwhelm the available space. Sure, you might be able to scale down your tools, keeping only the essentials. But perhaps a better solution is to rethink your storage options. We asked our readers for input; here are some of their clever ideas you may be able to incorporate into your own studio. CRISTINA LEONARD, IOWA CITY, IOWA Studio: Approx. 300 sq. ft. (27 sq. m). Medium: Metal (sterling silver and bronze) Contact: www.cristinaleonard.com My studio is fairly small, and I’ve struggled over the years with efficient storage. Lately, I’ve gotten a bit more serious about it. I repurposed an IKEA kitchen chef’s cart into a solid, movable worktable for my hydraulic press (left). I…

ORGANIZATION 101 Studio Storage Solutions

Kiln Care: HOW to REPLACE a HEATING ELEMENT

tools & supplies New heating element(s) and element connectors specific to your kiln model Adjustable wrench Screwdriver Vacuum with hose attachment Kiln wash, metal spatula, and paintbrush (optional) Gloves Vise grips or pliers Bolt cutters Find out where to buy supplies, page 79 See Safety Basics, page 75 The leading cause of a kiln failing to heat properly (or at all) is a broken kiln element (the coiled wire that heats the chamber inside the kiln). While an element will last for many firings, it does have a finite life. Eventually, it will break and need to be replaced. This tutorial shows you how to replace the element(s) in firebrick kilns that have visible elements that aren’t permanently affixed to the firebrick — most jewelry kilns fall into this category.…

Kiln Care: HOW to REPLACE a HEATING ELEMENT

while you’re at it …

When you replace your kiln’s element, it’s also a good time to apply new kiln wash to your kiln. Kiln wash is a layer of silica-based clay you apply to the floor of your kiln and some types of kiln shelves to keep glass (glaze, enamel, etc.) from sticking to and eating into the firebrick when the kiln is heated. Make sure to apply kiln wash and let it dry before installing the new element to avoid getting dust on it. 1. Use a flat metal spatula to gently scrape any enamel or other residue from the firebricks, being careful not to damage or gouge the brick. 2. Sweep out the kiln and vacuum it thoroughly, especially in the grooves where the new element will be installed. 3. Mix kiln…

Take a Decorative Approach to Sawing & Filing

After working for 17 years as an art jeweler and goldsmith, I discovered a new (to me) and intriguing technique when I started making knives: filework. Filework is used extensively as an embellishment on fancy knives (see one of my knives on page 69), and has been in use since the early ‘70s. It helps raise a common tool (the knife) into the arena of art. There are many different and beautiful filework patterns in regular use in the knife world, and this pattern, called “Rolling Ribbon,” was one of the first I learned as a new knifemaker. It’s a fun technique that is a great addition to your jewelry-making skill repertoire — it can make a nice frame for a stone setting, a ring, hoop earrings, pendant, etc. The…

Take a Decorative Approach to Sawing & Filing

tool spotlight: chainsaw file

Chainsaw files are long, parallel, round hand files that are used for, as their name suggests, sharpening chainsaw blades. But, they are also a great tool to keep on hand in your metals studio. They don’t come in a wide variety of sizes or cuts, but when you need a rounded groove with truly parallel sides, they’re your best bet. You can find them at local hardware stores, and they’re fairly inexpensive. When used for sharpening chainsaw blades, the size of the file is determined by the pitch of the chainsaw blade, which is why the available sizes are limited. The most common sizes are 1⁄8, 5⁄32 , 3⁄16, 7/32, and 1⁄4 in. (3, 4, 5, 5.5, and 6.5 mm). The cuts of the files are also different than what…

tool spotlight: chainsaw file

editor’s note: marking your work

Trademarks and metal-quality marks on jewelry help the consumer identify both the precious metals used in the piece and the craftsperson who made the jewelry. The marks are used for identification, as well as to establish provenance for collectors and museums. While you may be tempted to use your logo and a quality stamp, don’t go stamping your jewelry without knowing the law. (The following is for the U.S.; research your country’s hallmarking/assay laws.) For example: Did you know you that you’re not required by law to mark your piece, but if you do, you legally cannot stamp the metal quality on your jewelry without also stamping a federally registered trademark/maker’s mark in close proximity to the quality stamp? Or, that your trademark needs to be registered or you can’t…

No matter what medium you work in, there are some jewelry making techniques that are so essential, you’ll use them in nearly every project you make. These tutorials will walk you through the beginner techniques that you’ll need to learn in order to make the projects in this issue. Look for this icon and find BONUS videos online at www.artjewelrymag.com/videos. metalworking techniques DRILLING/PIERCING Place your metal on a steel bench block or anvil. Use a center punch and a mallet to create a dimple where you want to drill a hole, or in the section of the metal you want to remove (for piercing) [Figure 1]. Place the metal on a piece of wood and drill a hole at the dimple [Figure 2]. Remove one end of the saw blade…

METAL CLAY AND WIRE FUSION page 28 Fine-silver wire, fine-silver bezels, PMC3, liver of sulfur or Black Max, burnisher, metal sealants, resin: Rio Grande, Eyedropper, distilled water, plastic or glass container, lavender oil, mug warmer: Walgreens, Small paintbrush, heat lamp: Local art-supply store ADAPT TEXTILE WEAVING TECHNIQUES TO METAL page 32 Brass strip: Ace Hardware, orlocalhobby store Jewelry screwdrivers: General Tools S605 five-blade jeweler’s screwdriver set, local hardware store or online suppliers Screwdriver set: Stanley 66-052 six-piece set: Amazon, Pear-shaped wooden handle with chuck: Rio Grande, item number 113012, Upholstery needles: 4-pack of Dritz Home long hand needles, Amazon, Jo-AnnFabricand Craft Stores, Copper coupling: local hardware store Diamond disks: Rio Grande, Jett Sett thermoplastic compound: Cool Tools, Artist tape: .-and .-in. (6.5 and 13 mm) widths, Dick Blick, EARRINGS: FOLD-OVER…

Modern-day Portrait

Hair is a signifier of gender and societal norms, and can be a beautiful and compelling sculptural object in its own right. Jessica Calderwood is interested in hair and what it represents; to express her feelings on the subject, she created a series of “hair” pins. The double-sided, enameled brooches in this series can be flipped from one side to the other while being worn to show the secondary image. In this piece, Pink Curlers, the reverse of the pin reveals the back of the head with the hair set in foam curlers. Calderwood draws inspiration from the technically superb and image-rich 18th-century enameled portrait miniatures. But, rather than render portraits of European aristocracy, she creates images and objects relevant to our time. Through research and her lived experiences, she…

Modern-day Portrait

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