Contents. Introduction...4 TECHNIQUES...5 PROJECTS BASICS REVIEW CONTRIBUTORS... 94

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1 Contents Introduction...4 TECHNIQUES...5 Easy Air Chasing Wendy Edsell-Kerwin...6 Enamel Sgraffito Angela Gerhard Copper Coloring Pat Gullett Ammonia-and-Salt Patina Judy Freyer Thompson Layer Colored Pencil Jill L. Erickson Three Wire Weaves Kaska Firor Easy Etching Mona Clee Acid Free Etching Ron Pascho PROJECTS Foldform Mini Stars Judy Freyer Thompson Design & Build a Bracelet Deborah Francis Woven Window Mary Hettmansperger Simple Hammered Cuff Amy Haftkowycz Absolutely Riveting Joanna Gollberg Two-Tone Bangle Vicki Cook Riveting on a Curve Richard Salley Tapered Viking Knit Vickie Cook Tough Cuff Stephanie Riger Braided Bracelet Kaska Firor BASICS REVIEW CONTRIBUTORS... 94

2 Introduction ONCE RELEGATED TO PRACTICE SCRAP, copper now shines in jewelry making. Not only is it economical, but it s easy to work with, it ages beautifully, and it s forgiving. Given the increasing number of artists choosing to work in copper and the popular reception for copper jewelry among students and customers we thought a collection of favorite copper projects was in order. We ve scoured the pages of Art Jewelry for the best examples of metalworking with copper and present them here for your easy reference. Techniques The collection begins with technique-focused instruction. Whether creating a unique shape using air chasing or foldforming, adding texture and pattern with etching, or enhancing copper s orange glow with a custom patina or colorful finish, you ll learn all about the best techniques first. Some lessons are taught while you create a piece of jewelry and others can be learned with scrap or applied to something you ve already made. All the techniques in this section transfer to future jewelry projects you may undertake, so imagine the possibilities as you master the basics. Need a quick refresher on metalworking techniques not covered in the project instruction? Refer to the Basics Review section at the end of the book for a handy reference for most common skills. Suggested topics to review appear at the beginning of every project to help you prepare before you get to work. Projects The second half of the book is dedicated to beautiful copper jewelry projects. Weave or crochet with wire, create a structural piece with copper sheet and rivets, and explore working with mixed materials as you create stunning necklaces, bold bracelets, dainty earrings, and more. The rich and creative projects in this collection are loaded with expert advice and tips. Detailed instruction and close-up photography help ensure your success. Options abound with copper: Create lustrous patina, layer bold colors, form rugged textures, or weave intricate patterns with confidence. Artists We are fortunate to have worked with leading metal jewelry artists over the years and are pleased to share their work with you. Please take time to read about their accomplishments at the end of the book, and visit their respective websites to view more of their stunning work. Karin Van Voorhees Compiling Editor 4

3 Chase the metal. Slightly flatten the loop of metal using a rawhide or plastic mallet. Use a chasing hammer (or a large dapping punch) to get some initial shapes into the sides of the metal form [3]. It is important to start with the sides of the air cushion close to the vise to slightly work-harden the metal and give your form support, otherwise your air cushion will flatten too fast. After forming the initial pattern, use chasing tools and punches in different sizes to create diversity in the pattern. As you work, ridges will begin to develop between the dapped areas [4]. Add details and texture. Use chasing tools or the cross peen on a raising or riveting hammer to add different textures and/or details to your piece. I like to hammer across the ridges, creating a lacy pattern throughout [5]. Anneal the metal. If your metal becomes too work-hardened, or if you are done chasing, anneal the metal to soften it again. Quench the metal, pickle it to remove any oxides, rinse it, and dry it. Once the metal is annealed, you can continue to chase it or you can begin finishing. When you pickle the metal, make sure that the pickle doesn t get trapped in any tight spaces; acid will eat through the metal over time. To prevent this, rinse and dry the metal thoroughly. Finishing the piece Open the metal. Once you are satisfied with your chased pattern and have annealed your metal, you will need to open it back up. Pry apart the edges of the 8

4 foldforming Foldforming is a technique in which metal sheet is folded, worked with tools, and then unfolded. Developed by Charles Lewton-Brain about 30 years ago, foldforming focuses on using the inherent characteristics of metals to quickly form the metal into 3-D shapes with gorgeous textures. The basic folds used in foldforming are: Line fold: A flat fold, like creasing paper. This fold cannot be used for air chasing, because it forms no air cushion to work with. T fold: A cylindrical loop of metal. If you were not using this fold for air chasing, you would flatten the loop against the vise to form a T shape, which gives this fold its name. Fold edge Wedge fold: An angled T fold, where the loop looks like a cone instead of a cylinder. Boat fold: A cigar- or boat-shaped cone, this fold is made using a double wedge fold. Form a wedge fold, then turn the metal and form a wedge fold on the other side. Fold edge Table Legs Fold edge Legs Open side Line fold T fold Air Cushion Fold edge Air Cushion Fold edge Legs Fold edge Legs Wedge fold Boat fold metal using your fingers or a bench knife [6]. Once the edges are pried open, use a mallet to continue opening the metal, and flatten it carefully onto a piece of wood or your workbench [7]. Shape the piece. Use your chased metal for whatever you want. I turned mine into a cuff by forming it over a bracelet mandrel with a mallet [8]. Keep in mind that forming the metal like this will flatten the pattern slightly, especially if you are using copper. An alternative is to cut up your chased metal with metal shears or a jeweler s saw and use it as a component in other pieces, like earrings, pendants, or rings. Finish the metal. Once you ve cut and shaped your piece, finish it (Basics Review) by filing the edges, sanding it, polishing it, and sealing it with a microcrystalline wax (Basics Review). I used a heat patina and buffed the high points of the pattern to create contrast. Copper Jewelry Collection 9

5 Intermediate Review: Sawing/piercing, Soldering, Sifting enamels ARTIST ANGELA GERHARD Enamel Sgraffito 10

6 A SUBTRACTIVE TECHNIQUE, Sgraffito (zgrah-feet-oh) (also spelled scraffito ) means to scratch through the surface of a material to expose the layer beneath. Painters use palette knives or other tools to scrape through layers of paint to create designs. Potters scratch through glazes to draw on ceramic ware. Enamelists scratch through powder or liquid enamel to reveal a base layer of fired enamel or bare metal. Experimenting with sgraffito techniques on scraps of copper sheet is a fun way to try this process. For even more fun, experiment on copper panels that you can link into a bracelet. materials Copper sheet: 24-gauge (0.5mm), 8½x7 in. (21.6x17.8cm) 18-gauge (1.0mm), 2x1 in. (51x25.5mm) Copper tubing: 2mm inside diameter, 1 8 in. (3mm) Copper or bronze jump rings: 18-gauge (1.0mm), 8mm outside diameter, Enamels: 80-mesh, medium temperature/medium expansion Black Opaque colors Liquid enamel toolboxes Enamel Hammering Sawing/piercing Soldering (optional) additional tools & supplies Permanent marker: fine tip Bench shear (optional) Machinist s square Swage block, shallow wooden bowl, or bracelet mandrel Sandpaper: various grits Eutectic solder (optional) Copper-cleaning agent (optional) Baking soda Pumice powder Citric acid Dental tool or needle tool Flat-tip paintbrush Palette knife (optional) Scratching tool: dental pick, scribe, etc. Flexible diamond laps (optional) Glass-etching cream (optional) Pliers: chainnose or flatnose, 2 Metal Measure and mark copper sheet. Use a ruler and a scribe (or a fine-tip permanent marker) to draw six 1 3 8x1 1 8-in. (35x29mm) rectangles on a piece of 24-gauge (0.5mm) copper sheet. On a piece of 18-gauge (1.0mm) copper sheet, measure and mark a 1 3 8x¼-in. (35x6.5mm) strip for the bracelet s toggle [1]. Cut out the panels and square the corners. Use either a jeweler s saw with a 3/0 blade or a bench shear to cut out the rectangle panels and the toggle strip. Place the panels and toggle strip on a bench block, and flatten them with a rawhide mallet. Place a panel against the 90-degree angle of a machinist s square, rotating the panel to check that each of its corners are square. Repeat with the remaining panels. File the edges of any uneven panels to make their corners square [2]. File the edges of the toggle strip. 1 Your bracelet will be much easier to assemble if all of the panels have 2 square corners. Copper Jewelry Collection 11

7 1 Metal, 1 Patina, 24 Results Topcoats High-gloss spray lacquer Microcrystalline wax Matte acrylic spray Patina alone Product: Sophisticated Finishes patina in green verdigris color Technique: Painted three coats, allowing patina to dry between coats Patina + Oil paint Product: Light blue oil paint Technique: Light coat brushed into recesses Note: Makes its own sealed barrier on the metal LONG DRYING TIME Coloring Media Patina + Acrylic paint Product: Acrylic paint in green, teal, blue Technique: Paint thinned with water, then mixed on metal and dabbed into recesses Note: Slight reaction with patina while drying created some lightened spots BEST RANGE OF COLORS Patina + Colored mica pigment powder Product: Perfect Pearls in magenta, purple Technique: Each color mixed with water to form paste, then painted on metal MOST SPARKLE Patina + Gold leaf Product: Imitation or 22k gold, variegated gold leaf Technique: Thin layer of metal-leaf size (adhesive) painted on metal and allowed to dry; once size was tacky, leaf was applied and buffed with soft brush 20 INTENSIFIED COLORS WAX APPLICATION REMOVED SOME LEAF

8 All levels ARTIST RON PASCHO Acid Free Etching 34

9 WHAT IF YOU COULD ETCH METAL without the health and safety hazards associated with chemical etching? You can, with the help of electricity. All you need for electrolytic etching is saltwater, a single D battery, and a few common accessories. You can electrolytically etch copper, brass, bronze, and nickel silver. And the best part is, because you re not using acid to etch the metal, there are no toxic fumes only small amounts of hydrogen and oxygen gases. You do need to be careful about your disposal methods, though; the spent etchant (copper-laden saltwater) can t just be poured down the drain. To better understand this process, see how does electrolytic etching work? page 37. Prepare the saturated sodium chloride solution (saltwater). This takes a day or longer, so begin at least two days before you want to etch your metal. Pour about 1L (4 1 4 cups) of distilled water into a lidded glass or plastic container [1]. (A large canning jar with a screw-on lid is easy to shake to mix the solution.) Slowly pour about 250mL (1 cup) of pure sodium chloride (salt) into the distilled water, mixing the solution as you pour with any nonmagnetic stirring device. 1 2 source of pure sodium chloride I ve found is canning and pickling salt. Check the label to ensure it s additive-free sodium chloride: Look for terms such as plain salt, pure, or nothing added. Let the thoroughly mixed solution sit for at least an hour until the salt dissolves. Then pour in about 59mL ( 1 4 cup) of salt, recap the jar, shake the jar to mix the solution, and let it rest again. Repeat this process until you begin to see a layer of salt on the bottom of the jar [2]. Let this solution sit for several hours even overnight. If by the next morning all the salt has dissolved, add more salt and mix the solution again. materials Copper, brass, bronze, or nickel silver sheet: 18-, 20-, or 22-gauge (1.0mm, 0.8mm, or 0.6mm) tools & supplies Distilled water: 1 liter Mixing container: 1 liter or larger, screw-on lid, glass or plastic non-magnetic stirring device Sodium chloride: free of iodine or additives (canning & pickling salt or kosher salt), 473mL (2 cups) Metal shear, or jeweler s saw and blades Flex shaft, 1.3mm drill bit Copper wire: 18- or 16-gauge (1.0mm or 1.3mm) Wire cutters Pliers: chainnose, roundnose Scouring pad or sandpaper Rubbing alcohol Brass brush Resist and removal method (choose from): permanent marker, rubbing alcohol; enamel paint pen, rubbing alcohol; nail polish, nail-polish remover; PnP paper, lacquer thinner Duct tape D battery holder: single D battery Wire connectors, such as alligator clips, wire nuts, or screw-on leads Etching bath chamber: glass or plastic Aquarium air pump, aquarium airstone, aquarium tubing Timer Brush: very soft Voltage meter (optional) Plastic lidded container for disposal of spent electrolytic solution Standard table salt is principally sodium chloride, but it won t work well for etching, because of additives such as anti-caking agents and compounds that contain iodine. Kosher salt works well, but the cheapest readily available The best indicator of a fully saturated solution is when a layer of solute (in this case, salt) remains on the bottom of the container even after repeated mixings. Copper Jewelry Collection 35

10 easy heat method Apply a heat patina to copper using your oven. Metal thickness and dimension, temperature, and length of heating time will all affect your results, so experiment by varying the combination you use. Skin oils can discolor copper, so clean it well with degreasing soap and water, then handle it only by the edges. Heat a toaster oven or convection oven to about 400 F (204 C), place the copper in the oven, and experiment with times from 2 7 minutes. Solid colors will form across the copper sheet in shades of magenta, bright orange, chrome, and light blue. If you d like to match colors with approximate lengths of time, peek into the oven occasionally and record the results. Wear a leather glove and hold one copper square firmly against the wood block. Drill holes through the marked locations with an appropriately sized drill bit. Drill matching holes in the second copper square. If the holes leave rough edges or shards, hammer the edges down or file them smooth, depending on the appearance you d like. If necessary, re-drill the holes. Insert the eyelets. Insert the eyelets and secure them with an eyelet tool [9]. Attach the bottom dangle. String one or two beads on a headpin or a wire with a hammer-flattened end. Make a wrapped loop (Basics Review) to attach the dangle to the bottom eyelet [10]. Add a necklace cord. Center a tube bead on waxed-linen cording. Thread the ends of the cording through the eyelet holes in the top of the pendant, front to back. Then thread the cording back through the tube bead in opposite directions [11]. Cut the cording to the desired necklace length. Tie a knot if it is long enough to slide over your head, or add a clasp a different spin If you d like to challenge yourself, give this design variation a try. This version is achieved by framing the copper squares with three pieces of 16-gauge wire, rather than by using eyelets. The first piece of wire is shaped like an arch; the second, a straight line; and the third, a squared U-shape. Hammer the ends of each of these pieces flat, and file them into paddle shapes. Drill holes around the perimeter of each copper square. Tightly coil Arch-shaped wire Straight wire Squared U-shaped wire gauge wire around each individual 16-gauge wire piece, simultaneously threading 24-gauge wire through the holes in the copper squares as you go. Sew the U-shaped wire to the right, bottom, and left sides of the pendant, and fasten the straight wire flush with the top. The hammered ends should intersect at the corners. Position the arch-shaped wire above the top of the pendant and fasten it at the intersection of the other two wires, creating a splayed effect. Copper Jewelry Collection 51

11 Beginner/intermediate Review: Metal Clay ARTIST VICKI COOK Two-tone Bangle 60

12 COPPER WIRE IS AN IDEAL MATERIAL to use for your first forging (hammering) and riveting project because it s relatively soft, which means it s easy to work and takes textures well. To highlight copper s warm, mellow color, incorporate contrasting silver elements, like the rivets and metal clay accents in these bracelets. 2 materials Copper wire: 4-gauge (5.2mm), 10 in. (25.4cm) Fine-silver wire: 16-gauge (1.3mm), 3 in. (76mm) Metal clay (low-shrink formula): g Metal clay slip 1 3 toolboxes Metal clay Hammering Sawing/Piercing Finishing Torch station: torch, fire-resistant surface (soldering pad, firebrick, or charcoal block), pickle pot with pickle, copper tongs tools & supplies Hose clamp Bracelet mandrel (optional) Wooden baseball bat: cut off Masking tape Permanent marker Vise, leather or other material to line the jaws Leather gloves Safety glasses Earplugs Hand files: #0-cut, bastard, #4 Swiss-cut Bolt cutters (optional) Toothbrush (optional) Parallel pliers Wire cutters: flush Center punch Flex shaft, 1.3mm drill bit Hockey puck or block of wood Polymer clay: 1 oz. (28 g); or Silly Putty Texture plate Flat-tip paintbrushes, 2 Pencil eraser Baking soda: 2 tablespoons 4 Copper bangle Determine the inside diameter of your bracelet. Adjust a hose clamp so that it just fits over your hand, allowing enough clearance to accommodate any metal clay you plan to add to the bangle. Keeping the clamp closed, remove it from your hand and slide it over a bracelet mandrel [1]. You can also use the cut-off end of a wooden baseball bat as a mandrel; you ll need the bat in later steps anyway. Use masking tape to mark the mandrel where the clamp rests. Note the length of masking tape you need in order to circumscribe the mandrel; that length is the inside diameter (ID) of your bangle. Cut the copper wire. Use a permanent marker to mark the length of the ID on a piece of 4-gauge (5.2mm) copper wire. Secure the wire in a vise, and cut it with a jeweler s saw and a #1 blade [2] (Basics Review) or with bolt cutters [3]. 5 Forge the wire ends. Put on leather gloves, eye protection, and earplugs. Place a bench block or anvil on a sturdy work surface. Using the flat face of a chasing hammer, flatten one end of the wire [4] until it s 40mm (1 5 8 in.) long and tapers to 1.5 2mm thick. Repeat to flatten the other end. (To make a bangle with side rivets, see Side-facing rivets, p. 63). Check the length of the forged wire. Your wire will lengthen as you forge it; this provides the length needed (at least 20mm/¾ in. additional) for overlapping the ends so you can join them with rivets. If your wire stretches farther than you need it to in order to maintain the correct ID, use a #0-cut file to shorten the ends. If the wire is too short, forge the ends a bit more. Refine the wire ends. Use a bastard file followed by a #4 Swiss-cut file to round and shape the wire [5]. To remove file marks, sand the ends with 400-grit sandpaper. Then, use progressively finer grit sandpapers to smooth the metal. Copper Jewelry Collection 61

13 Intermediate/Advanced Review: Wireworking ARTIST KASKA FIROR Braided Bracelet BORROWED FROM TEXTILE ARTS, techniques like weaving have been used by artists for centuries to transform wire into jewelry. The richness of the textures and the way light plays around the patterns makes woven jewelry seem alive. This style is called freeform wire weaving, and it s characterized by its use of frame wires (to outline the shape of the piece) and weaving wires (to follow the outline, stitch all the parts together, and give the design its stability). Freeform designs can take on almost any shape and can be crafted with wire only or incorporate cabochons, beads, or other objects. 80