making jewellery 2016-05

Beaded bezel set cabochoPolymer clay flower bud necklac
LAMPWORK 9 STEPSPOLYMER 6 STEPSBEADING 12 STEPS WIREWORK 6 STEPS
50 GARDEN PARTY
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30 Saraguro stitch
Editor’s letter
I t’s May! And the summer is coming, yes it really
is. So I’m excited as I can’t wait for wa rmer
weather and to abandon the jumpers for my
summery T-shirts and lighter colours i n general
(not sure who says I have to wear dark colours in the
winter, but it appears to be a must in my wardrobe!).
Anyw ay, back to summer. As ea rly as May i s i n t he
year I like to t hink it’s the beginning of a new sea son
so I decided it was time for an outdoor theme!
I chose garden parties and I am glad I did. Sian
1
This issue is f ull of lovely floral designs, lace
effect pieces and generally rea lly elegant and
beautiful designs you would be proud to make and
wear. We also have a couple of beading techniques
from Clair Wolfe (p30, p62) and a project (p70) for
you to feast on. Beading is a s popular as ever and
I know Clair has the belief that those tiny litt le size
15 beads are addictive; once you start beadi ng you
just ca n’t stop!
®
Crank wire to make coiled springs & beads
Wire is soft tempered and is ideal
for creating wire wrapped designs
Everything you need to start cutting metal sheet, large gauge wire, wood, and plastics
Give your designs a compelling textured look
Try different stitches to create various patterns
Use these clever fixed peg jigs to make your own wire clasps,
ear wires, and connectors SAW FRAME WITH 36 BLADES
ALUMINUM WIRE
BRAID
To find an Artistic Wire/Beadalon retailer near you, please visit www.beadalon.com/store_locator.asp
3D BRACELET JIG™ PATENT PENDING
Create trendy bangle bracelets, cuff bracelets, and curved components
CONETASTIC™
This ingenious tool makes beautiful wire cones and bead caps
The Largest Selection of Craft Wire and Wire Working Tools
WIRE STRAIGHTENER TOOL Make it easy to straighten wire
that has been worked
76 Flower bead garland
8 Wrapped with love
lace and air dry clay
Celebrity Style Butterfly necklace inspired
by Vanessa Hutchins
a folk-art bird theme
clay bud shape beads
bright daisies
bead necklace
lace collar
can be made into a necklace
or range of bracelets
Initial it! Stamped letter discs
Mermaid necklace Sea inspired necklace and
wrap bracelet
with decorative swirls
gold coloured wire cuff
with a silver clay centre
Crystal garden A sparkly floral necklace with
bead bezelled cabochons
set floral silver clay pendant
Floral lace effect A floral lace effect bib style
necklace made in silver wire
14 Pretty posy 34
22 10 questions 29 Designer profile55 Trends
4 w w w . c r a f t s i n s t i t u t e . c o m
69 Designer inspirations
news and must-haves
not to miss this May
Colour & Style Fashion trends for your
summer wardrobe
plus pictures of your work
Book reviews Imogen Cooper reviews the
latest inspiring jewellery books
for the latest jewellery sites
Business matters The latest tips on running your
jewellery business
garden party
June 2016 issue
components
It’s a jewellers life The latest instalment of Eleanor
Swinhoe’s column
answers our questions
Justine Nettleton
brush up on your skills
Techniques
netting stitch
polymer clay
for use as a chain
Product test Clair checks out a bead bag by
the Celtic Bead Shop
bunches of fl owers. By Linzi Alford Buckmaster
T his simple-to-make air-dried clay pendant is given a delicate pattern
and embellished with bouquets of pretty acrylic flowers in soft tones of lavender, mauve and lilac. The pendant combines the textural
mesh patterns of lace together with an array of flower clusters. Using the same technique you could replicate any pattern or filigree and use any colour or type of flowers.
STEP
shape. Seal with several coats o
acrylic sealer allowing each to dry
beore applying the next. Cut a
piece o reusable poster putty to
the same shape and press lace into
it firmly, right side out. This is to
stabilise the lace to ensure that the
silicone moulding materials does not adhere in every single hole o
the abric pattern.
white, super white
Lace or textiles to mould
w w w . c r a t s i n s t i t u t e . c o m6
Project Easy
the most convenient length. Attach
to the silver wire by coiling it several
times. Trim the wire ends. Attach
the first flower by threading the
lavender wire up through the flower
hole, through a seed bead and then
back down into the flower hole on
the outside o the seed bead.
Add as many wire loops
or attachment points as
pendant or just around
then drill multiple holes to
wrap wire through.
Use one type and size o
floral beads or mix it up. Be colour coordinated or make
a cottage garden o shades.
For a different take, overlay
a contrasting colour (o
acrylic paint, mica powder,
highlight the lace pattern,
sparkly over black with
a versatile method.
available here to download.
hang pendant rom
medium
silver wire
Acrylic flowers and leaves in your
chosen shade(s) approx. x 21
depending on size
flowers
Wire cutters
P H O T O
G R A P H S : L A U R E L G U I L F O Y L E ,
L I N Z I A L F O R D B U C K M A S T E R
STEP
Thoroughly mix the silicone moulding putty. It normally consists of two colours to be mixed in equal parts (1:1). Once mixed it will ‘cure’ in about 10 minutes so do not spend too long blending the two parts. Roughly shape the silicone putty into a rectangle shape. Press the
lace firmly face down into it. Ensure there are no air bubbles trapped, as these will cause blank areas. Wait for 10 minutes for the mould to cure.
STEP
Mix the air-dry clay to the desired shade (or of course you can use an existing colour with no blending). Wear disposable gloves, as some colours will stain your fingers. Mix a pale lilac colour, with red + blue bended (plus an equal amount of blue) + white (and an equal part of
blue). Use the colour chart on the supplier website for assistance, if needed, in mixing the colours. Once mixed, form a rectangular shaped piece and press into the lace mould.
STEP
Leave overnight and once the clay has dried, remove from the mould. Using a rotary tool, drill a hole in the top centre. Using a metal file and then a buffi ng block, remove all the uneven edges and any surplus clay to neaten the shape.
STEP
Cut a 40cm length of 0.8mm silver wire. Make a wrapped loop at one end and pass it through the hole on the pendant front to back. Wrap wire tail again to secure.
EARRINGS
Shape two small pieces of clay into teardrop shapes and place into the mould.
Allow to dry, then sand and drill as before. Add beads by making eye pins with short sections of 0.8mm wire. Thread through an acrylic flower and attach with a jumpring to earring wires.
BRACELET
Using the same technique as the main project, make a mould of a short section of
lace binding. Form a bracelet bar shape in clay and press into the mould. Allow to dry, but remove before it is totally set and drape over a pencil to get the slightly curved shape. Once dry, sand and drill a hole at each end. Attach a chain and a clasp, connecting using large jumprings.
Extra Projects Make earrings and a bracelet
Easy Project
STEP
Finish off the pendant once all the flowers are attached by taking the chain nose pliers and making a sharp half turn in the slack wires on the reverse of the pendant. This will tighten the wire, although be careful not to overdo this as it can pull the wire away f rom the pendants edges onto the back! Add a chain, a ball chain or a ribbon through the wrapped loop
bail and a clasp, if required.
STEP
Continue to thread flowers and leaves around the perimeter of the pendant adding as many as you please. Work your way around, making a couple of coils around the 0.8mm wire in between each flower to secure. If the 0.5mm wire becomes brittle as you near the end then clip off the kinked section and start with a new length; try using 3 x 40cm lengths on this pendant. You
can continue to add more flowers or leaves onto the design until you are happy with the overall look.
STEP
Wrap the silver wire in a series of wiggles and loops that encompass both the back and edge of the pendant. These loops will form attachment points for the flowers. Secure the wire on the reverse by looping and twisting together, but leave it reasonably loose. It will tighten it once all the flowers are added.
w w w . c r a f t s i n s t i t u t e . c o m
CONTACT
WRAPPED WITH LOVE Make an intricate
wirework bracelet
By Karen Caine
B efore you start the bracelet, you will need to be aware of how to cut the frame wires.
First you need to measure your
wrist in centimetres to discover your bracelet length (BL). Then cut three frame wires using the following calculation: Inside wire = (BL x 2) + 8cm for hook and spiral Middle wire = (BL x 3) + 20cm for the decorative swirls at either end Outside wire = (BL x 3) + 23cm for the decorative swirls and to make the eye for the hook
STEP
Cut your rame wires using the ormula described above. Then measure and mark a point 10cm rom the lef on the middle and outside wires and 4cm rom the lef on the inside wire. Starting at the 10cm mark you just made, and leaving a 12cm tail that you’ll use later, coil the weaving wire three times
around the outside wire (OW) in an anticlockwise direction. Leave the weaving wire sticking up at the back.
MATERIALS
1mm rame wire 0.4mm weaving wire (14 x bracelet length)
4 x 6mm beads Liver o Sulphur (optional) 0.7mm and 0.3mm weaving wire (or extra projects)
2mm beads (or extra projects)
RESOURCES
www.cooksongold.com
CONTACT
Project Intermediate
STEP Using the two 10cm lengths o rame wire you lef bare in Step 1, create some decorative elements at the end o your bracelet. Swirls, spirals, zigzags – the design is up to you. You can also choose how to finish the ends. You can ball them up with a torch, or simply cut them with flush cutters. Once complete, use short lengths o weaving wire to sew the ends to the bracelet to prevent them moving.
Intermediate Project
P H O T O G R A P H S : L A U R E L G U I L F O Y L E ,
K A R E N C A I N E
STEP
10cm marks are aligned. Continuing
in an anticlockwise direction, coil
the weaving wire three times around
both wires. Now add the inside wire
(IW) above. Bring the weaving wire
up the back o all three, then coil it
three times around the top two rame
wires. On the third loop, poke the weaving wire orward between the
two wires (IW and MW).
STEP 3
three times around the lower two
rame wires (MW and OW), then
take the weaving up the back o all
three rame wires, so that you’re in
a position to coil once more around
the top two rame wires, then push
the weaving wire through between
IW and MW once more. Repeat
this pattern until a ribbon o weave covers the bracelet length (BL) you
measured earlier.
wire three times around IW and
MW, then coil it three times around
MW. Repeat twice more so that the
weave continues on IW and MW,
but leaves OW bare. Make sure the
rame wires still line up then bend
the woven ribbon back on itsel.
Follow with the bare wire, but leave
a gap or the hook to go through (approx. 5mm). Resume the same
weaving pattern as beore.
Be careul not to
accidentally reverse the
or a moment. From the
ront the weave should
while at the back you can
see the weaving wire
I you have problems
poking your weaving wire
through when sewing your
circle to enlarge the gaps
in the weave.
equal lengths on either side o the
curve. Finally, coil the weaving
wire three times around OW beore
cutting and tucking it in. Use the tail
you lef in Step 1 to tie the two sides
o the bracelet together. Maintain an
anticlockwise direction and loop the
tail around each o the six rame wires
in turn. Repeat twice more, then coil, cut and tuck in the tail’s end to finish.
STEP 7 Now take the remaining outer pair
o rame wires and curve them back
on themselves and then swirl them
around the body o the bracelet,
adding a bead to each wire as it
sweeps across the ront. Make
sure that the decorative wires are
pinched closely enough to the body
o the bracelet that the beads cannot
slide around to the inside o the
bracelet. I you want your bracelet
to have a sense o symmetry, place
the beads one-third and two-thirds
o the way along the bracelet.
STEP At the end o the bracelet, add
some more decorative elements
Step 6. Create the br acelet’s hook
with the two remaining inner rame
wires. Make a simple decorative
loop with the first, then bring the
second wire parallel to it beore
sweeping it around into a hook
with a loop at the end. Make sure
that this loop is small enough to
pass through the eye you created
in Step 4.
hammer the shank to make it solid.
Now wrap your bracelet around a
bracelet mandrel (or similar object)
to make it round. Use your hands to
shape the woven parts and a mallet
to shape the bare wires where they
overhang the woven parts – just
make sure you don’t hit the beads!
Add a patina i you like, then settle
back and admire your handiwork.
PENDANT
Start 2cm rom the lef and create a ribbon in the
same way you created the bracelet, substituting
the eye part or the pendant’s two bails. Bring the
two ends o the ribbon together at the heart’s point
and old the 2cm lengths over the longer rame
wires to anchor them in place. Sew all the layers
Extra Projects Make a pendant and earrings
w w w . c r a t s i n s t i t u t e . c o m 9
together, then use the lefover rame wires to orm
the decorative arcs.
or the ear wires. Curl the other rame wires into
decorative swirls.
w w w . c r a f t s i n s t i t u t e . c o m 11
Regular
By Ellen Evans
EuroSynergy2 Polymer Clay Conference Do you love working with polymer clay? The International Polymer Clay Association will hold EuroSynergy in Bordeaux from -
July. The conference is an opportunity to meet other artists from around the world, listen to inspirational presentations and buy and sell polymer work. Three days of workshops follow, held by highly regarded international tutors. All of the presentations at the conference and the workshops are brand new to Europe and the presenters are from USA, Europe and the Middle East. The cost of the conference is Euros and each workshop is priced separately. Full details of the programme and location can be found on the website or Facebook group. www.eurosynergyconference.net
NEWS
Pulse From - May, artists and makers will flood to Pulse at Olympia London. The large-scale event promises a wealth of beautiful things to see, including jewellery from the very best makers. It’s a chance to pick up gifts and inspiration, with lots of one-off pieces on
display. The team at Pulse have identified key trends and motifs for the upcoming Autumn/ Winter season, such as oriental-st yle snake charms/serpent bangles, enamel and crystal bugs and minimal c ircles and stars. Earrings and rings are the key pieces to look out for at the show. www.pulse-london.com
Artistic Wire Large Wire Crimp Connectors Beadalon have launched new Artistic Wire Large Wire Crimp Connectors. They are the perfect cold connection to join large gauges of Artistic Wire together. Calibrated for , , and gauge Artistic Wires, you can also use them for Artistic Wire Braid, gauge Aluminum Craf t Wires, and to join multiple strands of smaller gauge wires. To use, place
one end of the wire that you are joining half way into the Crimp Connector. Place the other wire in the opposite end so that the wires meet in the middle. Use the back notch of the Mighty Crimping Pliers for the and gauge wires and the Standard Crimping Pliers for the gauge wires to gently squeeze one side of the crimp then the other for a secure connection. www.beadalon.com
Amanda Coleman D83 Bejewelled Bugs
Daniella Sigurd A45 Bejewelled Bugs
Glitter and Twisted classes Throughout May and beyond, Lydia Foster will be running Silver Workshop days from her studio in Emsworth, Hants. Go along to learn how to make your own piece of silver jewellery to take home. The workshops take place from am-pm, and cost £, including all materials and lunch. For dates and other
information, visit the website. www.glitterandtwisted.co.uk
07786005955
Regular
Digital Paper Jewellery On the - May , Francine Oeyen is presenting a two day course on paper jewellery at the Victoria & Albert Museum in London. The course combines analogue
and digital processes, using paper and cardboard. Suitable for beginners, the workshop is a chance to try something different. Using a variety of techniques, you can create a unique and creative piece of contemporary jewellery. Visit the website for prices and to book.
www.vam.ac.uk/whatson
Wendy Ramshaw’s Room of Dreams Don’t miss your chance to see work by designer Wendy Ramshaw, a British jewellery icon. Birmingham Museum and Art Gallery is exhibiting her ‘Room of Dreams’ until nd May. Ramshaw draws inspiration from stories such as Alice in Wonderland to make up an insta llation of
many parts, f rom small jewels in frames to large freestanding furniture. In the artist’s own words: “The dream is the room and every one of its individual contents is in some sense a part of a dream. A white wall is covered with frames, each of which contains a piece of jewellery, each inspired by a dream or dream-like situation…a series of stories and images waiting to be considered and discovered…. Room of Dreams has brought into existence so many imagined objects, gathering together so many thoughts in one place, ‘the room’. It has fulfilled and completed a dream for me.” In this exhibition, jewellery is imagination.
www.birminghammuseums.org.uk
Amulet Master Class Tracey Spurgin will be teaching her renowned Freya’s Tears Amulet master class at her Craftworx Studio in East Yorkshire on Fri to Sun May. This is your chance to experience the project originally designed for the nd Midsummer’s Dream Metal Clay Retreat that took place in June last year and has since been taught around the country as well as in Belgium. Tracey has decided to extend the workshop from two to three days to give students plenty of time to completely finish their creations. The cost of the class is £.
www.craftworx.co.uk,
Want to get out and about this spring? Here are some creative shows and classes not to miss.
WHAT’S ON
In the Studio In the Studio Jewellery School runs a wide variety of courses taught by worldwide experts. Upcoming classes include Chasing and Repoussé, in which you can learn how to hammer metal into beautiful sculptural designs of your choosing using this traditional Italian technique. There is also a course on fusing, fabricating and granulating Argentium silver, which does not leave fire scale, is tarnish resistant and can be fused to itself without the need for solder. Demonstrations are followed by hands-on experience to create earrings, rings, and a bead.
www.inthestudio.co.uk
B I R M I N G H A M M
U S E U M S T R U S T
fl oral silver clay pendant.
By Nicola Beer N icola is a silver clay and wire artist, and is a level two accredited ACWUK instructor. She is inspired by fairytales,
legends and nature to produce enchanting and whimsical jewellery designs.
Nicola’s pendant was inspired by thoughts of fragrant English country gardens and pretty flowering meadows. Silver clay is the perfect
medium in which to recreate the delicate beauty of early summer blooms and the design can be adapted to feature any natural element to represent different seasons of the year.
MATERIALS
Silver Clay syringe
Selection o fireable 1-2mm cubic zirconia stones

Roller Paintbrush Playing cards or spacer bars Small flower cutters
Clay pick or sharp craf knie
Tissue blade
Ballend tool
Bezel pusher tool Liver o Sulphur gel

RESOURCES
www.acebook.com/RubycurlsJewelleryDesigns www.etsy.com/shop/Rubycurls
Project Advanced
Advanced Project
N I C O L A B E E R
STEP
Shape a length o fine silver bezel wire around
the cabochon. Ensure that you start and end the
wire along a straight edge o the cabochon. Trim
the bezel wire down to the exact size to orm a
close fit. File the edges o the bezel wire so that
they are parallel and sit flush next to one another.
Apply silver clay paste to the join and allow to
dry. Place the bezel onto a firebrick and fire the join with a blowtorch until used.
STEP
To create the pendant backplate, lightly balm the
work surace, your hands and the roller. Roll out a
sheet o silver clay 1mm (or 4 cards) thick and cut
out a large oval. The cabochon should fit into the
centre o the oval, leaving a 1.5cm space around
the circumerence o the stone. Roll out another
1mm sheet o clay and cut out a second oval that
is just a ew mm larger than the cabochon.
STEP
Wet the surace o the large oval with a
paintbrush and water and layer the small oval on
top. The wet surace will give you a minute or so
to position the smaller oval so that it sits centrally.
Gently push the bezel wire into the smaller oval.
The wire should be suffi ciently embedded to
hold it in place but not cut through the back.
Using a pick or craf knie to cut out an oval inside the bezel, leaving a gap o at least 4mm around.
STEP
Set aside the back plate to dry. Take a sheet o
clingfilm and loosely old it a couple o times but
do not completely flatten it out. Roll a small lump
o clay to a depth o 0.75mm (3 cards) thick and
cut out several flowers in two different sizes. Place
each flower onto the olded clingfilm and use a
large ball tool to gently depress the centres. This
will shape the petals. Allow the flowers to dry.
STEP
or scratches. Baby wipes are particularly useul
or this job and produce a lovely fine finish. I
using baby wipes don’t allow the clay to get too
wet, you may need to dry it at intervals.
STEP
Place the backplate to one side and start
preparing the bale. Lubricate a piece o teflon
sheet and roll out a small lump o clay to 1mm
thick. Cut out a diamond shape with a tissue
blade that is approximately hal the length o
your backplate. You can make it smaller or larger,
according to your taste. I you can’t do this by
eye, use a paper template or a cutter to help.
Any small flower shaped cutter can be used. Cake decorating
suppliers are an excellent source o tools or metal clay work and
some sugar craf cutters come in really small sizes which is perect
or silver clay.
tiny components.
When positioning the flowers, ensure that you leave enough space
around the bezel wire to be able to use a bezel-pushing tool to
secure the stone.
need to be joined to form a loop. Lubricate the
plastic, rounded handle of a tool or a thick straw
and drape the wet diamond over it. Rest the ends
of the tool on a prop and apply a small amount of
paste to one end of the bale and a little water to
the other end. Gently press the ends together and
use a rubber clay shaper to blend. Set aside to dry.
STEP
The bale of the pendant is fixed in place with
a loop of silver clay. Create the loop by rolling
a thin snake of silver clay. The snake should be
approximately 2mm thick. Thoroughly wet the
snake with a paint brush and water to prevent
cracking, pick it up with the paint brush and coil
it around the smooth plastic handle of a tool or a
thin drinking straw. Allow the coil to dry.
STEP Spend some time refining the dried bale
and pendant. When the coil is dry, cut it into
semicircles. Apply a thin layer of water to the back
of the pendant. Feed the loop through the bale
and apply a little silver clay paste to the underside
of the loop. Position the loop on the back of the
pendant and give it a wiggle until you feel the
clay start to drag, indicating a bond. Hold it for a
minute or so and then leave it to completely dry.
STEP The pendant should be fired without the stone in
place so remove it if you have it in the setting. Fire
your pendant according to the manufacturer’s
instructions either in a kiln, with a blowtorch or
on a hob. Place the pendant onto a rubber block
and pop the cabochon into the bezel setting.
Use a bezel pusher tool and press the bezel wire
around the cabochon with gentle pressure and
small movements. Work on alternate sides to
push the wire over the edges. Burnish the wire all
around the cabochon for a neat finish.
STEP Most fireable stones will survive a kiln, hob or
torch firing but the stones will be susceptible
to thermal shock. For this reason, allow the hot
silver to cool naturally and do not quench to
avoid discolouring or cracking the stones. When
cool, brush the piece vigorously with a brass
brush to bring the silver to a satin finish. Or, for a
mirror finish, use decreasing grades of polishing
papers, rotary tool polishing attachments or
burnish in a polishing tumbler.
STEP
To create flower centres, gather a selection of
1–2mm stones and a syringe of clay. Pipe tiny bal ls
of clay twice as large the stones. Pick up a stone
and place it, point down, dead centre onto the
wet ball of clay. Press the stone down with a clay
shaper until the girdle of the stone is encased.
Allow these to dry and then adhere them to the
centres of the dry flowers. Arrange the flowers
around the bezel of the pendant and glue each one in place with water and silver clay paste.
EARRINGS
up with water and silver clay pas te. Fire and
add earwires.
ring mandrel, prepared with a ring paper,
to make a ring band. Add a stone, small
flowers and tiny leaves as embellishments.
Extra Projects
www.craftworx.co.uk
Flux’n’Flame
Tel: 01258 881690
Mobile 07785 550771
‘Humour, patience and creativity
Jess and Al have in abundance.
Nothing is too much trouble, and
everyone is treated like family. One of the nicest places you could
wish for to learn and express yourself,
comforted in the knowledge that
each piece will be made to their
exacting standards.
Susan, student
with sterling silver, gold and precious
stones using traditional jewellery
beautiful Dorset country
Wonderland Flower power
I t’s almost festival season; if you didn’t manage to get tickets for Glastonbury – fear not! Hosting
your own festival in the garden is so much fun! Plus you don’t have to worr y about portaloos or not showering for days, as all your home comforts are just inside the door. This festival season has a ’70s Woodstock influence, which has
been revived for the summer. Wellies are the festival essential; we love the pattern on these jolly boots and they will certainly lif t spirits on a rainy day. You could even set up a tent in the back garden for extra festival atmosphere, while this tee ticks a ll the retro buttons. A saddlebag is ideal for carr ying around your must-haves. This bag has beautiful embroidery detail. Zhandra Rhodes is renowned for her festival prints, this lipstick dress completes the laid- back ‘I’m with the band’ vibe.
Zhandra Rhodes
www.primark.com
As the weather warms up and the fl owers are blooming, it’s the perfect time to host a garden
party – with plenty of outdoor style! By Rachelle Bell
I f you want to host a kooky, eclectic event, take inspiration from the ‘Mad Hatter’s tea party’. We’re thinking an updated version of the Victorian classic novel. Sleek cuts with a fun twist. Abstract
patterns teamed with the traditional ‘Alice’ blue-and-white colour palette. We love the head-to-toe white look with a patterned blazer for detail. Keeping with the blue theme, these trousers with their peg-leg style would also work well with basic, neutral pieces. For a bit of pizzazz, add an embellished clutch bag. This sequined, floral piece certainly adds a sparkle to a minimal outfit. We can’t mention
wonderland without including a white rabbit. This jumper is cute yet fun with the il lustration-style print, team with a sparkly skirt for an eccentric look, or keep it pared back with skinny jeans and loafers.
Bunny jumper, £21.99,
,
..
Bee purse, £4.99, www.newlook.com
www.lookagain.co.uk
B ritish summertime has lots of traditions, picnicking being one of them! We love rallying up
the troops and heading out for the day,
knowing we have lots of amazing food for an impromptu lunch in a sunny spot. A floral tea dress, teamed with a cardi is a cute yet casual outfit. We have lots of beautiful British wildlife in the summer and we think the humble bumblebee is something to be celebrated. This adorable bee purse is so kitsch! Peg-leg trousers are the silhouette to be sporting this summer. We also love these white trousers with their gorgeous, delicate wildflower pattern. Whilst you sit in the meadows you can admire the dainty florals on your legs too!
h
Croquet on the lawn
I f you fancy something a little more sophisticated, hosting your own afternoon tea
party complete with croquet on the lawn is a great way to enjoy
summer. Of course, you have tolook prim and proper whilst you sip your Pimm’s. Dainty, retro silhouettes are perfect for this trend. A floral shift dress is a very flattering cut for many shapes and sizes. This high-necked applique top would look wonderful teamed with a pastel pencil skirt. Who says heels are impractical for garden games? These court shoes have an almost tropical floral print and add a little daytime glamour. To add a bit of sparkle, why not add an embellished
beaded collar to complete your outfit? Even on a casual day, a beaded collar worn with a plain white t-shirt looks good.
Floral shif dress £39, bracelet £6, earrings £3, all rom www.mandco.co.uk Diva floral cluster collar, £16.50, www.missselridge.co.uk F&F pink floral top (matching skirt available), £16, www.tesco.com/ clothing Floral court shoes, £18, www.very.co.uk
your legs too!
own eye pins 31 x green agate beads
7 x silver frosted beads
6 x 40mm silver bullet beads 62 x flower bead cups Decorative flower toggle clasp
RESOURCES
www.hcbeads.com
planning the correct
rolling around. However
can always measure the
desired length and mark lines onto an old tea towel.
Designer tip
Project Easy
Extra project Make earrings
STYLE Make a butter fl y necklace with green agates
inspired byVanessa Hudgens.
By Tansy Wilson
I have taken inspiration from her name ‘Vanessa’, which actually means ‘Butterfly’ in Latin and is one of the reasons Vanessa
recently had a butterfly tattoo done on her neck. Her style is the perfect mix of edgy and feminine, which I captured with these pretty
agate beads in contrast to the hard-edge brushed silver.
20
ame co our
to make a
pins for this project, using 0.8mm
wire. Cut approx. 30mm of wire
and make an eye loop at the very
tip of the wire using round nose
pliers. Thread your eye pin through
a flower bead cup, followed by
a green agate bead then finally through another flower cup.
STEP
nose pliers as close to the top of the
last added flower cup as possible.
Cut away any excess wire. See page
96 for how to make simple loops.
STEP If you are making your own eye pins,
you can make them the size you
require to accommodate all your
different sized beads. Repeat Steps 1
and 2 so you have all of your assorted
beads ready to link together.
STEP
linked by the jumprings added in
Step 4. Keep working your way
around the bead board ending
up by joining a clasp using one
jumpring either end.
STYLE PROFILE VANESSA
connector and close. Repeat, to
add another oval jumpring to the
bottom of the connector. Repeat
this step to add jumprings to the
other butterfly connector.
board playing around with ideas
of symmetry or perhaps you would
prefer a random pattern. Either
way, when you are happy with your
design, simply open one eye loop
on a bead and link it to the next
bead along.
T A N S Y W H E E L E R
Vanessa Hudgens is an American actress and singer rising to fame as Gabriella Montez in the High School Musical series. Songs from the
series and fi lms charted worldwide. She has also appeared in various fi lms and television series for the Disney Channel but is now focusing on her acting career, currently playing the title role in the Broadway musical Gigi and also the role of Rizzo in Grease: Live.
P H O T O G R A P H : F E A T U R E F L A S H / S H U T T E R S T O C K . C
O M
pref
way,
desi
22
Feature
Who am I?
I am Stacey Bentley Stacey frequently uses enamelling as a focal point to create unique jewellery
designs, often with an industrial or architectural feel.
P H O T O G R A P H :
S C O T T R A N K I N
How did your interest in jewellery start? I enjoyed wearing jewellery as a little girl, but it never crossed my mind I would end up
becoming a jeweller. I had always enjoyed art and design as a subject and in particular I loved to paint. My art teacher would teach me how to use oil paints and the different brush techniques after school so the natural progression for me was to apply to study fine art as part of a Foundation course at Leeds College of Art. Here I was opened up to a new world of disciplines such as illustration, printmaking, textiles, fashion and photography. I loved D design in particular, and this is where I was introduced to the world of jewellery.
Where did you train?
After passing my BTEC diploma in Foundation Studies at Leeds College of Art, I went on to study Jewellery Design and Silversmithing at Edinburgh College of Art. I had enrolled straight into the nd year at the college with very little technical ability, so I had to work hard to catch up with the rest of the students. I soon became immersed in the world of enamelling and once I had graduated with a st class degree I went on the study my MA in Jewellery also at ECA.
Where is your studio?
I set up my own studio in , a year after I had finished college. My studio is in a fantastic old warehouse in Edinburgh next to Haymarket Railway Station. The environment I work in is very industrial so it provides me with a wealth of inspiration and complements my work perfectly. I share my studio with three other talented jewellers as well as a painter, violin-maker and glassworker.
What is the ma in inspiration for your design? I have always been inspired by architecture. I grew up in a small industrial town called Batley
1
2
Feature
and lapis enamel
silver, iron, enamel
silver, 23.75ct gold leaf
gold
6 7
in West Yorkshire and I remember sitting with my dad painting the old cotton and textile mills. After I moved to Edinburgh I loved the grandeur of the architecture there and this began to fuel my jewellery designs. More recently I have begun to look into the geometric patterns of Islamic architecture after a recent trip to Egypt, and a new collection is currently
being developed from this research.
What is your preferred medium? I like to use precious materials in my work such as silver and gold. I usually oxidise the silver to give it a more industrial, architectural feel. ct gold is used to highlight a piece of jewellery or complement a colour. I have always incorporated colour into my work and my preferred medium is enamel. I matt back the shiny surface to create a bold block of colour.
Do you have a favourite tool? My favourite tool is my jewellery bench. The bench was passed down to me from the late
William Kirk (–), an influentia l silversmith who taught at both Glasgow School of Art and Edinburgh College of Art. I feel extremely privileged to be able to work from this bench.
What are your goals? My main goal is to continue running a
successful jewellery design and making business. I love making one-off pieces for collectors and I have been focusing on this aspect of design and making for the last few years. Recently I have been developing a more commercial and accessible range of jewellery to sit alongside my one-off pieces, which I hope to launch within the next year.
Do you offer workshops and jewellery classes? I offer one-to-one tuition at my Edinburgh studio. Students are able to work at my bench with access to all tools including my enamel collection and kiln. I teach the basic jewellery skills and techniques to get them started. I
also work for the University of Edinburgh as a Lifelong Lear ning tutor, specialising in Etching and Enamelling. This takes place in Edinburgh College of Arts specialised workshops overlooking the castle.
Where do you exhibit/sell your work? I currently have several stockists in the UK,
which include The Scottish Gallery, Edinburgh; Contemporary Applied Arts, London; Studio Fusion, London; and Victoria Sewart Gallery, Plymouth. I also exhibit regularly with Dazzle Exhibitions as well as sell through their online store LoveDazzle. International galleries include Gallery Lulo, California.
What has been your greatest achievement? I think my greatest achievement is simply getting to be a jeweller for a living.
CONTACT www.staceybentley.com [email protected]
Project Easy
Sculpt these folk-art inspired birds using polymer clay. By Emma Ralph
E mma is a project designer passionate about polymer clay. She has authored
two books on the subject and numerous articles. She also owns
EJR Beads, providing tuition plus beads and polymer clay supplies by mail order.
Polymer clay is the perfect material for making beads. These stylised birds borrow from traditional folk-art motifs, updated with subtle shimmer, thanks to luscious mica powders. Cernit polymer clay comes in fantastic colours and is very strong when baked, but the project works equally well with other brands.
MATERIALS
1 pair ice blue anodised niobium ear wires
1 pair yellow anodised niobium headpins
1 pair green anodised niobium 6mm jumprings
Clay compatible varnish Ceramic tile or other suitable
work surace
Metal ruler Clay cutting blade or craf knie Clay modelling tool or
knitting needle
metal cutters Sof medium paintbrush
Flat nose pliers Round nose pliers Wire cutters
RESOURCES
www.ejrbeads.co.uk/shop
CONTACT
[email protected]
Easy Project
E M M A R A L P H
STEP
well to condition it ready or use.
Working on a ceramic tile or other
suitable work surace, roll the
clay into a log approx. 10mm in
diameter. Lay the log against a metal
ruler and with a craf knie or clay
cutting blade, cut two sections each
3cm long. Roll both the sections into round balls.
STEP
between your thumb and orefinger
to orm a short, stubby t ail. You can
shape and position the tail in any
way you choose. Smooth and shape
the clay with your fingertips and
ensure both pieces match. I the clay
gets too sof, pop both pieces in the
ridge or a ew minutes to chill the clay and stiffen it up a little.
STEP
the meeting edges close together.
Don’t squeeze out any trapped air
rom between the olded suraces.
Just concentrate on nipping the
edges close together with your
fingertips until the seam gets
smaller and you can eventually
smooth it away with your fingertip or a modelling tool. The olded
discs should start to look a little like
ortune cookies at this point.
STEP
fingertips to shape them into plump
discs, approx. 5mm thick. You don’t
need to get the discs perectly
smooth – any fingerprints or lumpy
areas will smooth away as you work
the beads urther. Just try to ensure
they are nicely circular and match
each other in diameter as closely as possible.
STEP
corner o each clay piece outwards
to make the bird’s head and neck.
Slowly coax the clay out into a
tapered point, smoothing the clay
as you go. Work on both birds
beore proceeding to ensure their
necks match. Bend the first 5mm or
so o the tapered point down back
towards the body to make a stylised
head or each bird.
turquoise polymer clay using the
thickest pasta machine setting. Lay
the sheet on the work surace and
cut out our small teardrop shapes
using the smaller sized metal cutter.
These simple shapes make ideal
wings! Apply a wing to each side
o both birds, placing them in any
position you choose.
larger teardrops rom the remaining
turquoise sheet. Sandwich a closed
niobium jumpring between two o
the teardrops. Hide the jumpring’s
opening between the clay layers
and be sure to allow at least hal the
ring to overhang the clay to create
a generous hanging loop. Repeat
to create a second charm. Careully
lif each charm and pinch the clay
together lightly to secure.
o a knitting needle to push down
the clay by the jumpring and the
end o a wooden toothpick to crimp
a pattern around the edge o the
charm. You can adorn your charms
in any way you choose.
I the clay is too sof, layer it between sheets o clean paper or 10
minutes to absorb some o the oil, then reknead well.
Use a protective dust mask when using mica powders and wear
eye protection when cutting niobium wire.
Wrap a little sticky tape around the jaws o your pliers to protect
the anodised surace when working with niobium findings.
Designer tips
in each bird using a wooden
toothpick. Keep the birds in place
on the toothpicks and indent some
decoration using another toothpick
the birds as you wish; I’ve chosen
simple lines and dots, typical o olk
art. Add patterns to the wings and tail i you wish and don’t orget to
give your birds some eyes!
STEP
beads. Brush the charms and beads
with mica powder using a sof
paintbrush. I’ve used pale gold,
but any translucent or intererence
powder works well, allowing
the clay colour to show through
the shimmer. Brush off any loose
powder and bake the clay pieces ollowing the manuacturer’s
instructions. When cool, varnish the
pieces to protect the mica powder
and allow to dry.
nose pliers – this will protect the
delicate oxide layer on the anodised
niobium findings as you work.
Form a loop in the end o a niobium
headpin and attach one o the lea
charms, closing the loop afer using
both pairs o pliers. Repeat with
remaining headpin and lea charm
to orm a matching pair.
STEP
wire cutters. Wear eye protection
whilst cutting niobium as it is a
hard wire that can ping off in any
direction! Thread on the bird beads,
and the small turquoise accent
beads beore turning a hanging
loop in the remaining headpin wire.
Attach the completed earrings to a
pair o niobium ear wires.
NECKLACE
Make larger birds and extra charms to create a necklace. Using a
lark’s head knot, attach a lea charm to the centre o a metre length o
2mm diameter cord. Attach jumprings to the remaining lea charms
and knot them and the bird beads along the cord ollowing whatever
spacing you choose. Knot on accent beads to create tie ends or
simple astening.
Create matching earrings using lea charms and accent beads with
anodised niobium findings.
Extra Projects Make a necklace and earrings
Regular
Send your letters and pictures to: Ellen Evans, Making Jewellery,
86 High Street, Lewes, East Sussex, BN7 1XN or email: [email protected]
Don’t forget to follow us on Twitter at @makingjewellery or find us on
Facebook by searching for Making Jewellery
Favourite Make Friday
READERS’ PAGE On Facebook we run a competition over
the weekend where we asl you to upload a picture of something you’ve made that week,
and our favourite wins a prize. Here are some
recent winners.
TARA HUFFER
Silver ring
Making a change I just wanted to say how much I enjoy reading “Making Jewellery”. I am a mum of a month old beautiful baby girl and my goal is to turn my hobby into my own little business.
I am so inspired by your magazine, and I constantly try to learn new techniques and
improve. Here is a small collection of my work.
Kind regards, Vanessa, by email
Ellen’s reply Your pieces are gorgeous Vanessa! Good luck with the business.
Holiday memory This is a Sterling silver ‘pea pod’ made using the fold-forming technique with five cream
freshwater pearls which I bought in China last November when I was on holiday - it’s a piece I made for myself as a memory of a happy holiday. Katherine, by email
Ellen’s reply What a beautiful piece to have as a memory of your holiday Katherine. We hope you get lots of inspiration from your star letter prize.
S T AR LE T TER
SCOTT CLEMENTS
maille chain.
JANET WOODS-LENNON
Letter winner. She wins a
copy of Gems & Crystals, a
tour of the beautiful world of
gemstones.
www.thegmcgroup.com
Wires.co.uk We have the best range of “High” quality wires.
Knitted wires, silver wires, copper wires, plus many more!
Trade
enquiries
welcome
Scientific Wire Company, Units 2 & 3 Zone A,
Chelmsford Industrial Estate, Great Dunmow CM6 1HD
Tel: 020 8505 0002 Fax: 020 8559 1114
Email: [email protected] www.wires.co.uk
Feature
29
Have you always been interested in craft and making jewellery?
Yes, I have painted and drawn since childhood. As an adult, I discovered card-making with rubber stamps and scrapbooking. I happened across jewellery-making by chance, and began with simple stringing.
Tell us a bit about your background and training. I am an experienced primary school teacher. I currently work part-time, as I have a young family to care for too. About years ago, I began dabbling in jewellery-making as a hobby, buying numerous magazines and books to learn as much as I could about different techniques, styles and materials, to use in my own designs.
Can you remember the first piece of jewellery you made? No, but I do remember an early piece I made as a Christmas present for my Mum; it was a simple strung necklace. We all have to start somewhere, but I have come a long way since those early days!
Which materials do you most enjoy working with? My main passion is for polymer clay. I love its versatility and also its ability to mimic other materials, such as ceramics. I particularly enjoy using surface techniques and I was delighted to
find that my artists’ materials, as well as some of my resources for card-making and scrapbooking, transferred easily to this medium.
Where do you look for inspiration? I have a small ‘library’ of books and tutorials at home, as I am very interested in learning new techniques to apply to my own designs. I am a huge fan of tutorials by Ginger Davis-Allman of the Blue Bottle Tree, in particular. I also have several Pinterest boards where I pin ideas that I find inspiring, whether it be a new product, a way of joining elements or a new way to add
interest to a polymer clay bead! I look for interesting shapes, textures and colours, not
only on Pinterest, but as I go about my everyday life. I keep a book with sketches and notes of ideas for potential projects (even impromptu scribbles on post-it notes at unearthly hours). I also take photographs on my smartphone; I have been known to take photographs of interesting patterns in paving, or the patina on rusty scaffolding! I also find being given a ‘theme’ for a piece an interesting, creative challenge. It was this approach that led to my first ever tutorial being published in this magazine.
How would you describe the style of the jewellery you make? I am still in the process of finding my own ‘voice’,
but I am very drawn to things from nature, such as flowers, seeds, pods etc. and anything with a rustic or organic look. I love circles and find I use those a lot in the structure of my pieces. I have more recently enjoyed making ‘statement’ pendants, which tend to stand alone in a piece. I mostly use artists’ materials such as paint, chalks and inks, but I am keen to explore further the transfer of my own artwork onto polymer clay, as this is a technique I find fascinating.
What is the most challenging piece of jewellery you’ve made? I attended a fantastic weekend of workshops at Polymania in Bristol last year. One of the
workshops was run by Cara Jane Hayman, where I learned how to make a fabulous complex cane that we later used to make a necklace. It required precision and time, but it was well worth the effort.
And this one to finish with: If I wasn’t a designer I would be… Working as an artist. I considered attending art college when I was , instead of taking the more traditional route of A-levels. I often wonder what my life would be like now, if I had pursued this direction all those years ago!
ZOE LYNHAM
Tips & techniques Top technique
T his stitch is easy to learn and fun to do. Once the basic stitch has been mastered, it opens up a whole host of
possibilities for jewellery design. This weave creates a Saraguro-style bridal collar.
MATERIALS
Beading wire Beading thread Selection of size 15 seed beads Glue
Findings Snips Beading needle Bead board (optional)
RESOURCES
All tools and materials for this project are available through companies who advertise in this magazine.
CONTACT
www.etsy.com/shop/ClairWolfe
SARAGURO STITCH This basic net stitch is based on a traditional techniques used by the people of Saraguro.
By Clair Wolfe
Top technique Tips & techniques
STEP BEADED WIRE BASE
Cut a length o beading wire a ew inches longer
than required. Add a small section o masking
tape to one side, leaving an inch or two o excess
wire. Thread size 15 seed beads onto the section
wire which will become the design, the amount
added needs to be divisible by 3. Add a second
section o masking tape to the wire once again
leaving excess wire on this end.
STEP SECURING THE THREAD
Cut a length o thread, as long as you can
comortably manage. Run it though your fingers a
ew times to stretch and condition it. Pass the end
o the beading thread approx. 6–8 beads along
the beading wire and secure with knots, add a
dab o glue and allow to dry. Add a needle to the
beading thread.
Add six size 15 beads to the needle and position
the beads next to the beaded wire. Take the
needle behind the beaded wire, third bead
along, then over and back through the last o
the 6 beads added. Add five size 15 beads and
repeat, taking the needle behind the beaded
wire, three more beads along, over and then
through the last bead added. Continue until the first row o beads has been added.
P H O T O G R A P H S : L A U R E L G
U I L F O Y L E ,
C L A I R W O L F E
Experiment with bead numbers in
each pass.
Experiment with colour.
Designer tips
Clair ofen finds hersel looking or new beading techniques and has developed a real interest in
traditional beadwork produced around the world. South America is rich in culture and heritage
and each area seems to have a distinctive bead weave or technique.
Our expert
32
STEP SECURING THREAD Once the last row has been added, sew the
remaining thread back up through the beadwork.
Make sure to work back and forth until happy that
the thread will not work its way loose. Snip any
excess thread away.
STEP INCREASE Row five needs to have a slight increase to allow
the finished collar to sit correctly. Add two size 15
beads the same colour of the last row added and
then eight of a new colour. Repeat Step 4, but this time looping the thread four beads along.
Bead four more rows of eight before increasing to
ten and a further four before increasing to 12.
STEP FINISHING Remove the masking tape from the first side.
Add a crimp tube and a wire guardian, passing
the beading wire back through the crimp.
Position the crimp as close to the beads as
possible before using crimping pliers to close
the crimp. Repeat on the second side of the
beading. Add findings of your choice to finish.
STEP ADDSNIP THREAD As you near the end of a length of thread, you will
need to add another manageable length. Use
an overhand knot, tied as close to the last bead
added as possible, add a dab of glue before adding a second knot. Leave all the excess thread
in place until the collar is complete. Once finished,
use snips to carefully remove excess threads.
STEP SECOND ROW Begin the second row by adding two of the 15s
the same colour used in the first row and six
size 15s in the next colourway. Pass the needle
behind the first loop of beads added in Step 1, third bead along, over and back through the last
bead added, pull the thread snug. Add five size
15s and repeat this stitch for the length of the
beading. Add two further rows.
34
Make a delicate lace inspired adornment for your wrist in pretty
rose gold. By Sue Mason-Burns
T he subtle pink undertones of rose gold are ideal for this project. They conjure
up images of a sunny day in a cottage garden, sipping tea and nibbling on cucumber sandwiches.
Sue has used rose gold wire in two sizes, 1mm for the frame and delicate 0.315mm to make the coils. She has combined them to add to the lace effect and used a wire jig to swirl the coiled wire into an image of lace. Sue has finished the cuff with a simple handmade clasp.
CONTACT
www.wonderfullywired.co.uk
[email protected]
STEP
Working from the reel of 0.3mm
wire, coil each length of frame wire,
leaving 5cm uncoiled at each end.
You may find it easiest to coil at
one end of the wire and push the
coiled wire along the length of the
frame wire at regular intervals. Cut a
further frame wire 1m in length and coil this wire, leaving 10cm uncoiled
at either end.
coloured wire
coloured wire
coloured wire Flush cutters
section on the opposite side of the
frame wire. Coil three times around
the frame wire, the next loop of the
outer section, and the lowest loop of
the central section altogether. Coil
the frame wire for 1cm, then connect
the next loop in the outer section
with three coils. Continue in this
way until all sections are connected.
Repeat on the other side.
LACE CUFF
P H
O T O G R A P H S : L A U R E L G U I L F O Y L E ,
S U E M A S O N - B U R N S
STEP
two staggered lines. Form a 50cm
coiled frame wire around the pegs,
looping around each peg as you
go. When you reach the end of
the pegs, remove the formed wire
and position at the beginning of
the row of pegs. Carry on forming
the pattern until you have a 16cm length. Repeat for the second 50cm
coiled wire.
STEP 3
side, missing out a hole in the jig
between each peg. Leave out the
last peg at the tip of the second
diamond. Form the 1m coiled
length around these pegs, taking
the wire from side to side across the
diamond, criss-crossing the wires across each other and around each
peg as you go.
second diamond, remove the
reposition to start again at the first
diamond. Form six shapes, adding
the final peg of the diamond for the
last set of two shapes. Finish the
set of woven shapes by forming the
frame wire around this last peg.
Coiling by hand is laborious, but the result is a coil that exactly
matches your frame wire. If you would rather not spend the time
coiling, try making the coils using a coiling gizmo tool.
Use a piece of Blu tack or similar to hold the pegs in position in the
wire jig.
Use a nylon hammer and steel bench block to work harden clasps
and hand made earwires so that they will hold their shape.
Designer tips
with the 0.5mm wire around one
length of 1mm wire. Position one
of the two lengths of wire formed
on the jig at Step 1 alongside.
Coil three times around the frame
wire and through the first loop to attach it. Continue coiling the
frame wire for 1cm
the inner frame wire. Wrap each of
the uncoiled ends of these frame
wires around the ends of the frame
wires of the central coiled section
in turn. Do the same with the
remaining frame wires. Trim these
wires and use round nose pliers
to make loops, securing them by
intertwining with other frame wires.
STEP
loop with the central frame wires.
Use a round bangle mandrel to form
the shape of the bangle. As the
wire is coiled, you cannot hammer,
so use your fingers to manipulate
the coiled wires flat against the
mandrel. Form the overall shape of
the bangle at a size slightly smaller
than desired. The bangle will then
snap back to the correct size.
STEP
length of 1mm wire. Make a hook
shape around the larger jaw of large
bail making pliers. Flush-cut the end
and bend the end 5mm at an angle.
For the eye, form a 6cm piece of
1mm wire around the smaller jaw of
bail making pliers. Spiral each end
towards each other until they match
and overlap. Attach to each end of
the bangle.
lace pattern from the cuff
design using the wire jig.
Hang from a chain made from
figure-of-eight links.
the lace pattern with the wire
jig and hang from earwires.
Extra Projects Make a pendant
and earrings
CENTREPIECE SILVER PENDANT Embellish a donut bead with a metal clay bail and a centrepiece design.
By Sandra Quell
S andra is a designer from Luxembourg whose passion is silver. She works with
metal clay and loves to add pearls, stones and colour to her pieces.
STEP
hole, the diameter o the bead and
the thickness o the bead. Draw a
diamond shape with the axis 6cm
and 2.8cm. Cut off 1.6cm rom one
o the pointed ends. This is the orm
o your bail. Draw a circle (diameter
4.4cm) or the centrepiece. Now
sketch your designs on both pieces.
MATERIALS
Art Clay syringe type
Scratch-Foam (thin polystyrene)
Agate burnisher
necessary, close the gaps between
the meeting parts with syringe clay.
Add the decoration using syringe
clay. You can use the green and
blue nozzles. Hammer one end
o the wire flat. Fix it between the
5mm circle and the pointed end o
the bail using syringe clay to fill the
gaps. Refine and let dry.
RESOURCES:
available rom craf suppliers and
advertisers in this magazine.
R E N É W E R S A N D
STEP
photocopier. Transer the designs
onto tracing paper or onto another
thin paper and lay them on top o
a sheet o Scratch-Foam. Fix them
with sticky tape. Trace your designs
with a ballpoint pen. Remove the
paper and deepen the lines on the
Scratch-Foam by gently tracing them
with the pen.
your design. Wrap the shorter end
o the bail around a str aw. Place a
syringe line where the end meets
the back and gently press them
together. Let it dry.
clay and use the disc with a 7.5mm
hole and the 4.5mm ClayCore
Adapter to extrude a tube bead
o 1.5cm length. Roll out clay to
0.8mm and cut out a circle o about
5mm diameter. Let all the pieces
dry and refine them.
version with clear sticky tape or
cling film. Stick the centrepiece
onto it with a bit o syringe. Add
the fine lines o your design using
a syringe with a grey nozzle (wide).
Pay attention that the lines are
well attached to the centrepiece.
Reinorce the connections with syringe i necessary.
Scratch-Foam is a USA
brand o thin polystyrene.
Search online in the
UK or thin printmaking
avoid them, the project
wire or the construction
afer firing because Sterling
or 2 hours.
donut, add a little belt or a closer
fit. Drill a 1.2mm hole through the
tube, level with the top o the donut.
File back the tube to 1mm above the
hole. Attach the tube to the back o
your centrepiece, so that the axis o
the hole you just drilled aligns with
the vertical axis o your design.
STEP Let everything dry completely
and fire your pieces at maximum
temperature or the maximum o
time (900°C or 2 hours). Brush
both pieces with a brass brush,
polish them and patinate them with
a weak solution o Liver o Sulphur.
Use polishing pads and an agate
burnisher to polish the raised parts
o your texture to a high shine.
STEP Hammer the wire with a raw hide
mallet to harden it. Place the donut
bead onto the tube. Thread the wire
through the holes o the tube and
bend it around the tube once. Pass
under the wire rom the bail. Gently
bend the lines o the ront design
onto the ace o the donut.
NECKLACE
simple pendant.
studs afer firing.
Make a necklaceand earrings
FLORAL
LACE EFFECT Recreate a fl oral lace e ff ect in silver wire to make this
stunning necklace. By Tansy Wilson
R eproducing a geometric flower shape in Sterling silver wire on a jig and then soldering them all together really does
create an effect like lace. Being a geometric shape the combinations of pattern are also
endless so you can create your own take on this design.
MATERIALS
4m of 0.8mm (20 gauge) Sterling silver round wire (Code: AGSWR-080RD)
Large decorative link chain Clasp
Jumprings Panel pins
Snips Thing-a-ma-jig (optional) Flux Solder and iron Pickle Flat steel block Hammer Polishing materials
w w w . c r a f t s i n s t i t u t e . c o m38
Project Advanced
Advanced Project
STEP
either on the computer or by using a pair of
compasses and a protractor so you obtain a
perfect even, symmetrical shape. Add dots with
a pen to the very tips of the petals and where the
lines meet near the centre of the flower.
STEP
are. Leave at least 3cm of panel pin showing. Using
heavy-duty snips, remove the head of each pin.
Fashion inspiration
‘jig’. Alternatively you can make a flower shape
on a tool called a thing-a-ma-jig, which has
plastic pins that you push into a bed to create
lots of different designs.
STEP Using 0.8mm Sterling silver wire, start to wrap it
carefully around the pins. Keep the wire moving
in the same direction. Keep rotating the jig to
make it easier to manipulate the wire and keep
control of the tension.
Cut the wire away from the roll leaving no more
than 1cm at each end. Remove from the jig and
manipulate the wire with your fingers to obtain a
perfect daisy shape tweaking the wires so they
meet perfectly. Cut away any excess wire. Repeat
Steps 4 and 5 to make 10 flowers.
STEP
some flux and a tiny square (paillon) of easy silver
solder to the join. Heat with a small flame until the
solder runs joining the two wires together. Pickle
and rinse. Repeat this step to solder all the flowers.
Lace dress £45,
Place a flower onto a flat steel block and hammer
it using the flat end o the hammer. Then using the
ball end o the hammer, gently tap all around the
wire to create a dimpled texture. Repeat this step to texture all the flowers.
STEP
soldering block and add flux and paillons to each
petal where they join one another. Solder the
piece in sections to make this step easier. Pickle to remove all the fire-stain and rinse.
STEP
I you want to polish to a high shine it is important
that i you do this that you place your piece onto
a flat rigid surace such as a piece o wood to
support it whilst you polish it ensuring you do not
catch the wire in the polishing mop.
STEP
Use a large decorative link chain to join to either
side o your ‘silver lace’ by either using small
jumprings or the figure-o-8 connectors that are
actually already on the chain holding the links.
STEP
Finally add a clasp again either using jumprings or
the figure-o-8 connectors. I have used a toggle
clasp so it blends in with the chain design but you
could add a statement clasp or a different look.
STEP
Now you need to plan the design o your piece,
ensuring that all the petals touch each other to
create a continuous pattern. This design has two
rows containing five flower shapes on top o each other, but there are lots o other combinations
you can play with.
RESOURCES
www.bettsmetalsales.com
[email protected]
Chain and clasp can be sourced rom suppliers listed in this magazine.
Hammering the texture onto the piece
‘work hardens’ the silver wire making
the final piece nice and rigid. Ensure you
hammer the piece again afer soldering
at Step 9 and beore polishing it. This will
be the final chance to stiffen the metal.
Designer tip
Cufflinks by Josef Koppmann
Remember to get it
The UK Hallmark is one of the oldest forms of consumer protection
and a legal requirement for anyone selling their goods. Not only is it
a guarantee of quality, it also includes your very own sponsor’s mark.
Unique to you, your sponsor’s mark can be an invaluable marketing
tool leading to increased recognition and additional sales.
Find out more about hallmarking:
T: 020 7606 8971
Regular
AMERICAN MUSEUM OF NATURAL HISTORY,
£19.99
ISBN 9781454917113
A celebration of 25 years in print, this book is back with a newly designed twist. Revised and more spectacular than ever, this classic from the American Museum of Natural History is their most remarkable edition to date.
Those looking for extensive knowledge of crystals and gems will find al l they need. Covering almost 150 of the most impressive gemstones, everyone from the admirer to the greatest geologist is sure to gain something. An in-depth ‘data’ section displays each stone’s properties, making for easy identification and providing welcome advice to fine jewellers.
There are also stories of the most mythical (and sometimes bizarre) beliefs behind the stones.
Equally a coffee-table book and a reference point for professionals, each topic gives a fascinating insight into the properties, origins, and history of the world’s finest jewels. All is made crystal clear with the aid of the authors’ years of expertise and photography from an award-winning pair. Showing the gems alone and the masterpieces that they’ve played a part in, this book will enthrall and inspire jewellers everywhere.
FANCIFUL FINDINGS
HOLLY WITT-ALLEN
ISBN 9781464733529
They say beauty can be found in the most mundane of things – and this book proves just t hat! T his guide to t hrifty mak ing explores the possibilities of found objects, turning them into pieces that remain entirely individual to the wearer.
Owner of handmade jewellery shop Witt ‘N’ Whimsy, the author’s talent for turning the everyday into the original is clear in her inventive projects. Take the Gear and Nut jewellery set, a quirky trio of pieces that can be adapted to suit whatever you have to spare. Add your own character with the Key Charm necklace and substitute the beads shown with
personal mementos. Fanciful Findings concentrates on taking
what you already own and getting creative, so there’s no need for a huge shopping list! The advantages to found object jewellery are endless. Whatever you’ve got to hand, you’re certain to find a project in this charming little book to transform it into a creative new addition to your jewellery box.
BEAUTIFUL ELEMENTS
HEATHER POWERS
ISBN 9781627002059
An absolute treasure trove of information, this highly detailed guide takes you through the steps to create gorgeous personalised jewellery. With the use of metal, polymer clay and wire, you can experiment with your chosen material or even find a new favourite. Inspired by nature and forest scenes, each page will have you stamping, embossing, and layering to produce dainty leaves and acorns. Omit or include suggestions as preferred to make an entirely custom piece.
Beginners will benefit from the ‘Basics’ section as they get to grips with technique, leading to the 30 projects and more advanced
methods. The star of the show

making jewellery 2016-05

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