Learn how to make decorative rivets while working with this uncommon alloy. by Addie Kidd

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1 PROJECT INTERMEDIATE METAL Shibuichi Cuff: Learn how to make decorative rivets while working with this uncommon alloy. by Addie Kidd To take full advantage of shibuichi, you ve got to use patinas. One of my favorite patinas for copper-based alloys like shibuichi is Baldwin s patina it can create the most beautiful warm purple-browns. I chose a 5% alloy of shibuichi (that s 5% silver and 95% copper) because it can achieve a darker patina than alloys with higher silver content, such as 15% or 25% alloys. Unaffected by Baldwin s patina, bright fine- and sterling-silver rivets highlight the deeply patinated shibuichi. Copper alloys aren t always suitable metals for bracelets, as many people are sensitive to copper. To combat this, I lined my cuff with sterling silver, but without using solder. Instead, the flush rivets that punctuate the cuff also securely hold the silver liner to the shibuichi. FCT-MWON0216_ART Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher. facetjewelry.com

2 An Exercise Riveting Sterling silver tube rivets and finesilver wire rivets secure a sterling silver liner to a patinated shibuichi cuff without solder. 1 x in. (25.5 x 64 mm).

3 1 2 3 materials Shibuichi sheet: 5% alloy, 24-gauge (0.5 mm), 1 x 6 in. (25.5 x 152 mm) Sterling silver sheet: 24-gauge (0.5 mm), half-hard, 7 8 x 7 in. (22 x 178 mm) Fine-silver wire: 18-gauge (1.0 mm), round, 1 ft. (30.5 cm) Sterling silver tubing: thick-walled, 2 mm ( 5 64-in.) outside diameter, 6 in. (15.2 cm) additional tools & supplies Jeweler s shears (optional) Circle template: 1 4 in. (32 mm) Riveting hammer Bracelet mandrel: oval Rawhide mallet 3 4 mm bud bur or ball bur Rivet block Torch, fire-resistant surface Flush cutters Baldwin s patina Part 1: Cuff and liner While it may seem counterintuitive to form the cuff and liner before you pierce and rivet them together (rather than riveting the pierced cuff and liner when they re flat, then shaping them), I made mine in this order to minimize distortion, create springiness through work-hardening, and ensure that the ends of my rivets on the liner side stayed nicely flush. Prepare the shibuichi. Cut a 1 x 6-in. (25.5 x 152 mm) strip of 24-gauge (0.5 mm) shibuichi sheet. Locate the center of the strip, and measure and mark 15 mm from each side of the center point [1]. Place a in. (32 mm) circle template on the measured line, aligning the circle with both marked 15 mm points. Using a permanent marker, draw a curved line. Repeat on the other side of the line to draw a marquis shape [2]. Hammer the edges of the shibuichi strip. Place the shibuichi strip on its edge on a bench block. Using a small tapered riveting hammer, hammer perpendicularly along all edges [3]. This hammering will create texture, thicken the edges, and work-harden the metal so that it will hold its cuff shape better. Pierce the marquis shape. Using a drill and then a jeweler s saw with an 8/0 saw blade, pierce the marquis shape [4]. Using a half-round file, refine the marquis shape. If necessary, use a file to soften the four outer corners of the strip. Shape the strip into a cuff. Carefully bend the shibuichi strip around an oval bracelet mandrel. Use extra care when bending the metal in the area around the pierced marquis; the thinner material in those areas could bend more sharply than the rest of the strip. Use a rawhide mallet to further form the strip into a cuff bracelet shape [5]. Form the silver liner. Cut a 7 8 x 7-in. (22 x 178 mm) strip of sterling silver. Using the bracelet mandrel, bend the silver strip to match the shibuichi cuff. Squeeze the ends of the curved silver liner together and slip it inside the shibuichi cuff. Place both the cuff and the liner on the mandrel, and use the rawhide mallet to hammer them together to minimize any gaps. Mark the ends of the silver strip [6] and remove the silver liner from the cuff. Trim the silver liner. Using jeweler s shears or a saw, trim the liner at the marks. Using a flat file, file the ends of the strip so that it s slightly shorter than the shibuichi cuff; gently round the corners.

4 1 2 3 Part 2: Rivets I ve found that the best way to line up rivets is to make one complete rivet (drill the first hole and make the first rivet) before drilling the remaining holes and making those rivets. That way you ll avoid the frustration of even slightly misaligned rivet holes. Make the rivet head pins. Cut a 6-in. (15.2 cm) piece of 18-gauge (1.0 mm) finesilver wire. Using a torch, ball up one end of the wire. Using flush cutters, trim the wire to about 1 4 in. (6.5 mm). Repeat to make the desired number of head pins; vary the size of the head pin balls to create differently sized rivet heads. Insert a head pin into a 1 mm hole on a rivet block. Using the flat side of a riveting hammer, lightly strike the ball of the head pin to slightly flatten it [1]. Drill the wire-rivet holes. Use a marker to mark the points on the shibuichi cuff where you want to place the wire rivets. Place just the shibuichi cuff on a mandrel, and use a center punch to create divots at how to make a flush rivet in 3 steps Flush rivets aren t difficult to make, but they do require a bit of prep work. If you ve made your flush rivet correctly, it will hold your metal securely while blending seamlessly into the surrounding metal. [1] Use a large bud bur (shown) or ball bur to carve out a beveled opening about one-third to half the depth of your drilled rivet hole. [2] Insert a head pin up through the rivet hole. Trim the head pin so that it extends just slightly above the bevel opening. [3] Make a basic wire rivet, flaring the wire into the beveled opening. File any excess wire so that it s flush with the top of the bevel. each mark. Supporting the cuff on a piece of wood, use a 1 mm drill bit in your flex shaft to drill all the wire-rivet holes [2]. Drill the tube-rivet holes. Repeat the previous step to mark and drill the tuberivet holes in the shibuichi cuff; use a 2 mm drill bit. Make the first rivet. Slip the silver liner within the cuff. Using one of the wire-rivet holes in the cuff as a guide, mark, center punch, and drill through the hole in the cuff to make a corresponding wire-rivet hole in the liner; use a 1 mm drill bit. Remove the liner from the cuff. Using a lubricated 4 mm bud or ball bur, bevel the rivet hole on the inside of the liner [3]. Make sure not to cut all the way through the liner; you just need a slight bevel to hold the metal of the flush rivet. See How to Make a Flush Rivet in 3 Steps, left, for a closer look at making flush rivets. Slip the liner back within the cuff, and insert a flattened rivet head pin through the rivet hole. Holding the rivet in place, use flush cutters to trim the rivet head about 0.5 mm ( 1 64 in.) above the liner [4]. Position the bracelet so that the head of the rivet wire is supported on a bench block. Using the tapered end of a small riveting hammer, tap the cut end of the rivet to flare it into the bevel [5], beginning to make a wire rivet.

5 If you can fit the hammer within the bracelet, rotate the hammer to hit the rivet perpendicularly to the first few strikes. This will flare the rivet into the bevel more evenly. NOTE: If you can t fit your hammer within the cuff, place a small dapping punch against the rivet, and hammer the punch to flare the rivet [6]. Make the remaining wire rivets. Now that the first rivet is securely holding the two strips of metal together, drill the remaining 1 mm holes through the liner, and repeat the previous steps to bevel them and set wire rivets in them. Make the tube rivets. Using the 2 mm holes in the cuff as a guide, drill corresponding 2 mm holes through the liner. Bevel the inner sides of the holes in the liner with a 4 mm bud or ball bur. Cut a 4 mm ( 5 32-in.) piece of 2 mmoutside-diameter thick-walled tubing for each 2 mm rivet hole. Insert a piece of tubing through a 2 mm hole. Place one end of the tubing on a bench block (if on the outside of the cuff) or on a curved anvil (if on the inside of the cuff), and tap the other end with a dapping punch or a small ball-peen hammer to flare the tubing, making a tube rivet. In addition to the decorative tube rivets on the front, I also made three tube rivets on each end of my cuff to hold the two strips of metal together. Part 3: Finishing Drill decorative holes. Using drill bits in various sizes, drill holes through the exposed liner [1]. Make the rivets flush. Using a half-round file, file the inside ends of the wire and tube rivets flush with the liner. Sand the entire inner surface of the cuff, using 400- and then 600-grit sandpaper. To speed up the process, I like to use a piece of sandpaper inserted into a split-mandrel bit in my flex shaft [2]. Pierce the marquis design. On the liner, use dividers to mark an even border around the inner edge of the marquis and around the decorative holes. Using an 8/0 blade in a jeweler s saw, cut out the interior part of the marquis design. To avoid inadvertently cutting the bottom of the cuff, I turned my cuff frequently and even ended up sawing sideways on my bench pin [3]. Clean up the cuff. Using needle files, refine the edges of the pierced design. The holes at the ends of your tube rivets may be distorted from your hammering. If necessary, use a 1 mm drill bit in a flex shaft to open up the tube rivets Using an abrasive radial disk in a flex shaft, clean up any sharp edges from the pierced design [4], the rivet heads, and the surrounding metal between the rivets. NOTE: I went over my entire bracelet with a lightly abrasive radial-disk attachment, because the patina will react better with metal that isn t fully polished. Using a rubber polishing-wheel attachment, carefully polish just the silver rivet heads to make them shine. Patinate the shibuichi. Following the manufacturer s instructions, apply Baldwin s patina to darken the shibuichi; this patina will not color the silver. Rinse the cuff well and dry it. To protect the patina, apply a thin layer of microcrystalline wax [5]. Using a soft cloth, buff the wax to a low shine. Repeat to apply another layer of wax.

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