30 Creative Jewelry Components. Denise Peck & Jane Dickerson

Transcription

1

2

3 30 Creative Jewelry Components Denise Peck & Jane Dickerson

4 CONTENTS Introduction To Buy or Not to Buy? The Projects Easily Charmed by Jane Dickerson Bullet End Caps by Denise Peck Poppy Bead Caps by Keirsten Giles Fizzy Flower Toggle by Cassie Donlen Twisted Link by Denise Peck Speak to Me Ear Wires by Denise Peck Tectonic Toggle by Cassie Donlen Accordion Link by Jane Dickerson Silver Berry Charms by Denise Peck Pattern Wire Hook by Denise Peck Duo Bail by Jane Dickerson Shank Button Clasp by Denise Peck Bubble Wand Head Pins by Denise Peck Rosette Link & Hook Clasp by Cindy Wimmer Sugar Skull Clasp by Jane Dickerson Loophole Bead Caps by Kerry Bogert Crisscross Bead Cap by Keirsten Giles Bezel Bail by Jane Dickerson Oval Duo Connector by Jane Dickerson Twisted Tunnel Bail by Cindy Wimmer

5 Simplest Toggle by Denise Peck Elegant Spacer Bar by Jane Dickerson Ruffles Button Clasp by Denise Peck Fancy Tube Beads by Keirsten Giles Meander Ear Wires by Denise Peck Flag Head Pins by Denise Peck Dreamy Discs Clasp by Jane Dickerson Starlight Ear Posts by Denise Peck Textured Bead Tabs by Keirsten Giles Buttercup Bead Caps by Jane Dickerson

6 Essential Techniques Measuring Cutting Texturing Forming Cold Connections Finishing

7 Working with Fire Annealing Quenching Balling Wire Easy Soldering Using Pickle

8 Metal Glossary Gauge/Size Temper/Hardness Metal Types Metal Materials

9 Tools Glossary Templates Resources

10 Introduction There probably isn t a piece of jewelry you wear that doesn t have a finding on it. Findings are the unsung heroes of jewelry. They connect, attach, close, and join jewelry pieces together. You may think of findings as just clasps and ear wires, but the term also covers head pins, charms, connectors, links, bead caps, and more. If you re a jewelry maker, you know there s an enormous selection of commercial findings available to finish your designs. But why design a beautiful custom piece and then finish it with a commercial finding? Especially when commercial findings become so popular that you see them everywhere and on everyone else s jewelry. When you create your own findings, your designs are completely unique, and your distinctive style becomes a trademark look that is quickly recognizable by your fans. Not only will your handcrafted findings complement and complete your designs, they are also much more economical! This book teaches you, step by step, how to make thirty beautiful, handcrafted metal and wire findings. Projects include bead caps, clasps, ear wires, links, charms, and even a quick and easy multistrand spacer bar. We ve also included several inspirational jewelry pieces to show how the findings can be used. (Note: Be sure to familiarize yourself with the Essential Techniques section before beginning the projects. This section will show you how to master all the techniques we ve used and referred to in each project.) Once you re familiar with the techniques we ve shared, you can use them to design and build your own collection of custom findings. Imagine the possibilities! Denise Peck Jane Dickerson

11

12 To Buy or Not to Buy Findings can be large, small, decorative, or utilitarian, but they are always integral to a piece of jewelry. Either you want them to be part of the design or you want them to go unnoticed, but in every case, it s a decision that will be key to your final design. Many of us often rely on commercially produced findings. And some of them have their place and can be a good choice. But there are many ways to create your own simple custom findings from wire and sheet metal without an elaborate jewelry studio setup or a huge investment. Well-designed, handcrafted findings can become your signature as a designer, complementing and enhancing each piece. A fabulous finding can transform jewelry and become the focal point of the design. There are three basic types of findings: functional, decorative, and hybrid. Functional jewelry findings serve a purpose such as attaching pieces together. Because these components are mechanical in nature their appearance is less critical, and often minimalistic. They include pin backs, crimps, earring clips and posts, and screw backs. Decorative jewelry findings are often handmade and are intended to add beauty to the piece. These include charms, bead caps, head pins, and ear wires. Hybrid jewelry findings blend both function and design: beautiful clasps, decorative bails, end caps, as well as textured links and connectors. These components serve a mechanical function as well as contribute to the overall design of the piece. Although, with the help of this book, you re going to learn how to make your own decorative and hybrid findings, we recognize that there will always be some commercial findings that have a role in jewelry making. Some mechanisms are far too complex to make yourself, such as lever-back ear wires. Or you may want a decorative clasp that is meticulously inlaid with stone. Other findings may be tiny or hidden, such as crimps, and there s no point in laboring over those.

13 Save yourself time and money by purchasing these types of findings. Buy It! Here s a list of commercially produced findings you may find worth purchasing: Pin backs Crimps Clamshell bead tips Crimp bead tips Lever-back ear wires Screw-back ear wires Crimp covers

14 Make It! On the other hand, you can spend lots of money on simple findings that are a cinch to create. It s well worth setting aside a little time for some easy production work of some findings so that you always have them on hand. Jump rings Head pins Hook clasps Ear wires

15 The Projects

16 Easily Charmed by Jane Dickerson Clever snap rivets are such an easy way to create the look of a set stone without any of the effort. Make this charm any size you want large enough for a pendant or small enough to wear as a drop from an earring. Materials 26-gauge dead-soft sterling silver or dead-soft raw copper sheet 1 faux turquoise 5 32 " (4 mm) snap rivet 1 #006 black rubber O-ring, 1 " ID " OD (3 6 mm) Tools Easily Charmed template (download here) Fine-point Sharpie marker Ruler (metric/u.s.) Metal shears Plastic mallet Steel bench block 100/180 coarse-grit salon board Texture hammer Power Punch pliers with 5 32 " (4 mm) punch

17 Snap rivet setter 4 Pro-Polish pads 3 5 mm round mandrel pliers (or bail-forming pliers) 1.25 mm hole-punch pliers Rotary tumbler with mixed stainless steel shot Finished Size 7 8 " (2.2 cm) 1. Cut out the Easily Charmed template and trace it onto the sheet or tape it onto the sheet with transparent packing tape. Cut out the shape with metal shears. If needed, gently reshape the cutout with the plastic mallet on the bench block. File the edges with the salon board. 2. Texture the front of the charm with a texture hammer on the bench block. 3. Use the Power Punch and 5 32 " (4 mm) punch to make a hole in the center of the circle portion of the charm (Figure 1). Figure 1 4. Place the O-ring over the hole on the front of the charm and insert the turquoise portion of the snap rivet through the O-ring and the charm (Figure 2). Snap the back part of the snap rivet to the turquoise part. Figure 2

18 5. Place four Pro-Polish pads on the steel bench block and turn the charm over so the turquoise rivet is facedown on the pads. Place the snap rivet setter on the back of the snap rivet and use the plastic mallet to hammer the back of the snap rivet and compress the rivet parts together (Figure 3). Note: Don t use any other kind of hammer for this. Figure 3 6. Using the 1.25 mm hole-punch pliers, punch holes around the edge of the charm. Start at the bottom, then at points north, east, and west; then add holes in between as desired. 7. Using your fingers, bend the bail tab forward slightly to create a slight bend where the tab meets the top of the charm. Then, grasp the top of the tab with the 3 mm barrel of the round mandrel pliers and roll it back to form a loop (Figure 4). If needed, trim the length of the tab to form the size bail needed. 8. Tumble to work-harden and polish. Figure 4

19 Resources: Metal sheet, Wubbers round mandrel pliers: Rio Grande. Power Punch, turquoise snap rivets, snap rivet setter, hole-punch pliers: Beaducation. Rubber O-rings: Harbor Freight.

20 Bullet End Caps by Denise Peck This style of end cap is one of the hardest commercial findings to source. If you have sterling silver strip and disc blanks or a disc cutter, you can make all the end caps you need. Materials 24-gauge sterling silver sheet 11 " (3.2 cm) of 1 " (6 mm) or " (1 cm) sterling silver strip 14-gauge half-bead sterling silver wire (optional) Tools Disc cutter set Ball-peen hammer Metal file or 100/180 coarse-grit salon board Fine-point Sharpie marker Ruler (metric/u.s.) 1.25 mm metal hole-punch pliers Bail-forming pliers

21 Medium solder paste Butane micro torch Soldering block Fireproof work surface Utility pliers Bowl of water Pickle setup Dapping punch Easy solder paste Extra-easy solder paste (optional) Rotary tumbler with mixed stainless steel shot Finished Size 3 " " (1 cm 6 mm) 1. Use the disc cutter to cut a 3 8 " (1 cm) disc from the 24-gauge sheet. File smooth any sharp edges. 2. Mark the center of the disc and punch a hole using the hole-punch pliers (Figure 1). Figure 1 3. Using bail-forming pliers, wrap the sterling silver strip into a ring so the edges meet snugly (Figure 2). If they gap, file the edges until they meet. Figure 2 4. Place medium solder paste at the join and solder closed (Figure 3).

22 Figure 3 5. Pickle, rinse, and dry. Use the file or salon board to file the join until it s invisible. If the sterling silver strip wire ring is misshapen, use a dapping punch to gently reshape it. 6. Place easy solder around the circumference of the disc and place the soldered ring onto the disc. Solder the disc into place (Figure 4). Figure 4 7. Optional: Add a decorative strip of half-bead wire, using extra-easy solder paste so as not to reopen the previously soldered edges (Figure 5). Quench. 8. Pickle, rinse, and dry. Tumble to polish. Figure 5

23 Resources: Sterling silver strip, sheet, and bead wire; medium solder paste: Rio Grande. Hole-punch pliers: Beaducation.

24 Poppy Bead Caps by Keirsten Giles Create folded-petal bead caps or bails with no sawing or difficult cutting! Combine one with any size disc bead or donut pendant by adjusting the size of the poppy. Or, simply dome the cap and use it on a round bead. Materials 26-gauge raw (uncoated) copper sheet Tools Disc cutter set with 3 4 " (2 cm) punch Painter s tape Brass texture sheet or coins (not valuable or cherished) Ball-peen hammer Steel bench block

25 Circle template with 90 markings Extra-fine-point Sharpie marker Ruler (metric/u.s.) 1.8 mm metal hole-punch pliers Metal shears Small flat needle file 400-grit sandpaper 0000 steel wool Butane micro torch Soldering block Fireproof work surface Utility pliers Quenching bowl Pickle setup Bent-nose pliers Nylon-jaw pliers Liver of sulfur Dapping block and punch set (optional) Finished Size Varies 1. Using the disc cutter, cut a 3 4 " (2 cm) disc from the sheet. 2. Use painter s tape to tape the disc to the textured side of a brass texture sheet or coin. With the disc on top, hammer thoroughly on the bench block with both the flat and round heads of the ball-peen hammer to get a good impression. 3. Place the disc in the corresponding size hole on the circle template. Use the marker to place lines on the disc at the 90 marks. Using a ruler and the marker, connect the marks with straight lines that intersect in the middle of the disc, dividing it into quarters. Mark the center of the disc with a dot. Using the " (6.7 mm) circle on the template, draw a circle around the center point (Figure 1). Mark the four points where the circle intersects the lines with dots. There should be five dots: one in the middle of the circle, and four dots surrounding it at the quarter-circle points.

26 Figure 1 4. Use the 1.8 mm hole-punch pliers to punch holes at all five dots (Figure 2). Figure 2 5. Use the metal shears to cut in from the edge of the disc, up to both sides of each hole in the outer circle (Figure 3). This will create skinny, triangular shapes running up to each hole, like a pinwheel. Try to make uniform cuts at all four holes; they should be close to the same, but don t have to be exact. We re going for a rustic look! Figure 3 6. Use the metal shears to round each sharp edge on the pinwheels, creating four gently rounded petals (Figure 4). Figure 4

27 7. Use the mini flat file to smooth out any uneven spots. Sand the edges smooth with 400-grit sandpaper. Remove any Sharpie marks with steel wool. 8. Anneal, quench, pickle, rinse, and dry the discs. Be careful not to bend or twist the metal, as this will work-harden it and make it stiff. 9. If you are using the poppy bead cap on a round bead, simply place the bead cap, texture side down, in the dapping block and dome it to the appropriate size for the bead. Oxidize the bead cap in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. 10. If you are using the poppy bead cap with a disc bead, decide which petal you want on the front of the disc bead. Using bent-nose pliers, gently bend down the tips of the two petals on either side of the front petal, curving them down over the disc bead. These two petals will eventually be folded under the front petal. Use your fingers to bend the front and back petals over the side petals. Use nylon-jaw pliers to gently squeeze all the petals snugly against the disc. Oxidize the bead cap in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Resources: Metal sheet: Monsterslayer. Circle template: Staples. Texture sheets: Metal Clay Supply. Coins: Joel Anderson. Hole-punch pliers: Beadaholique. Pepe Tools disc cutter set: Beaducation. Beads: Happy Mango Beads.

28 Poppy Bead Cap Earrings by Keirsten Giles. (Lampwork bull s-eye discs from Indian Creek Art Glass.)

29 Fizzy Flower Toggle by Cassie Donlen The riveting tool makes riveting simpler than ever, which means you can stack decorative components to your heart s content! This clasp showcases enameled flowers as well as lampwork glass. Materials 31 2 " (9 cm) of 16-gauge copper wire 8mm lampwork glass bead 21mm enameled copper flower 18-gauge 13 " " (3 2 cm) copper oval washer 8mm copper jump ring 1 Crafted Findings aluminum rivet, 5 " long " diameter (4 1.6 mm) Tools Liver of sulfur 0000 steel wool Fine-point Sharpie marker Crafted Findings Riveting System (CFRS) tool that makes 1 16 " (1.6 mm) holes Epoxy 330 glue Round-nose pliers

30 Flush cutters Chain-nose pliers Chasing hammer Steel bench block Finished Size 11 " " (3.2 2 cm) 1. Oxidize the copper oval washer and jump ring in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. 2. Place the enameled flower on top of the washer and use the marker to mark through the center hole in the flower onto the washer (Figure 1). This spot is where the flower will be riveted to the washer. Make another mark on the outer edge of the washer where the jump-ring hole will be punched. Make sure the jump-ring hole is not located under the enameled flower. Figure 1 3. Use the CFRS tool to make 1 16 " (1.6 mm) size holes at both marks (Figure 2). Figure 2 4. Rivet the flower onto the washer using the riveting tool (Figure 3). Make sure to avoid turning the riveting knob too tight because this can crack the enamel on the flower.

31 Figure 3 5. Use epoxy to affix the lampwork bead to the center of the enameled flower (Figure 4). Let the epoxy cure for a day. Attach the jump ring through the remaining hole. Figure 4 6. To make the toggle bar, grasp the copper wire slightly off center in the back of the round-nose pliers. Crisscross the wire over the top jaw to form the loop (Figure 5). Figure 5 7. Flush-cut the ends so they are the same length on each side of the loop. Using round-nose and chainnose pliers, make a spiral on each end of the toggle in opposite directions (Figure 6).

32 8. Hammer the spirals to flatten slightly (Figure 7). Figure 6 Figure 7 Resources: Copper oval washer, jump ring, Epoxy 330, liver of sulfur: Tickle Me Beads. Enameled flower, lampwork bead: Cassie Donlen. Riveting tool, rivets, copper wire: Fusion Beads.

33 Fizzy Flower Toggle Necklace by Cassie Donlen. (Antique copper ball-and-cog chain from Primitive Earth Beads.)

34 Twisted Link by Denise Peck Start with rectangular wire and you re already halfway finished making this link. Just texture one end on one side and the opposite end on the other side and twist! Materials 1" (2.5 cm) of sterling silver.197".049" ( mm) rectangle wire Tools Metal file Texture hammer Steel bench block Two nylon-jaw chain-nose pliers Fine-point Sharpie marker Screw-down hole punch Chasing hammer Rotary tumbler with mixed stainless steel shot Finished Size

35 Varies 1. File both ends of the wire to smooth and round the corners (Figure 1). Figure 1 2. Use the texture hammer and steel bench block to texture half the strip on one side (Figure 2). Turn it over and texture the opposite half of the strip. Figure 2 3. Hold both ends of the strip with the two pairs of nylon-jaw pliers and twist in opposite directions until both textured ends appear on the front side of the link (Figures 3 and 4). Figure 3

36 Figure 4 4. Make a centered mark near each end and punch a hole using the screw-down hole punch. Hammer the holes gently with the chasing hammer to eliminate any burrs. 5. Tumble to work-harden and polish. Resources: Rectangle wire: Rio Grande.

37 Speak to Me Ear Wires by Denise Peck The fronts of these delicate ear wires are flattened and then decorated with stamps. Use decorative or letter stamps to give them just the look you want. Materials 5" (12.5 cm) of 18-gauge sterling silver wire Tools Flush cutters coarse-grit salon board or wire rounder (cup bur) Ruler (metric/u.s.) Fine-point Sharpie marker Ball-peen hammer Steel bench block Decorative or letter stamps Brass mallet Round-nose pliers Liver of sulfur 0000 steel wool or Pro-Polish pad Rotary tumbler with mixed stainless steel shot

38 Finished Size 11 4 " (3.2 cm) 1. Cut the wire in half and round all the ends with the salon board or wire rounder (cup bur). 2. Measure and mark 1 2 " (1.3 cm) from one end on both wires. Use the ball-peen hammer and bench block to flatten the 1 2 " (1.3 cm) section on each wire. 3. Use the stamps and brass mallet to texture the flattened section on each wire (Figure 1). Figure 1 4. With the tip of the round-nose pliers, bend the flattened section back against the rest of the wire (Figure 2). Repeat for the other ear wire. Figure 2 5. Using the marker as a mandrel, bend each wire over the marker to create the ear wire hook (Figure 3). Use round-nose pliers to make a gentle bend upward on the end of each ear wire.

39 Figure 3 6. Patina the ear wires in a liver of sulfur solution. Remove the excess oxidization with steel wool or a Pro-Polish pad. Tumble to work-harden and polish. Resources: Rio Grande.

40 Tectonic Toggle by Cassie Donlen Add a little extra interest to your toggle clasps by riveting on a small domed disc. Use any metal and texture it any way you like for a custom clasp. Materials 2" 2" (5 5 cm) piece of 24-gauge copper patterned sheet (textured, etched, or plain) 1" 1" ( cm) piece of 24-gauge sterling silver sheet 1 Crafted Findings aluminum rivet, 1 " long " diameter (3 16 mm) 8mm copper jump ring 31 2 " (9 cm) of 16-gauge copper wire Tools Disc cutter set Dapping block and punch set Ball-peen hammer Fine-point Sharpie marker Crafted Findings Rivet System (CFRS) tool that makes 1 16 " (16 mm) holes Round-nose pliers

41 Chain-nose pliers Chasing hammer Flush cutters Liver of sulfur 0000 steel wool Pro-Polish pad Finished Size 1" (25 cm) 1. Punch out a 1" (25 cm) disc using the disc cutter and ball-peen hammer. Using the 1 2 " (13 cm) punch from the disc cutter as a guide, trace a 1 2 " (13 cm) circle slightly off center toward one edge of the disc. Place the disc inside the 1 2 " (13 cm) disc cutter slot and punch a hole using the marker lines as a guide (Figure 1). Figure 1 2. Place the disc, pattern side down, into the coordinating depression of the dapping block. Use the large dapping punch and hammer to dome the disc (Figure 2). Figure 2 3. Use the marker to place two marks on the toggle: one at the top (at 12 o clock) and one to the right (at about 4 o clock). Use the CFRS tool to make 1 16 " (1.6 mm) holes at both marks (Figure 3).

42 Figure 3 4. Punch a 3 8 " (1 cm) disc out of the silver sheet. Use the marker to mark the center of the silver disc. Use the CFRS tool to make a 1 16 " (1.6 mm) hole in the center. Place the silver disc into the coordinating depression of the dapping block and use a punch to dome the disc (Figure 4). Figure 4 5. Attach the silver disc to the 4 o clock hole on the copper disc using the CFRS tool and a rivet (Figure 5). Figure 5 6. Attach the 8mm jump ring to the 12 o clock hole. 7. To make the toggle bar, grasp the copper wire slightly off center in the back of the round-nose pliers. Crisscross the wire over the top jaw to form the loop (See Figures 5, 6, and 7 of the Fizzy Flower Toggle

43 project for photographs of making a toggle bar.) 8. Flush-cut the ends so they are the same length on each side of the loop. Using round-nose and chainnose pliers, make a spiral on each end of the toggle in opposite directions. 9. Hammer the spirals to flatten slightly with the chasing hammer. 10. Oxidize the clasp and toggle bar in a liver of sulfur solution, rinse, and dry. Use the steel wool to remove the excess oxidization, then polish with a Pro-Polish pad. Tectonic Toggles Bracelet by Cassie Donlen. (Lampwork beads by Tickle Me Beads.) Resources: Copper and silver sheet, jump rings, riveting tool, and rivets: Fusion Beads; Rio Grande.

44 Accordion Link by Jane Dickerson The Tube-Wringer was developed for squeezing the last drop out of tubes of paint. But running metal through it creates a one-of-a-kind texture! Buy the sterling silver strip in a variety of widths or cut your own from sheet. Materials 24-gauge 3 8 " (1 cm) dead-soft sterling silver strip 2 rhodium-plated brass eyelets, 5 " long " diameter (4 2.4 mm) Tools Ruler (metric/u.s.) Fine-point Sharpie marker Metal shears Tube-Wringer Chasing hammer Steel bench block 100/180 coarse-grit salon board Metal spiral stamp Brass mallet

45 3 32 " (2.4 mm) screw-down hole punch Center punch Rotary tumbler with mixed stainless steel shot Finished Size 11 " " (3 1 cm) 1. Cut a 11 2 " (3.8 cm) length of sterling strip. Grasp the end of the strip in the center of the Tube-Wringer and turn the handle to run the strip through the tool (Figures 1 and 2). Note: Make sure the strip is not at an angle, or the texture will be slanted. Figure 1 Figure 2 2. Place the strip on the bench block and flatten the ends with the ball end of the chasing hammer, removing the ridges just at the ends (Figure 3).

46 Figure 3 3. Texture the flat portions of the strip on each end with the spiral stamp and brass mallet on the bench block (Figure 4). Figure 4 4. Using metal shears, trim the ends so they are even and then round the corners (Figure 5). File the ends smooth with the salon board. Figure 5 5. Make a dot in the center of each end with the marker. Use the 3 32 " (2.4 mm) screw-down hole punch to make holes at the marks (Figure 6).

47 Figure 6 6. Insert an eyelet in one hole on the strip and use the center punch and chasing hammer to gently flare the eyelet open (Figures 7 and 8). Figure 7 Figure 8 7. Use the ball end of the chasing hammer to hammer the edge of the eyelet back until it is flush with the link (Figure 9). Repeat this step on the other end of the link.

48 Figure 9 8. Tumble to work-harden and polish. Resources: Sterling strip, eyelets, metal shears, Tube-Wringer, hole punch: Rio Grande. Brass mallet, spiral stamp: Beaducation.

49 Silver Berry Charms by Denise Peck These very simple charms look best in a cluster. Use several as a spacer between beads or dangle them around a beautiful stone pendant. I prefer them oxidized, so I didn t pickle them. Materials Spool of 18-gauge sterling silver wire Tools Chain-nose pliers Butane micro torch Soldering block Fireproof work surface Utility pliers Bowl of water Ball-peen hammer Steel bench block Flush cutters

50 Round-nose pliers Pickle setup (optional) 0000 steel wool Rotary tumbler with mixed stainless steel shot Finished Size Varies 1. Working directly from the spool, fold 1 4 " (6 mm) of the end of the wire back on itself with chain-nose pliers and pinch the fold together (Figure 1). Figure 1 2. Hold the folded end of the wire in the flame of the micro torch until it melts into a large ball (Figure 2). Quench and dry. Figure 2 3. Hammer the ball flat using the ball-peen hammer and bench block (Figure 3). Figure 3 4. Leaving a 1 2 " (1.3 cm) tail of wire, flush-cut the flattened ball off the spool (Figure 4).

51 Figure 4 5. Use round-nose pliers to make a simple loop in the tail, above the flattened ball (Figure 5). Figure 5 6. Pickle the charm, if desired, to remove all of the oxidization from the flame. Or, use steel wool to remove some of the oxidization and then tumble to work-harden and polish. Silver Berry Charms Necklace by Denise Peck. (Beige beads from Hands of the Hills; black beads from Holy & Pure Gemstone.)

52 Resources: Rio Grande.

53 Pattern Wire Hook by Denise Peck Don t underestimate the versatility of patterned wire. This beautiful hook is easily formed with one piece of patterned wire that looks like you ve worked for hours fabricating! Materials 21 4 " (5.5 cm) of mm dead-soft sterling silver pattern wire Tools Metal file Round-nose pliers Painter s tape Nylon-jaw round-nose pliers (optional) Fine-point Sharpie marker Ruler (metric/u.s.) Rotary tumbler with mixed stainless steel shot Finished Size 1" (2.5 cm)

54 1. Use the metal file to smooth the ends of the patterned wire. 2. Wrap painter s tape around the jaws of your round-nose pliers (or use nylon-jaw round-nose pliers) to protect the wire from being marred. Make a small simple loop on one end of the wire (Figure 1). Figure 1 3. At 7 8 " (2.2 cm) from the end with the loop, bend the wire over the back of the round-nose pliers to form a hook (Figure 2). Figure 2 4. Use the round-nose pliers to gently bend up the end of the hook (Figure 3). Figure 3 5. At the point where the simple loop closes, bend the hook upward about Tumble to polish.

55 Resources: Patterned wire: Rio Grande.

56 Duo Bail by Jane Dickerson This reversible bail can be worn on either side and fits a standard-size donut hole. Attach a jump ring to the top of the bail and slip on your favorite chain. For a quick change, just flip the necklace over to show the other side of the bail! Materials 26-gauge raw dead-soft copper sheet 2 copper-plated brass eyelets, 5 " long " diameter (4 2.4 mm) Stone donut with 9 11 mm hole Tools Duo Bail template (download here) Scissors Fine-point Sharpie marker Transparent packing tape Metal shears

57 Chasing hammer Steel bench block 100/180 coarse-grit salon board 3 32 " (2.4 mm) two-hole screw-down hole punch Center punch 3 5 mm round mandrel pliers (or bail-forming pliers) 1 mm dimple pliers 3 mm dimple pliers 5 mm dimple pliers 0000 steel wool Pro-Polish pad Finished Size 1" 1 3 " (2.5 cm 8.5 mm) 1. Cut out the Duo Bail template with scissors and test-fit it through your donut. Make any adjustments needed. Trace the template onto the sheet metal or attach it with transparent packing tape. Cut out the shape with metal shears. 2. Texture one side of the strip on the bench block using the ball side of the chasing hammer. Trim and round the ends of the strip with metal shears. File the ends and sides of the strip smooth with the salon board. 3. Make a 3 " (2.4 mm) hole in each end of the strip with the " (2.4 mm) screw-down punch. Place an eyelet in one hole and flare the end with the center punch and chasing hammer. Use the ball end of the chasing hammer to complete the rivet (Figure 1). Repeat on the other end of the strip. Figure 1 4. Fold the strip in half around the 5 mm jaw of the round mandrel pliers, forming a bail (Figure 2).

58 Figure 2 5. Patina the bail in a liver of sulfur solution, rinse, and dry (Figure 3). Remove the excess patina with steel wool. Figure 3 6. Place three evenly spaced dimples on one side of the bail using the 1 mm, 3 mm, and 5 mm dimple pliers (Figure 4). Polish the bail with a Pro-Polish pad. Figure 4

59 Resources: Metal, eyelets, Wubbers round mandrel pliers, dimple pliers, Pro-Polish pad: Rio Grande. Metal shears: Beaducation. Beach stone pendant by Riverstone Bead Company.

60 Shank Button Clasp by Denise Peck Shank buttons, such as this charmingly simple one, can be used in many different jewelry media as a decorative element or a clasp. Materials 24-gauge textured copper sheet 3 8 " (1 cm) of 16-gauge copper wire Tools Disc cutter set Ball-peen hammer Dapping block and punch set Round-nose pliers Metal file Small paintbrush Flux Copper solder Butane micro torch Soldering block Fireproof work surface Utility pliers

61 Bowl of water Pro-Polish pad Finished Size 5 8 " (1.5 cm) 1. Use the disc cutter and ball-peen hammer to cut a 5 8 " (1.5 cm) disc from the textured sheet (Figure 1). Figure 1 2. Gently dome the disc, texture side down, in the dapping block (Figure 2). Figure 2 3. Bend the wire in half around one jaw of the round-nose pliers forming a U-shape or half loop. File the edges smooth and even with one another. 4. With the paintbrush, apply a small bit of flux to the back of the disc. Using the butane micro torch and copper solder, solder the U-shape onto the back of the domed disc to make the shank (Figures 3 and 4). Quench and dry. Figure 3

62 Figure 4 5. Leaving the patina that resulted from the flame of the torch, polish the button with the Pro-Polish pad. Resources: Textured copper sheet: Metalliferous. Copper solder, flux, Pro-Polish pad: Rio Grande.

63 Bubble Wand Head Pins by Denise Peck Using beaded wire is a very simple and effective way to make your work stand out from the rest. Here, all I did was make a jump ring and solder a wire to it. Imagine the many different ways you could use this! Materials 1" (2.5 cm) of 1.9 mm (12-gauge) sterling silver bead wire 3" (7.5 cm) of 20-gauge sterling silver wire Tools Round mandrel pliers (or bail-forming pliers) Flush cutters Metal file Ball-peen hammer Steel bench block Easy solder paste

64 Extra-easy solder paste Butane micro torch Soldering block Fireproof work surface Utility pliers Bowl of water Pickle setup Rotary tumbler and with mixed stainless steel shot Finished Size Varies, dependent on the mandrel size used. 1. Working from the spool of bead wire, make a coil using round mandrel pliers or bail-forming pliers (Figure 1). Figure 1 2. Flush-cut individual jump rings from the coil (Figure 2). File the edges smooth and straight. Figure 2 3. Place a small amount of easy solder paste at the join and heat to solder closed (see Figure 3 in the Easy Soldering project). Quench and dry.

65 Figure 3 4. Hammer both sides of the jump ring to slightly flatten the bead wire. 5. Hammer the very tip of the 20-gauge wire flat. 6. Place a small amount of extra-easy solder paste on the jump ring at the join and solder the flattened end of the wire onto the jump ring (Figure 4). Quench. 7. Pickle, rinse, and dry. 8. Tumble to work-harden and polish. Figure 4 Bubble Wand Earrings by Denise Peck. (Beads from Grey Bird Studio.) Resources: Sterling silver bead wire: Rio Grande.

66 Rosette Link & Hook Clasp by Cindy Wimmer This spiraled wire design evokes a rose with its leaves. The link can be used as a decorative element singly as well as connected as a chain. Materials 11" (28 cm) of 18-gauge dead-soft sterling silver wire Tools Flush cutters Fine-point Sharpie marker Ruler (metric/u.s.) Nylon-jaw chain-nose pliers Round-nose pliers Rawhide mallet Steel bench block Chain-nose pliers 6/8.5 mm bail-forming pliers

67 Chasing hammer Liver of sulfur 0000 steel wool Rotary tumbler with mixed stainless steel shot Letter I metal stamp (optional) Brass mallet (optional) Finished Size 11 2 " (3.8 cm)

68 Rosette Link 1. Cut two 51 " (14 cm) pieces of 18-gauge wire. Measure and mark " (8.5 cm) on each piece of wire with the marker. 2. Grasp both wires at the mark with the back of the nylon-jaw pliers. Bend the wires 90 over the pliers in opposite directions (Figure 1). Figure 1 3. Gripping the wires tightly in the pliers, begin to form the center of the spiral by coiling the wires one at a time in a circular motion, in the same direction, pressing the center of the spiral down to help with the shape. Continue coiling the wire around itself to increase the size of the spiral. Wind the wires underneath the spiral to build up depth, if desired. End with the wires oriented in opposite directions, with at least a " (2 cm) tail (Figure 2). 3 4 Figure 2 4. Flip the spiral over and using your fingers, bend the straight center wires down 90, crossing over the top of the short tail wires (Figure 3).

69 Figure 3 5. Trim the short tail wires to 1 4 " (6 mm) and use round-nose pliers to bend the wires into a loop around the longer wires to secure (Figure 4). Trim again if necessary. Use the rawhide mallet and bench block to compress the rosette slightly on both sides. Adjust the shape of the rosette with nylon-jaw pliers if needed. Figure 4 6. Measure and mark one tail wire 1 2 " (1.3 cm) from the top of the spiral with the marker. Place the tip of the chain-nose pliers on the mark and make a hairpin turn. Use the pliers to pinch the bend closed (Figure 5). Figure 5 7. Spread the wires apart slightly and insert the 6 mm barrel of the bail-forming pliers. Grasp the wire above the spiral and bend it slightly to form the rounded portion of the leaf. Bend the tail wire around the 6 mm barrel of the bail-forming pliers, creating the second half of the leaf shape (Figure 6).

70 Figure 6 8. Cross the tail over the first half of the leaf on the front side of the rosette. Flip the link over and trim the tail to 1 4 " (6 mm). Use chain-nose pliers to loop the tail wire around the base of the leaf, then compress the loop with the pliers to secure (Figure 7). Figure 7 9. Repeat Steps 6 8 to create a second leaf with the other wire. Use the rawhide mallet and bench block to hammer and compress the spiral slightly. Use the chasing hammer to flatten the curved portion of the leaves. Readjust the shape of the leaves as needed. Oxidize in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to polish and work-harden.

71 Rosette Hook Clasp 1. Create the Rosette Link above with only one leaf, Steps 1 8. Use chain-nose pliers to bend the remaining tail wire back 45. Grasp the wire 1 8 " (3 mm) from the top of the spiral with the bail-forming pliers and bend the wire around the 8.5 mm barrel to form a hook (Figure 8). Figure 8 2. Trim the tail wire and make a small simple loop at the end using the tip of the round-nose pliers. Use the chasing hammer and bench block to flatten the curve of the hook (Figure 9). Figure 9 3. Optional: Use the letter I stamp with a brass mallet to stamp lines in the leaves to add detail. 4. Oxidize the hook in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to work-harden and polish.

72 Rosette Link Earrings by Cindy Wimmer. (Vintage Art Deco style brass earrings from I Found Gallery.) Resources: Wire: Monsterslayer.

73 Sugar Skull Clasp by Jane Dickerson I ve always been a little afraid of sugar skulls, so it was really fun for me to create a friendlier version that makes me laugh and smile every time I look at it! Materials 24-gauge 1" (2.5 cm) dead-soft sterling silver strip 2 copper flower bead caps, 10 5 mm 2 brass 4mm micro nuts 2 brass micro screws, 7 mm long 1 16 " (1.6 mm) shank diameter

74 Tools Sugar Skull template (download here) Sugar Skull Tongue template (download here) Scissors Fine-point Sharpie marker Metal shears Rawhide mallet Steel bench block Transparent packing tape mm oval hole-punch pliers 1.5 mm square hole-punch pliers Small flat needle file Small round needle file 1.8 mm hole-punch pliers Metal spiral stamp Brass mallet Flat-head screwdriver 100/190 coarse-grit salon board Liver of sulfur 0000 steel wool 3 5 mm round mandrel pliers (or bail-forming pliers) Chain-nose pliers Eyeglasses screwdriver 1.5 mm round hole-punch pliers Rotary tumbler with mixed stainless steel shot Finished Size 11 " " ( cm) 1. Cut out the Sugar Skull template with scissors. Trace the template shape onto the 1" (2.5 cm) strip with the marker and cut it out using metal shears. Flatten the cutout to reshape it, if needed, using the rawhide mallet and bench block. Place the template on top of the cutout, lining up the edges, and then tape the two pieces together with transparent packing tape. 2. Punch out the nostrils markings with oval hole-punch pliers (Figure 1).

75 Figure 1 3. Punch out the mouth with square hole-punch pliers (Figure 2). Figure 2 4. Place the skull cutout on the bench block and even out the rough edges of the mouth with the small flat needle file (Figure 3). Use the round needle file to clean any rough edges in the nostrils if needed. Figure 3 TIP Practice punching out a rectangle on scrap sheet first, so you learn how to position the point of the punch to form a line. 5. Cut out the Sugar Skull Tongue template with scissors and test-fit it through the mouth of the skull. Make any adjustments, then trace it onto the sheet and cut it out. Round the end of the tongue with metal sheers and test-fit it again (Figure 4).

76 Figure 4 6. Place the flower bead caps facedown on the bench block. Using the rawhide mallet, gently hammer the bead caps to slightly flatten them and open the petals (Figure 5). Figure 5 7. Place the flower bead caps on the front of the skull and use the marker to place a dot onto the skull where the holes are located (Figure 6). Figure 6 8. Use the 1.8 mm hole-punch pliers to punch the holes for the eyes (Figure 7). Figure 7 9. Texture the front of the skull using the metal spiral stamp and brass mallet on the bench block (Figure 8).

77 Figure Use the brass mallet and screwdriver as a texture tool to create the line down the center of the tongue (Figure 9). Figure Texture the rest of the tongue with the metal spiral stamp. File the rough edges of the outside of the skull and the tongue with the salon board. Patina the skull, tongue, and bead caps in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. 12. Use the 3 mm barrel of the round mandrel pliers to create a loop at the end of the tongue, with the texture side up. Use the 5 mm barrel to form a hook shape (again, texture side up; Figure 10). Figure Use the round mandrel pliers to create a slight bend upward in the tongue (Figure 11).

78 Figure Attach the flower bead caps using micro screws and nuts, tightening the nuts with chain-nose pliers and using an eyeglasses screwdriver to tighten the screws (Figure 12). Figure Trim the back of the screws with heavy-duty cutters and file ends of the screws smooth (Figure 13). Figure Punch a 1.5 mm hole in the top of the skull to attach a jump ring.

79 Resources: Sterling silver strip, metal shears, hole-punch pliers, Wubber round mandrel pliers: Rio Grande. Flower bead caps: B Sue Boutiques. Brass mallet, metal spiral stamp, micro screws and nuts: Beaducation. Eyeglasses screwdriver: CVS.

80 Loophole Bead Caps by Kerry Bogert With a couple of simple tools and a few inches of wire, these loopy bead caps whirl up fast. For an added layer of interest, try nestling a domed sheet metal bead cap inside the loops of this one before framing your bead with the finished cap. Materials 5" (12.5 cm) of 20-gauge sterling silver dead-soft wire (per bead cap) Tools Flush cutters Round-nose pliers Dapping punch

81 Bench vise Chasing hammer Liver of sulfur (optional) Pro-Polish pad (optional) Rotary tumbler with mixed stainless steel shot Finished Size 1 2 " (1.3 cm) 1. Flush-cut one end of the 5" (12.5 cm) piece of 20-gauge wire. Working from the flush-cut end, use round-nose pliers to make a small coil in the end of the wire that is 3 or 4 wraps (Figure 1). Figure 1 2. With the remaining tail of wire, make a small loop (about 5 mm) with round-nose pliers adjacent to the coil (Figure 2). Figure 2 3. Continue around the center coil, making a total of 6 loops, each sitting next to the previous loop (Figures 3 and 4). Figure 3

82 Figure 4 4. Trim the excess wire where it meets the inside of the last loop (Figure 5). Figure 5 5. Clamp a dapping punch that is similar in size to your bead cap in the bench vise. Hold the bead cap on the head of the dapping punch and use a chasing hammer to gently flatten the outside edges of the loops, forming a domed shape (Figure 6). Figure 6 6. Optional: Oxidize the bead cap in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with a Pro-Polish pad. 7. Tumble to work-harden and polish.

83 Loophole Bead Cap Earrings by Kerry Bogert. (Lampwork beads from Kab s Creative Concepts.) Resources: Sterling silver wire: Rio Grande.

84 Crisscross Bead Cap by Keirsten Giles This bead cap will work well on a 12mm or 14mm bead, but it could also be shaped to fit a smaller bead. You can also try using a different texture for each strip, for an added twist to the design. Materials 2 copper-plated brass eyelets, 5 " long " diameter (4 2.4 mm) 26-gauge raw (uncoated) copper sheet Tools Ruler (metric/u.s.) Extra-fine-point Sharpie marker Metal shears Butane micro torch Soldering block Fireproof work surface Utility pliers

85 Quenching bowl Nylon or rawhide mallet Steel bench block Pickle setup Painter s tape Brass texture sheet or coin (not valuable or cherished) Ball-peen hammer 3 32 " (2.4 mm) screw-down hole punch Center punch Chasing hammer 220- and 400-grit sandpaper Dapping block and punch set 2 mm bail-forming pliers Round-nose pliers Liver of sulfur 0000 steel wool Rotary tumbler with mixed stainless steel shot (optional) Finished Size 3 4 " (2 cm) 1. Use metal shears to cut two 4 30 mm strips from the sheet metal. Anneal, quench, pickle, rinse, and dry. Gently flatten with a nylon or rawhide mallet on the bench block if needed. 2. Use painter s tape to tape each strip to the textured side of a brass texture sheet or coin (see Texturing). With the copper strip on top, hammer thoroughly on the bench block with both the flat and round heads of the ball-peen hammer to get a good impression. Remove the tape (Figure 1). Figure 1

86 3. Make a dot at the exact center of each strip on the smooth side with the Sharpie (Figure 2). Figure 2 4. Use the 3 32 " (2.4 mm) screw-down hole punch to punch out each hole. Place the pair of strips together, texture side up and at right angles, then insert an eyelet through both holes in the strips (Figure 3). Figure 3 5. Gently flare the unfinished end of the eyelet on the back with the center punch and chasing hammer, keeping the strips at right angles (Figure 4). Figure 4 6. Gently tap the flared end of the eyelet with the ball end of the chasing hammer and then the flat side of the hammer until the two sides of the cross are riveted tightly together at right angles, and the rivet edges

87 feel smooth. Round the ends of the strips carefully with metal shears, then sand to a smooth curve with 220- and then 400-grit sandpaper (Figure 5). Figure 5 7. Dome the cross, texture side down, using a 13.8 mm dapping punch and the corresponding depression in the dapping block. Use your fingers to further shape the crossed pieces around the ball of the dapping punch (Figure 6). Figure 6 8. Grasp each strip about 2 mm from the end with 2 mm bail-forming pliers and curl it upward and in on itself (Figure 7). Reshape the bead cap as needed with round-nose pliers and the dapping set. Figure 7

88 9. Oxidize the bead caps in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to work-harden and polish. Crisscross Bead Cap Earrings by Keirsten Giles. (Hollow lampwork beads from Alisha White Designs.) Resources: Metal sheet: Monsterslayer. Metal shears: Contenti. Screw-down hole punch: Beadaholique. Texture sheets: Metal Clay Supply. Coins: Joel Anderson. Eyelets: Rio Grande.

89 Bezel Bail by Jane Dickerson This bezel bail is easily adapted to any size donut. I created a template for a standard-size donut, but you can modify the diameter measurements using the donut of your choice. Materials 26-gauge raw copper sheet 40.5mm stone donut with 12 mm hole Tools Bezel Bail template (download here) Scissors Fine-point Sharpie marker Transparent packing tape Metal shears Rawhide mallet

90 Steel bench block Texture hammer Metal spiral stamp Brass mallet Fireproof work surface Fire brick Bowl of water Utility pliers Butane micro torch Dapping block and punch set 100/180 coarse-grit salon board Small metal file 3 5 mm round mandrel pliers (or bail-forming pliers) Round-nose pliers Penny Brite (optional) Liver of sulfur (optional) Pro-Polish pad Renaissance Wax Soft cloth Finished Size 5 8 " 2" (1.5 5 cm) 1. Cut out the Bezel Bail template. Trace the template onto the sheet with the marker or tape it to the sheet with transparent packing tape. Cut out the shape with metal shears. Reshape the metal with a rawhide mallet on the bench block. Place the cutout over the donut; you should have about 1 4 " (6 mm) of the donut showing around the edges (Figure 1). Figure 1

91 2. Center the donut over the circle portion of the cutout and trace the inner diameter of the donut onto the cutout (Figure 2). This will be the front of the bezel. Figure 2 3. Flip the cutout over and texture the back of the circle portion of the cutout and 2 3 of the length of each tab with the texture hammer on the bench block (Figure 3). Figure 3 4. Flip the cutout over and texture the front final 1 3 of each tab with the metal spiral stamp and brass mallet (Figure 4). Figure 4 5. Texture inside the small circle on the front of the cutout with the metal spiral stamp and brass mallet.

92 6. Flip the cutout over onto the back, center the donut over the circle portion, and trace the inside diameter of the donut with the marker (Figure 5). Use this circle on the back as a guide when punching in Step 8. Figure 5 7. Place the cutout, front side down, on the fire brick and anneal with the butane micro torch. While you are annealing, you can create a beautiful patina on the copper with the flame. Take your time and remove the flame when the desired colors have developed. Let the cutout air cool. Quenching can change the color of the flame patina. 8. Place the cutout, front side down (textured back side up), over the dapping block, matching the small inner circle to a corresponding-sized depression on the dapping block. Use a punch and brass mallet to dome the inner circle (Figure 6). Figure 6 9. Remove the cutout and reshape the flat portions if needed using the rawhide mallet on the bench block. Test-fit the front of the cutout inside the donut (Figure 7).

93 Figure 7 Tip If you re happy with the flame patina you created, proceed to the next step. If you re not happy with it, clean the copper with Penny Brite, rinse, and dry. You can leave the copper shiny, use the micro torch to flame patina again, or oxidize it in a liver of sulfur solution (see Using Liver of Sulfur). All three offer a completely different look. 10. Round the edges of the tabs with shears and file all the cut edges with the salon board and metal file. Place the donut on top of the front of the cutout and determine which tab will be the bail. Begin folding all the tabs toward the center of the donut, pressing them against the edge of the donut (Figure 8). Fold all but the bail tab down toward the center. Figure Using the 3 mm barrel of the round mandrel pliers, roll each tab (except the bail tab) back into a loop that touches the straight portion of the tab (Figure 9). If needed, switch to round-nose pliers to continue curling the loop onto itself, adjusting the length of the finished tab.

94 Figure Using your fingers, bend the bail tab forward at a right angle to the donut, then grasp the tip of the tab with the 5 mm barrel of the round mandrel pliers and roll the tab backward into a loop (Figure 10). Continue rolling the loop onto itself to shorten the length of the bail if needed. Figure Polish the bezel with a Pro-Polish pad, being careful not to remove the desired patina. Rub Renaissance Wax on the bezel and buff with a soft cloth. Resources: Metal spiral stamp, brass mallet, texture hammer, Penny Brite: Beaducation. Wubbers round mandrel pliers, Pro-Polish pad, Renaissance Wax: Rio Grande.

95 Oval Duo Connector by Jane Dickerson Plastic bottles come in so many beautiful colors. Here s a great way to recycle them and incorporate them into your jewelry pieces as a gorgeous pop of color! Materials Plastic bottle 24-gauge sterling silver sheet Tools Oval Duo Connector template (download here) 2 rhodium-plated brass 5 " long " diameter (4 mm 2.4 mm) eyelets Fine-point Sharpie marker Metal shears Transparent packing tape Decorative metal stamp Brass mallet Steel bench block

96 3 32 " (2.4 mm) screw-down hole punch Center punch Chasing hammer 100/180 coarse-grit salon board Finished Size 15 " " ( cm) 1. Cut out the Oval Duo Connector template and trace it onto the sheet. Cut out the shape with metal shears. 2. Cut out a square from the plastic bottle that is flat and larger than the sterling cutout. Tape the cutout to the plastic with transparent packing tape (Figure 1). Figure 1 3. Use metal shears to cut out the plastic piece cleanly around the sterling cutout. Remove the tape and separate the pieces. 4. Use the decorative metal texture stamp and brass mallet to texture the front of the sterling cutout on the bench block (Figure 2). Figure 2 5. Tape the plastic cutout to the back (untextured) side of the sterling cutout, lining up the edges. Place a dot at the center of each end, where the eyelet will be placed. Use the 3 32 " (2.4 mm) punch on the screwdown hole punch to punch a hole through both layers at the dot on each end (Figure 3).

97 Figure 3 6. Insert an eyelet into one end with the open end of the eyelet on the plastic side. Use the center punch and chasing hammer to gently flare the end of the eyelet. Use the ball and flat end of the chasing hammer to finish riveting the eyelet (Figure 4). Repeat on the other end of the connector. Figure 4 7. Use the salon board to file around the edges of the connector, evening up any rough spots (Figure 5). Figure 5 Resources: Plastic bottle: Wegmans Aqua Italian sparkling mineral water. Sterling silver sheet: Rio Grande.

98

99 Twisted Tunnel Bail by Cindy Wimmer Twisting wire takes your designs to a whole new place. This simple bail becomes a star just because you twisted the wires before coiling them! Materials 30" (76 cm) of 20-gauge half-hard sterling silver wire Tools Flat-nose pliers Nylon-jaw chain-nose pliers Round-nose pliers 6/8.5 mm bail-forming pliers Flush cutters Liver of sulfur 0000 steel wool Rotary tumbler with mixed stainless steel shot Ruler (metric/u.s.)

100 Finished Size 11 8 " (2.9 cm) 1. Fold the wire in half at the center and pinch the bend flat with flat-nose pliers. 2. Grasp the wire at the bend with nylon-jaw pliers and, using your fingers, loosely twist the wires together, keeping the twists uniform. Halfway through the length of wire, move the pliers and grasp the wire at the center to maintain a good grip on the long wires (Figure 1). Figure 1 3. Grasp the midpoint on the twisted wire with round-nose pliers (or small bail-forming pliers) and wrap the wires around the top jaw of the pliers in opposite directions, forming a small loop (Figure 2). Figure 2 4. With the loop facing you, grasp it firmly with nylon-jaw pliers and bend the wire that crosses the front of the loop back 90. Bend the other wire forward 90, holding the loop firmly so it doesn t get distorted. 5. Grasp the wire behind the loop with the 6 mm barrel of the bail-forming pliers. Coil the wire until the wire is completely coiled (Figure 3). Flip the bail around and repeat, coiling the second wire completely around the 6 mm barrel of the pliers. Note: The coils will be oriented in opposite directions.

101 Figure 3 6. Gently pull the coils together to lessen the gap in the center. Count 6 coils on each side of the loop and trim the excess. Tuck the wire ends into the coil. Curve the bail slightly with your fingers. Oxidize in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to workharden and polish. Twisted Tunnel Bail Necklace by Cindy Wimmer. (Pendant from Golem Design Studio.) Resources: Wire: Monsterslayer.

102 Simplest Toggle by Denise Peck Create your own custom toggle in minutes by using a piece of beautiful patterned wire. Punch your own washer or make the project even simpler by using a purchased one. Materials 24-gauge sterling silver sheet 11 4 " (3.2 cm) patterned sterling silver wire,.187".06" ( mm) 1 2 " (1.3 cm) of 18-gauge sterling silver wire Tools Disc cutter set Ball-peen hammer Metal file or 100/180 coarse-grit salon board 1.5 mm hole-punch pliers Flush cutters Round-nose pliers Easy solder paste

103 Butane micro torch Soldering block Fireproof work surface Utility pliers Bowl of water Pickle setup Rotary tumbler with mixed stainless steel shot Finished Size 11 4 " (3.2 cm) 1. To create a washer, use the disc cutter to cut the smaller 1 2 " (1.3 cm) hole in your washer first, leaving enough sheet around that hole to cut out the outside of the disc. Then place the sheet into the 3 4 " (2 cm) hole of the disc cutter and center the 1 " (1.3 cm) hole within the " (2 cm) hole. Cut out the larger disc, creating the washer. File the edges smooth. 2. Use the hole-punch pliers to punch a hole in the washer for a jump ring (Figure 1). File any burrs. Figure 1 3. File the ends of the patterned wire into a subtle curve. 4. Working from the spool, curve the end of the 18-gauge wire around the round-nose pliers, creating a small C-shaped loop, and cut it from the wire. File the ends of the loop flat and even with each other. 5. Place the patterned wire on the soldering block, patterned side down. Apply a small amount of easy solder paste to the center of the wire (Figure 2). Figure 2

104 6. Using the micro torch, solder the C-shaped loop to the patterned wire (Figures 3 and 4). Quench, pickle, rinse, and dry. Figure 3 Figure 4 7. Sand or file off any excess solder. Tumble both pieces of the clasp to work-harden and polish. Resources: Disc cutter set, sheet metal, wire, patterned wire, easy solder paste: Rio Grande.

105 Elegant Spacer Bar by Jane Dickerson This spacer bar is really fast and easy to make. I designed it to fit 6mm pearls; they fit perfectly within a 1 4 " (6 mm) square grid on graph paper, making it easy to calculate the design. The one shown has three holes on each side for a three-strand necklace or bracelet, but you can make the bar longer and add more holes for additional strands if you like. Materials 24-gauge 1" (2.5 cm) sterling silver strip (or copper sheet) Tools Elegant Spacer Bar template (download here) or graph paper with 4 squares per 1" (2.5 cm) Scissors Fine-point Sharpie marker Metal shears Transparent packing tape 1.25 mm metal hole-punch pliers Texture hammer Steel bench block

106 6 8 mm square mandrel forming pliers 100/180 coarse-grit salon board Liver of sulfur (optional) 0000 steel wool (optional) Rotary tumbler with mixed stainless steel shot Finished Size " " (2 cm 6 mm) Cut out the Elegant Spacer Bar template. Alternatively, cut a 3 " " (2 2 cm) square from the graph paper: three squares across and three squares down; nine 1 4 " (6 mm) squares total. Make a dot in the center of each square down the left column and repeat on the right column, leaving the center column of three squares blank. Trace around the cutout onto the sterling silver strip and cut out the shape with metal shears. 2. Place the paper cutout back on top of the sterling cutout, lining up the edges, and tape the pieces together with transparent packing tape. Use the hole-punch pliers to punch holes at the dots (Figure 1). Figure 1 3. Remove the tape and paper cutout. Place the sterling cutout on the bench block and texture the front with a texture hammer (Figure 2). Figure 2 4. Grasp one three-hole side of the sterling cutout between the jaws of the square mandrel pliers so the textured side of the cutout is facing the 8 mm jaw and the smooth side is facing the 6 mm jaw. Important: Make sure the bottom of the sterling cutout is flush with the bottom of the smaller 6 mm jaw of the

107 pliers. Using your fingers, bend the sterling cutout over the top of the 6 mm jaw and then down the other side of that jaw (Figure 3). This will create three even 1 4 " (6 mm) sections to the spacer bar. Figure 3 5. File the edges of the spacer bar smooth and round the corners with the salon board. 6. Optional: Oxidize with a liver of sulfur solution if desired, rinse, and dry. Remove the excess oxidization with steel wool. 7. Tumble to work-harden and polish. Elegant Spacer Bar Bracelet by Jane Dickerson. (Pearls from Fire Mountain Gems and Beads.) Resources: Graph paper: Staples. Sterling silver strip, Wubbers square mandrel forming pliers: Rio Grande. Metal hole-punch pliers: Beaducation.

108 Ruffles Button Clasp by Denise Peck A two-hole button can be used with a number of stringing materials including leather and waxed linen. Or sew it onto fabric backing for bead embroidery. Materials 24-gauge sterling sheet Tools Disc cutter set Metal file or 100/180 coarse-grit salon board 1.8 mm hole-punch pliers 5 mm dimpling pliers Nail set tool or letter O stamp Brass mallet Steel bench block Liver of sulfur 0000 steel wool

109 Rotary tumbler with mixed stainless steel shot Finished Size 3 4 " (2 cm) 1. Using the disc cutter, cut out a 3 4 " (2 cm) disc from the sterling sheet. File the edges smooth. 2. Use the hole-punch pliers to punch two holes, next to each other, in the center of the disc (Figure 1). Smooth any burrs with the file. Figure 1 3. Use the dimpling pliers to dimple the edge of the disc around the entire circumference (Figure 2). Figure 2 4. Set the disc onto the bench block and use the nail set tool (or O stamp) and brass mallet to stamp o s all over the center of the button (Figure 3).

110 Figure 3 5. Oxidize the button in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to work-harden and polish. Tip Slide the edge of the disc into the pliers so only half the ball is covered with the metal. That way you get a wave instead of a full dimple. Resources: Sheet: Rio Grande. Nail set tool: Harbor Freight. Hole-punch pliers: Beaducation.

111 Fancy Tube Beads by Keirsten Giles Use these open tube beads in a variety of ways: as simple beads or stopper beads, to cover knots or crimps, or for wire wrapping. Simply thread them onto your piece and tighten with bent- or chain-nose pliers to keep them in place. Materials 26-gauge raw (uncoated) copper sheet Tools Ruler (metric/u.s.) Extra-fine-point Sharpie marker Metal shears Butane micro torch Soldering block Fireproof work surface

112 Quenching bowl Utility pliers Pickle setup Painter s tape Brass texture sheet or coin (not valuable or cherished) Ball-peen hammer Steel bench block Bail-forming or stepped-jaw pliers 220-grit sandpaper Nylon or rawhide mallet Liver of sulfur 0000 steel wool Finished Size Varies 1. Using metal shears, cut strips of copper sheet in a variety of widths: narrow strips (about 4 mm wide) for short tubes or wider widths for longer tubes. Keep the strips 8" (20.5 cm) long or shorter so they are easier to work with. Anneal, quench, pickle, rinse, and dry. 2. Texture the strips or leave them smooth. To texture, use painter s tape to tape the strip to the textured side of a brass texture sheet or coin. With the copper strip on top, hammer thoroughly on the bench block with both the flat and round heads of the ball-peen hammer to get a good impression (see Texturing: Texturing with a Hammer). 3. Use bail-forming or stepped-jaw pliers to curl the strip into a tube shape, overlapping the ends by about 3 mm ( 1 8 "). Trim the protruding end with metal shears, leaving about a 3 mm tail (Figure 1). Figure 1

113 Tip Use the smaller barrels of the pliers for narrow tubes and the larger barrels for bigger tubes. 4. Round the corners with the snips (Figure 2). Figure 2 5. Sand the rounded edge smooth with 220-grit sandpaper (Figure 3). Figure 3 6. Insert the bail-forming or stepped-jaw pliers into the tube and gently hammer down the exposed edge of the tube with a nylon or rawhide mallet to create a neat appearance (Figure 4). Figure 4 7. Oxidize in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool.

114 Resources: Metal sheet: Monsterslayer. Metal shears: Contenti. Texture sheets: Metal Clay Supply. Coins: Joel Anderson.

115 Meander Ear Wires by Denise Peck This ear wire is simple and elegant and beautiful enough to be worn plain. But you can also attach some special beads to the loop at the bottom of the ear wire for extra embellishment. Materials 2" (5 cm) of 4 1 mm sterling silver strip 3" (7.5 cm) of 20-gauge sterling silver wire Tools Metal shears Metal file Texture hammer Steel bench block Ball-peen hammer Easy solder paste Butane micro torch Soldering block Fireproof work surface

116 Utility pliers Bowl of water Round-nose pliers 7 9 mm round mandrel pliers (or bail-forming pliers) Sharpie marker or 10 mm mandrel Pickle setup Rotary tumbler with mixed stainless steel shot Finished Size 11 8 " (2.9 cm) 1. Cut the metal strip in half and file all the corners on both pieces smooth and curved (Figure 1). Figure 1 2. Texture both pieces with the texture hammer on the bench block (Figure 2). Figure 2 3. Cut the 20-gauge wire in half and use the ball-peen hammer to flatten one end on each piece. 4. Solder the flattened end of one wire onto the back end of one textured strip (Figure 3). Quench. Repeat with the second piece of wire on the other strip. Quench. Dry both strips.

117 Figure 3 5. Use round-nose pliers to curl back the bottom of the strip on both earrings (Figure 4). Figure 4 6. Use the 7 mm barrel of the round mandrel pliers or bail-forming pliers to create a gentle curve in the strip (Figure 5). Figure 5 7. Use a Sharpie or round mandrel to bend the 20-gauge wire into a hook-shaped ear wire (Figure 6).

118 Figure 6 8. Pickle, rinse, and dry. Tumble to work-harden and polish. Resources: Sterling silver strip and wire: Rio Grande.

119 Flag Head Pins by Denise Peck These head pins can be instantly transformed into unique ear wires from which you can hang your favorite beads. Materials 24-gauge 1 2 " (1.3 cm) sterling silver strip 5" (12.5 cm) of 20-gauge sterling silver wire Tools Ruler (metric/u.s.) Fine-point Sharpie marker Metal shears Riveting hammer Steel bench block Flush cutters Ball-peen hammer

120 Steel bench block Extra-easy solder paste Butane micro torch Soldering block Fireproof work surface Utility pliers Bowl of water Pickle setup Liver of sulfur Pro-Polish pad Rotary tumbler with mixed stainless steel shot Finished Size Varies 1. Measure and cut two 1 " " ( cm) squares of sterling strip with the metal shears. 2. With the chiseled end of the riveting hammer, gently texture around all edges of both squares on the bench block (Figure 1). Figure 1 3. Cut the wire in half and flatten one end of each into a paddle using the ball-peen hammer and bench block. 4. Solder the paddle end of each wire onto the back of each square, centered near one edge (Figure 2). Quench.

121 Figure 2 5. Pickle, rinse, and dry. 6. Oxidize the head pins in a liver of sulfur solution, rinse, and dry. Remove the excess oxidation with a Pro-Polish pad, leaving oxidation in the textured edges. 7. Tumble to work-harden and polish. Resources: Sterling silver strip and wire, solder, Pro-Polish pads: Rio Grande.

122 Dreamy Discs Clasp by Jane Dickerson This clasp is a fun way to showcase your beautiful lampwork beads. The shape of the textured sterling discs creates a neat and secure closure for the wrapped leather cording. Materials 24-gauge sterling silver sheet 2 orange 105mm lampwork rondelles with fine silver droplets 1 orange 17mm lampwork disc 3 mm wide 1 mm thick (approx.) purple ultra micro-fiber suede cording 16-gauge dead-soft sterling silver wire 18-gauge dead-soft sterling silver wire

123 2 sterling silver 8mm jump rings Tools Disc cutter set 1.5 mm metal hole-punch pliers Texture hammer Steel bench block 100/180 coarse-grit salon board Dapping block and punch set Ball-peen hammer Chasing hammer Round-nose pliers Painter s tape 2/2.5 mm round mandrel pliers (or bail-forming pliers) Flush cutters Superglue (optional) Chain-nose pliers Finished Size Varies 1. Using the disc cutter, cut two 5 8 " (1.5 cm) discs from the sheet. Use the 1.5 mm hole-punch pliers to punch a hole in the center of each disc. Texture the front of each disc with the texture hammer on the bench block (Figure 1). Smooth the edges of each disc with the salon board. Figure 1

124 2. Place each disc, texture side up, in the dapping block and gently dome with the corresponding punch and ball-peen hammer (Figure 2). Figure 2 3. Place the lampwork rondelles inside the discs to check the fit (Figure 3). Figure 3 4. Working from the spool of 16-gauge wire, flatten the end of the wire into a paddle using the ball end of the chasing hammer on the bench block (Figure 4). Figure 4 5. Using round-nose pliers, curl the end of the wire into a loop (Figure 5).

125 Figure 5 6. Trim the wire from the spool, leaving 11 " " ( cm) from the loop. String one lampwork rondelle and disc onto the wire facing the loop. String the second disc and lampwork bead facing the opposite direction. Thread painter s tape onto the cut end of the wire and push it down to protect the lampwork rondelle on the end. Texture the cut end of the wire as in Step 4 (Figure 6). Figure 6 7. Using round-nose pliers, create a second loop (Figure 7). If there is a small space between the discs once the final loop is formed, this is fine, as the space will be filled when the suede cording is wrapped around between the discs. Figure 7 Tip Roll the wire onto itself when forming the loop, if needed, then trim the excess wire and reclose the loop.

126 8. Create a 5 8 " (1.5 cm) coil using 18-gauge wire and the 2.5 mm barrel of the round mandrel pliers (Figure 8). Cut the coil in half, flush-cutting each end. Figure 8 9. Thread one end of the suede cording through the lampwork disc and tie a knot at the top of the disc, leaving a short tail (Figure 9). Dab the knot with glue, if desired. Figure Thread one coil onto the suede cording and push it down to the knot, covering the tail. Squeeze the last loop of the coil closest to the knot with chain-nose pliers to compress it and secure the coil in place (Figure 10). Figure Attach a jump ring to one end of the clasp. Wrap the suede cording between the discs on the clasp until it is wedged tightly enough to be secure. Leave 11 4 " (3.2 cm) beyond that point and trim the suede cording (Figure 11).

127 Figure Thread the second coil onto the free end of the suede cording. Attach the remaining 8mm jump ring to the suede cording as in Step 9 and secure the second coil as in Step 10 Attach the ends of your necklace or bracelet to the jump rings on the clasp, then wrap the suede cording between the discs to close and secure the clasp. Resources: Lampwork beads: Bluhealer. Suede cording: Beadaholique. Sterling silver sheet, Wubbers round mandrel pliers: Rio Grande. Texture hammer; hole-punch pliers: Beaducation.

128 Starlight Ear Posts by Denise Peck Many women prefer post findings to ear wires. Luckily, they re easy to make and fun to design. These ear posts are textured with dimpling pliers and remind me of a constellation of stars! Materials 24-gauge 3 8 " (1 cm) sterling silver strip 2 sterling.03" 3 8 " (0.8 mm 1 cm) ear posts with 2 mm pad Tools Ruler (metric/u.s.) Fine-point Sharpie marker Metal shears Metal file or 100/180 coarse-grit salon board Easy solder paste Butane micro torch Soldering block

129 Fireproof work surface Utility pliers Bowl of water Pickle setup 1 mm hook-jaw dimpling pliers 1.25 mm metal hole-punch pliers Liver of sulfur 0000 steel wool Rotary tumbler with mixed stainless steel shot Finished Size 1 " " (1.3 1 cm) 1. Measure, mark, and cut two 1 " " (1.3 1 cm) pieces of sterling silver strip. File the edges smooth. 2. Place the pieces on the soldering brick and apply a small amount of easy solder to the top center of each piece (Figure 1). Figure 1 3. Use the butane micro torch to solder one ear post to each piece (Figure 2). Quench, pickle, rinse, and dry. Figure 2 4. With the dimpling pliers, scatter dimples around the front of each earring (Figure 3).

130 Figure 3 5. Measure and mark the center bottom of each earring and make a hole with the hole-punch pliers (Figure 4). Figure 4 6. Oxidize the earrings with a liver of sulfur solution, rinse, and dry. Use the steel wool to polish the raised dimples. Tumble to work-harden and polish. Use the bottom holes in the earrings to attach a charm or dangle of your choice. Starlight Earrings by Denise Peck.

131 Resources: Sterling silver strip, ear posts, solder: Rio Grande.

132 Textured Bead Tabs by Keirsten Giles These bead tabs were created especially for use with waxed linen cording, preferably two strands. They work like a commercial bead tip, but add a nice custom touch. They would also work well with single strands of 1 mm waxed cotton cording or hemp cord. Materials 26-gauge raw (uncoated) copper sheet 2 copper-plated brass eyelets, 5 " long " diameter (4 2.4 mm) Tools Textured Bead Tab template (download here) Scissors Fine-point Sharpie marker Metal shears Butane micro torch Soldering block Fireproof work surface

133 Utility pliers Quenching bowl Pickle setup Painter s tape Brass texture sheets or coins (not valuable or cherished) Ball-peen hammer Steel bench block Nylon or plastic mallet 1.5 mm metal hole-punch pliers Liver of sulfur 0000 steel wool Rotary tumbler with mixed stainless steel shot Square/flat-nose pliers Superglue 220- and 400-grit sandpaper 3 32 " (2.4 mm) screw-down hole punch Center punch Chasing hammer Finished Size 13 " " (1 1.5 cm) 1. Cut out the Textured Bead Tab template and trace it twice onto the copper sheet. Cut out each shape with metal shears. Anneal the strips, quench, pickle, rinse, and dry. 2. Using painter s tape, tape each annealed strip to the textured side of the texture sheet or coin. With the copper strip on top, hammer thoroughly on the steel bench block with the round and flat heads of the ballpeen hammer to get a good impression. Gently flatten the strip with a nylon or rawhide mallet. 3. Place a dot at the exact center of each strip with the marker (Figure 1). Use the 1.5 mm hole-punch pliers to make a hole at each mark.

134 Figure 1 4. Oxidize the strips in a liver of sulfur solution, rinse, and dry. Remove the excess oxidization with steel wool. Tumble to polish and work-harden. Tip Make sure the pliers jaws are at right angles to the sides of the strip, so the two halves of the V will meet evenly when you fold them together. 5. Using square- or flat-nose pliers, grasp the strip (with the smooth side of the strip facing you) across the middle of the strip, transecting the hole. Fold one side of the strip up toward you, creating a rightangle V (Figures 2 and 3). The smooth side should be inside the V, and the hole should be sitting directly on the fold. Figure 2

135 Figure 3 Tip If you re oxidizing two or more bead tabs at one time, string a wire through the holes in the strips, placing inexpensive glass beads between each strip to keep them from sticking together, then dip in a liver of sulfur solution. This will give you a more even treatment. 6. Create the strung section of your necklace with cording. End each side of the necklace with an overhand knot, leaving at least 2" (5 cm) of cording beyond each knot. 7. Thread one 2" (5 cm) cord through the patterned side of the V (Figure 4). Figure 4 8. Push the tab snugly against the overhand knot, then make a double overhand knot inside the V with the rest of the cord, pulling it tight. This should create a snug fit between the strand and the bead tab. Dab the knot with superglue and trim the cord (Figure 5).

136 Figure 5 9. With your fingers, fold the V closed. Squeeze together about 3 mm above the fold with the squarenose pliers. Make sure the ends and edges are aligned. Using 220-grit sandpaper, smooth and round the ends of the tab so they are even with each other. Give the edges a final smoothing with 400-grit sandpaper. 10. Use the marker to make a dot, centered and about 3 mm from the rounded end on one side of the tab. Use the 3 32 " (2.4 mm) screw-down hole punch to punch a hole through both sides of the tab at once (Figure 6). Figure Insert an eyelet into the holes and gently flare the unfinished end of the eyelet using the center punch and chasing hammer on the bench block. Tap the flared end gently with the ball and flat heads of the chasing hammer until both sides of the bead tab are riveted tightly together and the eyelet edges feel smooth (Figures 7 and 8). Figure 7

137 Figure 8 Textured Bead Tabs Necklace by Keirsten Giles. (Glazed stoneware pendant from White Clover Kiln.)

138 Resources: Metal sheet: Monsterslayer. Eyelets: Rio Grande. Hole-punch pliers: Beadaholique. Metal shears: Contenti. Texture sheets: Metal Clay Supply. Coins: Joel Anderson.

139 Buttercup Bead Caps by Jane Dickerson These are really fun, fast, and easy bead caps to make. The finished bead caps can be patinated, enameled, or scrubbed with a brass brush for a matte finish. Materials 26-gauge dead-soft sterling silver, copper, or brass sheet Tools Disc cutter set Plastic circle template Fine-point Sharpie marker Ruler (metric/u.s.) 1.8 mm metal hole-punch pliers 100/180 coarse-grit salon board or metal file Alcohol swabs Tube-Wringer

140 Dapping block and punch set Ball-peen hammer Chain-nose pliers Pro-Polish pad Brass brush (optional) Liver of sulfur (optional) Midas brass, bronze, and copper oxidizer (optional) Rotary tumbler with mixed stainless steel shot (optional) Finished Size Varies 1. Using the disc cutter, cut a 5 " (1.5 cm), 3 " (2 cm), or " (2.2 cm) circle from the sheet. Depending on the depth of your doming, these discs will yield a finished bead cap diameter of about 12.8 mm ( 5 8 " disc), 15.5 mm ( 3 " disc), and 17 mm ( " disc). 2. Place the disc inside the corresponding circle on the plastic circle template. Using the lines on the sides of the template, draw a mark on the disc at the four sides (north/south/east/west) with the marker. Use a ruler to connect the lines like a cross to find the center. 3. Using the hole-punch pliers, punch a hole at the intersection of the lines, in the center of the disc. 4. Smooth the burrs from the punched hole on the back of the disc with the salon board or file. Remove the marker on the other side with the alcohol swab. 5. Grasp the edge of the disc in the Tube-Wringer with the filed (scratched) side down. While holding the two handles firmly in one hand, turn the T-handle to pass the disc through the tool (Figure 1). It may be oval shaped when it comes out (Figure 2). Figure 1

141 Figure 2 6. Place the disc filed (scratched) side up in the corresponding depression of the dapping block and dome (Figure 3). Note: You want to create the dome quickly to preserve the corrugated texture, so don t overhammer the punch, but just enough to create a dome. Move the disc to a smaller depression in the dapping block and dome it more if desired. Figure 3 7. Grasp the edge of the disc with the tip of the chain-nose pliers and use a twisting action to create a rippled effect (Figure 4). Repeat around the edge of the disc as desired (Figure 5). Figure 4

142 Figure 5 8. Optional: Oxidize in a liver of sulfur solution for sterling silver or copper (or Midas blackening agent suitable for brass or bronze), rinse, and dry. Polish with a Pro-Polish pad, or texture with a brass brush, or tumble in the rotary tumbler with mixed stainless steel shot for a high shine. You can also experiment with alcohol inks and enamel to add color. Resources: Plastic circle template: Staples. Pepe Tools disc cutter, hole-punch pliers: Beaducation. Sheet metal, dapping block and punch set, Tube-Wringer, Pro-Polish pad, brass brush, Midas patinas: Rio Grande. Alcohol swabs: CVS Pharmacy.

143 Essential Techniques In order to make creating the projects in this book as simple as possible, we have eliminated the need for saws, drills, and torches with large tanks of gas. We use metal shears for cutting and metal hole punches for piercing. The soldering is done using a small handheld butane micro torch. Use the techniques in this section to build or refine your metalsmithing skills.

144 Measuring Using a Gauge When using a wire gauge, use the small slots around the edge of the gauge, not the round holes at the ends of the slots. Place the wire or sheet edge into a slot (Figure 1). If there s wiggle room, place it into the next smaller slot. When you reach a slot that it will not fit into, then the number at the end of the next larger slot is the gauge of your wire or sheet. Figure 1

145 Cutting Cutting Metal with Shears Make sure you use shears that don t have a serrated edge. Serrated blades will leave a very rough edge. And do not attempt to cut sheet heavier than is recommended for the shears, or you risk breaking the tool. We recommend wearing workman s gloves while cutting sheet to protect your hands from the sharp edges, and protective eyewear is always recommended. 1. Prepare the sheet by annealing, if necessary (see Annealing). Starting at the edge of the sheet, use the back of the shears for the most leverage and cut along the desired lines without fully closing the shears until the final cut (Figure 2). Figure 2 2. If the sheet has become misshapen, use a rawhide or plastic mallet on a steel bench block to hammer it flat (Figure 3). Figure 3 Using a Disc Cutter A disc cutter is appropriate for 18- to 26-gauge metal sheet. Use a 1-pound brass mallet or heavy utility hammer to strike the punch. It is also helpful to use Bur-Life (see Bur-Life) to lubricate the cutter, preserving the tool and making it easier to punch the cutter through the base. 1. Place the disc cutter on a flat, even surface. You can use a rubber mat or mouse pad to absorb some of the sound. Open the disc cutter and slide in the sheet, lining it up with the desired hole. Place scrap sheet

146 of the same gauge on the opposite side of the cutter, balancing the tool. Secure the sheets in the cutter (Figure 4). Figure 4 2. Coat the cutting edge of the appropriately sized punch with Bur Life. Place the punch in the hole with the sharp edge down. Hammer the punch until you feel it cut through the metal (Figure 5). Figure 5 3. Lift the entire disc cutter up and let the punch fall through the hole. Tap the punch lightly with a hammer if it doesn t fall through (Figure 6). Figure 6 Using a Metal Hole Punch Metal hole-punch tools have been used throughout this book, eliminating the need for drilling. To keep the punch from marring the metal, place a Pro-Polish pad or a scrap piece of thin leather between the tool and

147 the metal before punching. It is also important to keep in mind that the gauge of your metal should not exceed the gauge recommended for use with your hole punch. Metal Hole-Punch Pliers: Using hole-punch pliers is a fast and easy way to punch a hole; just squeeze the handles to punch the hole (Figure 7). Figure 7 Screw-Down Hole Punch: Mark where you want the hole and place the mark under the appropriate size screw. Gently screw the punch down until you have punched the hole (Figure 8). Be careful not to over-screw the punch because this could mar the metal. To release the metal, begin turning the screw handle in the opposite direction, until the metal falls off the punch. Never pull the metal off the punch or you may damage the tip. Figure 8 Power Punch: 1. Follow the manufacturer s instructions to insert the appropriate punch and die for the size hole you desire. Mark where you want the hole on the metal and then center the metal under the punch (Figure 9).

148 Figure 9 2. Squeeze the handles to punch out the hole (Figure 10). Figure 10

149 Texturing Texturing with a Hammer When using a hammer, always grasp the hammer firmly near the end of the handle. Do not choke up on the handle as you might a baseball bat. This ensures you re using the weight of the head optimally and also keeps your hand from absorbing the shock of the impact. When hammering, be aware that you will also be work-hardening the metal, and you may need to anneal it again before continuing to work with it. One of the simplest ways to add texture to metal is using the ball end of a chasing or ball-peen hammer. Place the metal on a steel bench block or steel mandrel. Strike the metal with enough force to transfer the impression of the hammer head to the metal and form a dimpled pattern (Figure 11). Figure 11 Texturing with Stamps Steel design stamps come in a huge variety and are wonderful for decorating sheet and wire. You can also find alphabet and number stamps in lots of fun fonts and sizes. Place the metal on the steel bench block. If desired, use transparent packing tape to hold the metal in place. Position the design end of the stamp where you want to place the impression and using a brass mallet, give a single solid blow to the other end of the stamp (Figure 12). If you have a particularly ornate design stamp, use a heavier 2-pound brass mallet. Figure 12 Texturing with Coins and Patterned Sheet

150 If using a coin, be careful to avoid hammering too much along the edges of the coin because this may cause weak spots in the metal. Make sure not to use valuable or favorite coins because this technique causes a lot of wear and will eventually ruin them. 1. Using painter s tape, adhere the annealed metal piece to the textured side of the brass texture sheet or coin (Figure 13). Figure With the sheet metal on the top and texture on the bottom, hammer thoroughly with both ends of the ballpeen hammer, first with the flat end and then with the ball end (Figure 14). If you find the impression isn t deep enough, start with a heavier hammer and then finish up more thoroughly with the ball end of the chasing hammer. Figure Remove the metal to reveal the pattern (Figure 15).

151 Figure 15

152 Forming Dapping and Doming Dapping and doming in a forming block is a quick and easy way to make concave and convex shapes in metal. 1. Place a metal disc in a depression in the forming block that is bigger than the disc (Figure 16). Figure Using a brass or utility hammer and corresponding punch, hammer the punch to form the disc into a dome. If you are doming a textured piece, place a Pro-Polish pad between the texture and the tool (Figure 17). Figure To make the dome higher, gradually move the disc to smaller depressions and hammer with corresponding punches (Figure 18).

153 Figure 18 Making Jump Rings It s great to learn how to make your own jump rings from wire so you can always have just the right size needed available at all times. 1. Coil the wire snugly around bail-forming pliers or a mandrel (Figure 19). Each single coil will make one jump ring. Figure Remove the mandrel. Use flush cutters to cut through all the rings at the same spot along the length of the coil, snipping one or two at a time (Figure 20). They will fall away and each ring will be slightly open. One side of the ring will be flush-cut, and the other side will have a beveled edge. Flush-cut the beveled side so the ring will close properly. Figure 20

154 3. Tumble to work-harden or hammer with the rawhide mallet and bench block. The jump rings you make will have the inner diameter (ID) of the mandrel you used to make them. 4. Always use two chain- or bent-nose pliers to open and close jump rings. Grasp the ring on each side of the opening with the pliers (Figure 21). Figure Gently push one side away from you while pulling the other side toward you in a twisting motion, so the ring opens from side to side (Figure 22). To close, reverse the directions of your hands. Figure To permanently close jump rings, add a tiny bit of flux and solder to the join and solder closed (see Easy Soldering).

155 Cold Connections There are fast and easy ways to connect jewelry pieces together without using solder or flame. Cold connections are not only mechanically useful, but they also provide additional visual interest to your designs. Using an Eyelet/Tube Rivet 1. Using a metal hole punch (see Using a Metal Hole Punch), make a hole in the pieces of metal to be connected. Choose the hole-punch size that matches the diameter of the tube rivet/eyelet and make sure the length of the rivets is about 1 longer than the thickness of your pieces of metal. The tube rivet/eyelet should fit as snugly as possible into the holes. File or hammer the back of the holes flat to remove any burrs. 2. Insert the tube rivet/eyelet into the holes. Turn the piece upside down on a rubber bench block with the tube side up (Figure 23). Figure Place the center punch or eyelet tool inside the tube and hammer gently to begin to flare the tube (Figure 24). Figure Use the ball end of a chasing hammer to continue flaring the tube (Figure 25).

156 Figure 25 Using a Snap Rivet Snap rivets are such a beautiful and clever finding because they give the impression of a bezel-set stone without any of the effort! Or, you can use plain snap rivets for a simpler effect and connect your pieces together in a jiffy. 1. Using the Power Punch (see Using a Power Punch), make a 5 32 " (4 mm) hole (or whatever size snap rivet you are using) in the pieces of metal to be connected. The snap rivet should fit as snugly as possible into the holes. Insert the top rivet through the holes and snap the back rivet into place (Figure 26). Figure Turn the piece upside down on a steel bench block. If the snap rivet has a stone on the front, place four Pro-Polish pads between the stone and the bench block before hammering (Figure 27). Figure 27

157 3. Place the snap riveting tool on the back of the rivet and rotate the riveting tool in a circular motion while hammering with a plastic mallet (Figure 28). Note: Only use a plastic mallet for riveting snap rivets because other hammers will damage the rivet. Figure 28 Using a Micro Screw and Nut Using screws and nuts is a fast and easy cold connection. If you like, you can snip off the end of the screw, file it, and add a drop of superglue instead of riveting it, as described below. 1. Using metal hole-punch pliers, make a hole in the pieces of metal to be connected. Choose the holepunch pliers with a hole size that matches the diameter of the screw. The screw should fit as snugly as possible into the holes. File or hammer the back of the holes to remove any burrs. 2. Insert the screw into the holes and attach the nut to the screw. Tighten the screw and nut with a micro screwdriver (available at drugstores and used for eyeglasses repair) and flat- or chain-nose pliers (Figure 29). Figure Using heavy-duty flush cutters, trim the end of the screw to 1 16 " (2 mm). Turn the piece upside down and rivet the end with the chisel side of a riveting hammer to spread the end of the screw (Figure 30).

158 Figure Finish the rivet with the flat side of the riveting hammer (Figure 31). Figure 31

159 Finishing Always take the time to smooth any rough edges created by cutting or punching holes. Not only does it make your work look more professional, but it also prevents snags and injury from sharp edges. Using a Hand File The teeth of all metal files are made to cut only in one direction; they should not be used like salon boards with a back-and-forth motion. Place the file against the metal and push the file away from you. For every stroke, pick up the file again, place it back on the metal, and push it away. Using a Salon Board Using a 100/180 coarse-grit salon board, or fingernail file, is a nifty trick that works really well for filing rough edges and burrs on metal and wire. They are easy to find and make filing a cinch. For heavier gauge metals, use a metal file. Using Liver of Sulfur Liver of sulfur is a chemical traditionally used to darken silver, although it also works on copper and bronze. It comes in a liquid, gel, or solid chunk form and has a strong odor. Liver of sulfur can produce an array of colors on various metals, from blues and magentas to black. Dipping, rinsing, and re-dipping will give you the greatest control over the color changes. Many artists have discovered various techniques for drawing out a rainbow of colors. For further reading, see Further Reading. It is important to remove any residual oils or fingerprints so the patina or paint will adhere to the surface of the metal. There are many methods for cleaning the metal prior to these applications: you can use steel wool, sandpaper, Bar Keepers Friend powder and a green scrub pad, or soap and water. 1. Clean your jewelry thoroughly and dry it before applying patina. Work in a well-ventilated area. The temperature of the water, the length of time you leave it in, the age of the liver of sulfur, and the type of metal you re using all affect the color you get from the solution. You can get beautiful blues, pinks, and purples, along with the usual black. 2. Prepare a solution with liquid, lump, or gel liver of sulfur following the manufacturer s instructions. Dip your piece into the solution (Figures 32 and 33).

160 Figure 32 Figure Remove the piece when it reaches the desired color (Figure 34). Rinse and dry. Figure Polish lightly with a Pro-Polish pad or 0000 steel wool to remove some of the patina (Figure 35), but leave the dark color in the recesses of the piece (Figure 36). Figure 35 Figure 36

161 Important To protect yourself from inhaling metal dust or getting particles in your eyes, always use a dust or respiratory mask and protective eyewear when filing, sanding metal, or using steel wool. Use gloves when handling sharp metal. Tumble Polishing Before tumbling, clean your oxidized jewelry with a polishing cloth or fine steel wool to remove some of the blackening agent. Otherwise, the tumbling will just shine the blackened color into a gunmetal appearance rather than an antiqued appearance with polished highlights. 1. Place 1 2 pounds of mixed-shaped stainless steel shot in the barrel of the tumbler. Add enough water to cover the shot plus 1" (2.5 cm) and a pinch of liquid dish detergent (non-ultra) or burnishing compound (Figure 37). Figure Add your piece of jewelry and seal the barrel. Tumble for 1 to 2 hours (Figure 38). Figure After tumbling, drain the water through a fine-mesh sieve and remove your jewelry pieces. Rinse the jewelry and the shot with clear water. Dry the jewelry.

162 4. Spread the shot out on a dish towel to dry; never put it away wet.

163 Working with Fire At some point in your journey of jewelry making, you will discover some techniques that require flame, such as balling up the ends of wire and soldering. You will also want to learn how to patina with flame (see Bezel Bail). All you need is a small handheld butane micro torch, and with a little practice, it will become easy and fun.

164 Annealing Annealing is the process of heating metal with a flame to a temperature at which it becomes soft and malleable. This can become necessary as you work, for the metal work-hardens (grows stiffer and more resistant) the more it is manipulated. Annealing usually occurs when the metal glows a dull red in the flame. The hottest part of the flame is at the blue tip inside the larger orange flame. Refueling the torch before each use ensures that you will have the hottest flame. 1. Make a mark on your metal with a permanent marker. 2. Run the flame back and forth several times over the length of metal you want to soften (Figures 1 and 2). When the permanent marker fades, the metal is annealed. Figure 1 Figure 2 3. Use utility pliers to transfer the annealed piece to a bowl of cold water to quench it before touching it (Figure 3). Clean off the fire scale if needed (see Using Pickle). Figure 3

165 Quenching Whenever you are using a torch to heat metal or wire, dip the piece in a bowl of water before touching it. Even if a piece is not glowing, a quick dip in a quenching bowl will ensure that you re not burned. If you don t have water handy, or you prefer to let the heat patina settle, rather than quenching it, you can place it on a steel anvil or bench block to draw the heat out of it. The cooling time takes longer than quenching but is faster than air-cooling. Safety first! When working with fire, make sure your hair is pulled back, your sleeves are rolled up, and nothing else flammable is near the flame. Make sure your fire brick, annealing pan with pumice, or Solderite pad are on a fireproof surface, such as a baking sheet or ceramic tile. Keep a fire extinguisher nearby. Never allow children or pets near an open flame. Don t touch the hot tools and always quench your metal before handling.

166 Balling Wire Balling the end of wire is a versatile technique that can be used for creating head pins, ear wires, decorative connections, and more. 1. Using utility pliers or tweezers, hold one end of a piece of copper, sterling, or fine-silver wire perpendicular in the blue, hottest portion of the flame on the butane micro torch (Figure 4). Figure 4 2. When the wire balls up to the size you desire, remove it from the flame, quench it in a bowl of cool water, and clean off the fire scale if needed (see Using Pickle) (Figure 5). Figure 5

167 Easy Soldering Solder is an alloy of metals that when heated will melt, flow, and join metal together. It comes in a variety of forms and melting points. It can attach two pieces of metal or wire, but it cannot fill gaps, so the edges of your metal must always be flush and abut completely. The metal must also be clean. The preparation of your pieces for soldering is key, and it will take you more time than the actual soldering. For the purpose of the projects in this book, we have used solder paste, which is a powdered solder suspended in a flux paste. It eliminates the need for applying flux to your piece before soldering. 1. File smooth the edges of the pieces that will be soldered (Figure 6). They must fit snugly together with no gaps. Figure 6 2. Using a soldering pick, apply a spare amount of solder at the seam you will join (Figures 7 and 8). Figure 7

168 Figure 8 3. Keep the solder paste just at the seam and wipe off any excess that gets on the piece (Figure 9). Figure 9 4. With the micro torch, evenly heat the two pieces of metal until you see the solder flow and then remove the flame (Figures 10 and 11). Figure 10 Figure 11

169 5. Quench to cool, then pickle (see below) to remove the oxidation from the flame.

170 Using Pickle Chemical pickling solutions, as well as organic pickling solutions, should be kept hot to be most effective. Use a small mini Crock-Pot designated for pickle only. Be sure to neutralize the solution by adding a few teaspoons of baking soda before discarding. You can also make an organic pickling solution with 1 cup (237 ml) white vinegar and 1 teaspoon (6 g) salt, which should also be kept hot. 1. Fill the mini crock halfway with clean water. If your tap water has a lot of minerals in it, use distilled water. Add the pickling solution according to the manufacturer s instructions. Turn on the mini crock to heat the solution and keep it warm while you are working. Using copper tongs, place your piece in the solution, being careful not to splash the solution (Figure 12). Figure Leave it in the solution anywhere from 5 to 15 minutes, until the metal is clean. Remove with copper tongs (Figure 13), rinse, and dry. Figure This solution can be used many times and reheated repeatedly. When you re ready to discard it, make sure to neutralize the solution with baking soda. Once the solution is neutralized, you can flush it or put it down the sink. Caution Do not splash the acid around and always add acid to water NOT the other way around. Always follow the manufacturer s safety instructions.

171 Metal Glossary When you design a piece, one of the first decisions you ll make is what kind of metal to use. The gauge/size, temper/hardness, color, and tone of the metal will all impact the final look. Sheet metal and wire come in a multitude of materials, giving you the flexibility of working within your price range. The projects in this book use three different metals (copper, silver, and brass), all of which are easy to find and work with.

172 Gauge/Size The thickness of metal sheet and metal wire is known as the gauge. In the United States, the standard is Brown & Sharpe (B&S), also known as American Wire Gauge (AWG). The thickness of sheet in decimal inches or millimeters is translated into a numeral from 0 to 34; the higher the number, the thinner the sheet.

173 Temper/Hardness Temper defines the hardness of metal. There are several methods you can use to change the temper of metal; you can soften, or anneal, metal by heating it (see Annealing). This makes it easier to manipulate as you are working. You also can work-harden, or stiffen, metal by hammering or tumbling it. Workhardening happens naturally as you are working with your metal, so you may need to periodically anneal it so you can manipulate it easily. Also, you usually want your finished piece to be work-hardened so that it holds its shape. Dead-Soft Metal When metal is referred to as dead-soft, it is fully annealed when you receive it. It s the easiest to work with and easiest on your tools, such as disc cutters and hole punches. It s also quite easy to texture, taking impressions nicely from hammers and punches. Half-Hard Metal Half-hard metal has some spring-back, or stiffness, to it. If you re not intending to work too long on a piece or texture it much, half-hard will hold its shape better and be less likely to bend during wear. Hard Metal Hard, or full-hard, metal is the most difficult to manipulate and hold its shape. It s best for making bangles, chokers, cuffs, and any design where stiffness is an advantage.

174 Wire Gauge Chart

175 Metal Types Copper and Brass Copper and brass are base metals, which are inexpensive and common. Base metals can be alloys or mixtures of metals. They all corrode and tarnish easily when exposed to air or moisture, so you can expect them to change in color if left untreated. You can protect these metals using sealants. Sterling Sterling is a precious metal, which is, by definition, relatively scarce and therefore expensive. In jewelry making, precious metals usually refer to gold, silver, and platinum. They re quite corrosion resistant. And because they re a traded commodity, prices fluctuate constantly. Copper, brass, and sterling come in sheets, strips, and precut blanks. Aluminum Aluminum is a nonferrous metal, which means it does not contain iron. It resists corrosion and is soft and easy to cut and form. Aluminum

176 Metal Materials Wire Each wire type has specific properties; some are soft and malleable, and others are harder to manipulate. Knowing the properties of your wire is important before you begin working on a piece. Copper and sterling wire Patterned Wire This material comes in a variety of prefabricated designs that can be oxidized to enhance the patterns. They are used to create rings, bracelets, dangles, and more. Patterned wire Plain Sheet Plain sheet comes in a variety of gauges and types. You can usually buy it in small quantities or larger sizes, depending on what your project requires. In order to use shears to cut the sheet, stick to 24-gauge

177 and thinner. For heavier gauges, you will need to cut it using a saw. Plain sheet Pre-Textured Sheet Jewelry suppliers sell sheet metal already imprinted with a texture that can be cut and is ready to use. Depending upon the hardness of the metal, it can also be used as a texture sheet to imprint softer metals. Pre-textured sheet

178 Tools Glossary Having the right tools for the task is essential in metalworking. In order not to damage your shears, holepunch pliers, or disc cutters, always make sure that you don t exceed the manufacturer s guidelines for the gauge and material you re using. Coating your punches and disc cutters with Bur Life before each use will make cutting enormously easier. All these tools come in a wide range of price points, and more expensive does not necessarily mean better. Sometimes a hardware-store variety does the trick. The most important thing to remember is to choose tools that are comfortable for you and that don t fatigue your hands. Annealing Pan with Pumice Stone This handy tool, sold as a set, gives you a fireproof area in which to anneal metal. The pumice stone is flame resistant but heat soaking, so that it helps reflect the heat back at your metal. The steel pan is also on a rotating lazy Susan base, which makes moving the piece while annealing super easy.

179 Annealing pan with pumice stone Bail-Forming Pliers Bail-forming pliers have long untapered, round jaws that enable you to make consistent loops. Each jaw has a slightly different diameter, so one set of pliers enables you to make two sizes of loops. Bail-forming pliers Bench Blocks Steel bench blocks are used most frequently as a hard and portable surface on which to hammer metal. They are made of polished steel and usually only 3 4 " (2 cm) thick and a few inches square. Nylon and rubber bench blocks are also useful because they provide a softer surface on which to hammer, preventing the metal from being marred. Steel bench block Nylon bench block

180 Rubber bench block Brass-Head Mallet A brass-head mallet strikes a nice, even blow when used with stamping tools. The head is brass and therefore softer than steel. You will see damage to the flat surface of the hammer after using it with your stamps; this is to be expected. Brass-head mallet Bur-life This nontoxic, odorless lubricant is applied to cutting tools to coat and protect them from the friction caused by cutting, making the task faster and easier, while preserving your tools and keeping them sharp. Bur-life Butane Micro Torch A handheld butane torch has a fine-point adjustable flame that reaches a temperature up to 2,500 F (1,371 C). There are a couple of key features to look for: a flame adjuster and a sturdy base that allows hands-free use. Torches with all-metal nozzles tend to be better because extended use can melt any plastic parts near the flame. Some models come with a safety switch, which you might consider, especially if you

181 have children in the house. To protect your eyes, wear flame-safety goggles. Most micro torches have a burn time of about 30 minutes on one tank of fuel. It s recommended that you buy butane fuel that is triple refined and sold with the torch or at jewelry-supply stores. Lighter fuel may clog the torch and result in an uneven flame. Butane micro torch Center Punch These tools come in a variety of sizes and are used to flare the tube rivet or eyelet and begin the process of folding the edges over. Center punches Chain-Nose Pliers The workhorse of metal tools, chain-nose pliers have flat, smooth jaws that taper to a point and are used for grasping wire and sheet, opening and closing jump rings, and making sharp-angled bends. Because you may need to manipulate the wire or sheet using both hands, it s a good idea to have at least two pairs in your workshop. Bent chain-nose pliers are similar to chain-nose pliers but have a bend at the tip that allows access to tight places for tasks such as tightening coils and tucking in ends.

182 Chain-nose pliers Chasing and Ball-Peen Hammers These hammers have one round domed head and one round flat head. The domed heads can be used for making a nice dimpled texture. Chasing hammer Ball-peen hammer Coins Coins are made of hard metal and are intricately designed. By placing annealed or thin sheet metal on top of a coin, you can transfer the coin designs onto your sheet by hammering.

183 Coins Copper Tongs It is essential to use copper tongs with chemical pickle because other metals will contaminate the solution, which in turn affects your metals. Copper tongs Dapping Block and Punches These are simple tools that do a gargantuan job. They come in steel and wood, and the block has varioussized depressions on each side for shaping and doming metal, most often discs. The block is used with punches, also in wood or steel. Gently hammering the punches against metal, in the depressions, shapes the metal. Dapping block and punches

184 Dimpling Pliers These pliers have one sharply curved jaw and one flat jaw with a dimpled impression. Squeezing sheet metal in these pliers will form a little bump in the metal. They come in a variety of dimple sizes and make it easy to place the texture where you want it. Rotate the pliers to create a concave or convex impression. Dimpling pliers Disc Cutter Set Sold by jewelry suppliers, this tool comes with a steel block with die holes and matching cutting punches to easily make consistent and perfect metal discs. Though pricier than shears, it makes cutting perfect discs a cinch. If you want to cut your own discs from sheet rather than buying precut blanks, this is an essential tool.

185 Disc cutter sets Flat-Nose Pliers Flat-nose pliers have broad flat jaws and are good for making sharp bends, grasping spirals, and holding components. Flat-nose pliers Flush Cutters Flush cutters, diagonal cutters, and side cutters are all names for wire cutters that cut on their side. Flush cutters imply a smoother cut, leaving less of a burr on the end. They have pointed, angled jaws that allow very close cuts in tight places. Flush cutters are sold with a maximum gauge-cutting capacity; be sure to use cutters that can accommodate the wire you re using. Heavy-duty cutters are necessary when cutting heavy-gauge wire. Most heavy-duty cutters will cut to 12- or 11-gauge. Handles are usually ergonomic to prevent pain and injury when cutting such heavy wire. Never cut wire that is heavier than is recommended for the cutters.

186 Flush cutters Ultra-flush cutters Heavy-duty flush cutters Hand and Needle Files Jeweler s files come in a variety of sizes, shapes, and cuts (coarseness). The lower the cut number, the coarser the file; a #2 file is considered a good general file. It s also good to have a set of needle files for small pieces. Match the shape of the file to the contour of the piece you re working on.

187 Needle files Hand files Hole-Punch Pliers Metal hole-punch pliers work exactly like a paper hole punch and are best on 20-gauge sheet and thinner. They come in various hole sizes that match up with certain wire gauges, rivets, and screws. They re available in short jaw and long jaw to accommodate longer pieces of metal. Refer to the wire/sheet gauge chart to determine what size wire will fit through the hole. Hole-punch pliers Leather Sandbag This sound-deadening and shock-absorbing pad sits beneath your bench block. A mouse pad makes a quick and handy alternative to a leather sandbag.

188 Leather sandbag Liver of Sulfur Liver of sulfur is a chemical traditionally used to darken silver, although it also works on copper and bronze. It comes in a liquid, gel, or solid chunk form and has a strong odor. Liver of sulfur Mandrels A mandrel is a spindle, rod, or bar around which you can bend metal or wire. Depending upon the hardness and gauge of the metal, you can form the metal around mandrels using your hands or tools. Mandrels come in a variety of shapes and sizes. Some are made specifically for bracelets, rings, and making bezels. Almost anything can be used as a mandrel to shape wire, including wooden dowels, ballpoint pens, chopsticks, knitting needles, carpenter s pencils, and other pieces of wire. A Sharpiebrand permanent marker is the perfect shape for making French ear wires. Mandrels Mandrel Forming Pliers These forming pliers come with untapered jaws in a variety of shapes such as triangles, squares, ovals, round, and half-round. Each jaw is a different diameter, allowing you to bend and form metal or wire into different-sized shapes.

189 Mandrel forming pliers Metal Shears Also called snips, metal shears are made specifically to cut metal sheet and should come with specifications of how thick a gauge they will accommodate. Metal shears can be found at jewelry suppliers. Be sure to follow the manufacturer s recommendations to keep your tools sharp and effective. Additionally, several scissors brands have heavy-duty shears that are very effective in cutting metal sheet up to 24-gauge, including Fiskars and Joyce Chen. Metal shears Micro Screwdriver This small screwdriver is commonly found at drugstores and used for eyeglasses repair. It is a useful tool to tighten micro screws for jewelry making. Micro screwdriver Micro Screws and Nuts Jewelry suppliers and hobby stores sell tiny screws with matching nuts that can be used almost anywhere a rivet can. The end of the screw can be flared like a rivet or, alternatively, the screw and nut can simply

190 be tightened and secured with a drop of superglue. They come in a variety of diameters and lengths. Micro screws and nuts Mini Crock-Pot You can purchase an inexpensive mini Crock-Pot for your pickling solution. Make sure this is designated for pickle only, and do not leave it turned on and unattended. Mini Crock-Pot Mixed Stainless Steel Shot Used in jewelry tumblers for final high shine, stainless steel shot comes in several shapes. The weight of stainless steel, combined with the mixed shapes, makes it a good choice for polishing uniformly on complex shapes. A standard rotary tumbler uses 1 2 pounds of mixed stainless steel shot. Mixed stainless steel shot Nylon-Jaw Pliers/Wire-Straightening Pliers The jaws of these pliers are made of hard nylon. Pulling wire through the clamped jaws will straighten any bends or kinks. They can also be used to hold, bend, or shape wire and sheet without marring it. Keep in mind that every time you pull wire through straightening pliers, you re work-hardening it more, making it more brittle and harder to manipulate.

191 Nylon-jaw pliers Painter s Tape Blue painter s tape is an essential tool when using coins and texture sheets for taping your metal to the texture surface. Transparent packing tape is also handy for stamping. Painter s tape Patterned Sheet Jewelry suppliers sell sheet metal that has already been tooled with intricate designs embossed on them. Heavier, hard-metal patterned sheet can be used as texture plates. By placing annealed or soft sheet metal on top of a piece of textured brass sheet, you can transfer the design onto your sheet by hammering.

192 Patterned sheet Pickle Pickle is an acid solution used to remove oxidation and fire scale from metal after it s been soldered or heated with a torch. It is sodium bisulfate and is sold as jewelry pickling compound at jewelry suppliers. It s dissolved in hot water and works most effectively if the water is kept heated. Be sure to neutralize the solution by adding a few teaspoons of baking soda before discarding. You can also make an organic pickling solution with 1 cup (237 ml) white vinegar and 1 teaspoon (6 g) salt, which should also be kept hot. Vinegar and salt are the components of a homemade pickling solution. Plastic/Nylon Mallet A plastic/nylon mallet is used to work-harden metal and wire without changing the shape or marring the metal.

193 Plastic/nylon mallet Polishing Cloth/Pad Jewelry polishing cloths are infused with a polishing compound and can be used for cleaning metal and eliminating tarnish. Pro-Polish pads are another option. Polishing cloths and pads Power Punch This powerful hole punch accommodates up to 16-gauge metal and comes with seven different size punches: " (.094", 2.38 mm), " (.125", 3.17 mm), " (.156", 3.96 mm), " (.188", 4.78 mm), " (.219", mm), 1 " (.25", 6.35 mm), " (.281", 7.14 mm). The punches can easily be switched out to accommodate the size hole you need for your project.

194 Power punch Quenching Bowl This is a ceramic, glass, or metal bowl filled with cold water. Submerging the hot metal into cold water reduces the heat of an item that has been fused, soldered, or annealed. Quenching bowl Rawhide Mallet Rawhide mallets are used for shaping metal around mandrels and for work-hardening or flattening it without marring it. Rawhide mallet Renaissance Wax Renaissance Wax was first used to preserve artifacts in the British Museum. Jewelers use this wax to protect their jewelry from tarnish and corrosion.

195 Renaissance Wax Riveting Hammer This hammer has one flat face and one chiseled face. It is primarily used for making wire into rivets. The flat face can also be used for gently folding over tube rivets. The chiseled face makes a very good linear impression on metal. Riveting hammer Riveting System The Riveting System is a handy tool with a screw-down hole punch on one end for piercing a hole in the metal, and a flaring tool on the other end for setting a semi-tubular rivet. Make sure to use the rivets specifically designed for this tool. There is also an add-on available for this tool enabling it to work with eyelets specifically designed for it. Rotary Tumbler The Riveting System

196 Often associated with rock tumbling, this same electrical piece of equipment can be used to polish and work-harden wire and metal jewelry. The barrel must be filled with a tumbling medium such as mixed stainless steel shot (available from a jeweler s supplier), water, and a bit of burnishing compound or nonultra liquid dish detergent. The tumbling action against the shot polishes the metal or wire to a high shine. The tumbling action also helps work-harden, or stiffen, the wire. Rotary tumbler Round-Nose Pliers Another metalworker s necessity, round-nose pliers have pointed, tapered round jaws. They are used for making jump rings, simple loops, and curved bends in wire or sheet. They are also available in short and long nose. Longer jaws give you a longer reach but less leverage at the tips. Shorter jaws offer more strength at their tips but less of a reach. You can ruin long-nose pliers trying to bend heavy-gauge wire or sheet. Rosary pliers are a convenient combination and offer a built-in cutter. Short round-nose pliers

197 Long round-nose pliers Rosary pliers Salon Board The 100/180 coarse-grit salon boards used in the manicure industry are perfect for filing the sharp edges off metal and wire. They come in various grits, are easy to find, and are inexpensive. Salon boards Sandpaper Sandpaper comes in a variety of grits for final finishing, including sanding off sharp burrs and fine smoothing. The smaller the number, the coarser the grit sandpaper. Sanding is used for different purposes: for creating tooth to prepare the surface for another application, for texturing to create a matte finish, or for polishing to create a smooth finish.

198 Sandpaper Screw-Down Hole Punch This tool has two drill punches that you manually twist down to create a hole. Most of them come with a drill on one side that makes a 1 " (1.6 mm) hole and a drill on the other side that makes a " (2.4 mm) hole. The 2 mm hole accommodates up to 14-gauge wire, and the 2.4 mm hole accommodates up to 12- gauge wire. This tool will punch through soft metals up to 14-gauge (1.5 mm thick). Screw-down hole punch Snap Rivet Tool This tool is specifically made for use with snap rivets to compress the two pieces together. Use this tool with a plastic/nylon mallet only. Snap rivet tool Solder Solder is an alloy of metals that when heated will melt, flow, and join metal together. It comes in a variety of forms and melting points. It can attach two pieces of metal or wire, but cannot fill gaps, so the edges of your metal must always be flush and abut completely.

199 Paste and wire solder Soldering Blocks A soldering block, charcoal block, or Solderite pad provides a flame-resistant surface for use with a torch. It will protect your work surface from burning. The charcoal block reflects heat back onto the piece for faster fusing and soldering. It is also recommended that you place these items on a cookie sheet, a large ceramic tile, or an annealing pan before working with fire. Soldering blocks Soldering Pick A titanium or tungsten soldering pick is a sharp, pointed nonstick tool used to apply solder to metal or assist in the soldering process.

200 Soldering pick Stamps These small tools come in a variety of letters, numbers, and designs and are made of tool steel with an embossed impression on one end. Striking the plain end of the tool with a brass-head mallet, the design leaves an impression on the surface of the metal sheet. Stamps Steel Wool Superfine 0000 steel wool is great for cleaning metal before working with it. It can simultaneously clean, straighten, and polish. It also can be used for removing liver of sulfur oxidation prior to final tumbling. Always dry the metal after cleaning, pickling, and rinsing and using patinas and rinsing; moisture can cause steel to rust. Using steel wool on wet metal may trap small particles of steel wool in the metalwork, and an unexpected rust patina can form. Be sure to rinse your pieces before you continue to work with them, as steel wool creates metal dust.

201 Steel wool Stepped Forming Pliers Stepped forming pliers come in different sizes and shapes. They can have one flat jaw or one concave jaw and one jaw of various-sized round barrels. They re perfect for wrapping loops of a consistent size. They may also be called wrap-and-tap pliers. Stepped forming pliers Texturing Hammers These specialty hammers are made for the express purpose of adding texture to metal. They have carved or embossed faces that make designs such as dots or checkerboards in metal.

202 Texturing hammers Tube-Wringer This tool was designed to squeeze the last drop of product (paint, caulk, adhesive, etc.) out of the tube. It also makes a wonderful texturing tool, creating a corrugated, ripple effect in metal up to 24-gauge. Tube-Wringer Wire/Sheet Gauge Brown & Sharpe (B&S), or American Wire Gauge (AWG), is the standard in the United States for measuring the diameter of wire and thickness of sheet. The thickness of sheet metal and the size or diameter of wire is known as the gauge, but it also refers to the tool used to measure wire and sheet. This tool looks a bit like a flat, round gear. Each slot in the tool shows a gauge number as well as the size in decimal inches and in millimeters. A pocket gauge, which is smaller and has a slightly different shape, can be handy.

203 Wire/sheet gauges

204 Templates Download a pdf of the templates here

205 Sugar Skull Clasp Sugar Skull Tongue Easily Charmed Oval Duo Connector Textured Bead Tabs Elegant Spacer Bar

206 Duo Bail Bezel Bail

207 Resources Where to Shop Alisha White Designs alishawhite.etsy.com Beadaholique beadaholique.com Beaducation beaducation.com Bluhealer bluhealer.etsy.com B Sue Boutiques bsueboutiques.com Cassie Donlen cassiedonlen.etsy.com Chelsea s Beads facebook.com/chelseasbeads Contenti contenti.com CVS Pharmacy cvs.com Fire Mountain Gems & Beads firemountaingems.com Fusion Beads fusionbeads.com Golem Design Studio golemstudio.com Grey Bird Studio greybirdstudio.etsy.com

208 Hands of the Hills hohbead.com Happy Mango Beads happymangobeads.com Harbor Freight harborfreight.com Holy & Pure Gemstone facebook.com/holyandpuregemstone I Found Gallery ifoundgallery.etsy.com Indian Creek Art Glass outwest.etsy.com Joel Anderson joelscoins.com Kab s Creative Concepts kabsconcepts.com Metal Clay Supply metalclaysupply.com Metalliferous metalliferous.com Monsterslayer monsterslayer.com Primitive Earth Beads primitivearthbeads.com Rio Grande riogrande.com Riverstone Bead Company riverstonebead.com/beach.htm Staples staples.com

209 Tickle Me Beads ticklemebeads.com Wegmans wegmans.com White Clover Kiln whitecloverkiln.etsy.com

210 Further Reading Bogert, Kerry. Totally Twisted: Innovative Wirework & Art Glass Jewelry. Fort Collins, Colorado: Interweave, Rustic Wrappings: Exploring Patina in Wire, Metal, and Glass Jewelry. Fort Collins, Colorado: Interweave, Bone, Elizabeth. Silversmithing for Jewelry Makers: A Handbook of Techniques and Surface Treatments. Fort Collins, Colorado: Interweave, Chin, Jennifer. Hot Connections Jewelry. New York: Potter Craft, Driggs, Helen. The Jewelry Maker s Field Guide: Tools and Essential Techniques. Fort Collins, Colorado: Interweave, Hettmansperger, Mary. Heat, Color, Set & Fire: Surface Effects for Metal Jewelry. New York: Lark Crafts, Holschuh, Brandon. The Jeweler s Studio Handbook. Beverly, Massachusetts: Quarry Books, 2009 Kazmer, Susan Lenart. 15+ Ways to Alter Metal Surfaces: Cold Enameling, Resin, Powders, Pastels, and More. DVD. Fort Collins, Colorado: Interweave, Kelly, Lisa Niven. Stamped Metal Jewelry: Creative Techniques & Designs for Making Custom Jewelry. Fort Collins, Colorado: Interweave, 2010 McCreight, Tim. Patina Basics: Safe Color Solutions for Metalsmiths. DVD. Brunswick, Maine: Brynmorgen Press, 2010 McGrath, Jinks. The Encyclopedia of Jewelry-Making Techniques. London: Quarto Publishing, Miller, Sharilyn. Wire Art Jewelry Workshop: Step-by-Step Techniques and Projects (with DVD). Fort Collins, Colorado: Interweave, Moore, Gail Crosman. Coloring on Metal for Jewelry Makers. DVD. Fort Collins, Colorado: Interweave, Peck, Denise. Wire Style: 50 Unique Jewelry Designs. Fort Collins, Colorado: Interweave, Wire Style 2: 45 New Jewelry Designs (with DVD). Fort Collins, Colorado: Interweave, 2011.

211 Peck, Denise, and Jane Dickerson. Handcrafted Wire Findings: Techniques and Designs for Custom Jewelry Components. Fort Collins, Colorado: Interweave, The Wireworker s Companion. Fort Collins, Colorado: Interweave, Wire + Metal: 30 Easy Metalsmithing Designs. Fort Collins, Colorado: Interweave, Richbourg, Kate Ferrant. Simple Soldering: A Beginner s Guide to Jewelry Making. Fort Collins, Colorado: Interweave, Tillotson, Victoria. Chic Metal. New York: Potter Craft, 2009 Wimmer, Cindy. The Missing Link: From Basic to Beautiful Wirework Jewelry. Fort Collins, Colorado: Interweave, Young, Anastasia. The Workbench Guide to Jewelry Techniques. Fort Collins, Colorado: Interweave, 2010

212 Acknowledgments This book is dedicated to Jim Lawson, our friend and partner in all of our books together. We could not have done them without you. And, to all the jewelry teachers who have shared their time, techniques, and passion for jewelry making with us. We pass the torch to ourreaders! Denise Peck & Jane Dickerson

213 Discover more ways to create beautiful custom jewelry with these resources from Interweave Handcrafted Wire Findings Techniques and Designs for Custom Jewelry Components Denise Peck and Jane Dickerson ISBN: , $22.95 Wire + Metal 30 Easy Metalsmithing Designs Denise Peck and Jane Dickerson ISBN: , $22.99

214 Simple Soldering A Beginner s Guide to Jewelry Making Kate Ferrant Richbourg ISBN: , $29.95 Check out Jewelry Artist, a trusted guide to the art of gems, jewelry making, design, beads, minerals, and more. Whether you are a beginner, an experienced artisan, or in the jewelry business, Jewelry Artist can take you to a whole new level. Jewelryartistmagazine.com Jewelry Making Daily is the ultimate online community for anyone interested in creating handmade jewelry. Get tips from industry experts, download free step-by-step projects, check out video demos, discover sources for supplies, and more! Sign up at jewelrymakingdaily.com.