Lapidary Journal Jewelry Artist

Transcription

The Design Issue • MAKE THE MOST OF HOLIDAY SALES NOW!
SINCE
1947
®
SEPTEMBER/
OCTOBER
2014
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ARCHER RING
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Gemmys deta
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Laurel
Nathanson’s
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and silver rings
PAGE 52
jewelryartistmagazine.com
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September/October 2014 • Volume 68, Number 5
®
The Design Issue
42
10
CONTENTS
4 My Turn
From the Editor: Where Are Your Winners?
more at jewelrymakingdaily.com/Gemmys
6 Your Turn
Design Challenges & Letters
8 Their Turn
A Gallery of This Issue’s Contributors
10 Through the Lens: Jewelry Meets Photography
46
design by Cathleen McCarthy
20 Net Profits: Gearing Up for the Holidays
by Cathleen McCarthy
more at jewelrymakingdaily.com/netprofits
22 Cool Tools & Hip Tips: For the Enamelist
by Helen I. Driggs
KAILY AGATE GEMS AND JEWELRY
26
22
Smokin’ Stones: Kaily Agate
by Sharon Elaine Thompson
28
Kaily Agate Pendant
gem/jewelry project by John F. Heusler, G.G.
l a pida ry jo u r n a l ) ( J e w e l ry a rt i s t
38 Soldering Setups: Noël Yovovich
2
FOLKLORIC TRADITIONS/RINGS
ADVERTISING SECTIONS
64 Focus on Education
78 Classifieds
78 Gem & Jewelry Shops
79 Fee Mining
79 Advertisers’ Index
ABOUT OUR COVER:
Laurel Nathanson’s Acrylic and
Silver Stack Rings, page 52
John Heusler’s Kaily Agate Pendant,
page 28
PHOTOS: JIM LAWSON
42
Trends: Balance, Duality and Gems
by Deborah Yonick
46
Archer’s Thumb Ring
gem/jewelry project by Roger Halas
52
Acrylic & Silver Stack Rings
jewelry project by Laurel Nathanson
56 Facets
News & Product Innovations
60 Ask the Experts
by Tom & Kay Benham
80 The Lapidary Journal Jewelry Artist
Doer’s Profile: David Guilletti
The Widest Selection of Jewelry Tools Online
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MY
TURN
from the editor
Where Are Your Winners?
YOU CAN STILL ENTER THE GEMMYS, our new
jewelry and gem design contest, because we’ve extended
the deadline to November 14, 2014. So find the best images
of your work that you have, pull out your sketchbook, finish
up those halfway done pieces on your bench, and get them
photographed well. Check out the details of the competition and when you’re ready to enter upload your best shots
at jewelrymakingdaily.com/Gemmys.
Here’s the 10-second summary:
• super images
• any materials
• any techniques
• jewelry, primarily non-bead
• gems
• related sculptural works
4
• original designs you create and execute
• winners published in the 2015 design
annual
• jewelrymakingdaily.com/Gemmys for
details and entry
• November 14 deadline
Because the images will be judged, not the pieces, be sure to give your
work the chance it deserves by having it photographed by a professional
experienced in this craft if you possibly can. If you can’t, then please follow
our advice online about photographing it yourself.
Images that show designs with the greatest visual appeal, impact, and
originality and that are well executed will be selected for the book. Three
extremely accomplished individuals have graciously agreed to be on our
prestigious panel of judges. Donald Friedlich has won numerous awards
for his jewelry; his jewelry is also in many permanent museum collections
including the Victoria and Albert, the Smithsonian, and the Corning
Museum of Glass. Sasha Samuels, a painter as well as a jewelry artist, has
received many awards for her jewelry including the national grand prize from
the American Jewelry Design Council, and her work has appeared in many
publications. Annie Osburn has written about jewelry and jewelry artists
extensively, has been a long-time contributor to this magazine, and authored
its Trends column for five years.
This is a wide open design competition. What the pieces are made of
and how they’re put together is entirely up to you, as is the aesthetic, the
monetary value, the type of jewelry and any occasion it may be meant for. The
Gemmys are about fostering creativity and skill and about acknowledging
excellence. Like any contest, the Gemmys also have one requirement more:
the persistence to follow through.
Where are your best pieces? Make them winners the only way you can: put
them in competition, and start now. Remember, the deadline is November
14, 2014; information and entry form at jewelrymakingdaily.com/Gemmys.
EDITORIAL
EDITORIAL DIRECTOR, JEWELRY GROUP
Merle White
SENIOR EDITOR Helen I. Driggs
SENIOR EDITOR Denise Peck
MANAGING EDITOR Karla A. Rosenbusch
CONTRIBUTING EDITORS Tom & Kay Benham,
Lexi Erickson, Sharon Elaine Thompson
MARKETING SPECIALIST Ashley Lauwereins
ART
ART DIRECTOR Amy Petriello
SENIOR PRODUCTION DESIGNER Nancy Pollock
VIDEO MANAGER Garrett Evans
ADVERTISING
ADVERTISING MANAGER
Marilyn Koponen, ph. 877-613-4613
CLASSIFIED ADVERTISING REPRESENTATIVE
Stephanie Griess, ph. 1-800-272-2193 X630
AD TRAFFICKER Cari Ullom
FOUNDER, CREATIVE DIRECTOR Linda Ligon
VICE PRESIDENT, GROUP PUBLISHER Shahla Hebets
VICE PRESIDENT, CONTENT Helen Gregory
VICE PRESIDENT, MEDIA SALES Julie Macdonald
DESIGN MANAGER Larissa Davis
SENIOR PRODUCTION MANAGER Nancy Pollock
BOOKS EDITORIAL DIRECTOR Allison Korleski
ECOMMERCE MARKETING DIRECTOR Evelyn Bridge
MAGAZINE MARKETING & FULFILLMENT
Mark Fleetwood
ONLINE CIRCULATION SPECIALIST Jodi Smith
F+W, A Content + eCommerce Company
CHAIRMAN & CEO David Nussbaum
CHIEF OPERATING OFFICER & CFO James Ogle
PRESIDENT Sara Domville
CHIEF DIGITAL OFFICER Chad Phelps
VICE PRESIDENT, ECOMMERCE Lucas Hilbert
SENIOR VICE PRESIDENT, OPERATIONS
Phil Graham
VICE PRESIDENT, COMMUNICATIONS
Stacie Berger
Lapidary Journal Jewelry Artist (ISSN 1936-5942) is published
9 times a year by Interweave, a division of F+W Media,
Inc., 4868 Innovation Drive, Fort Collins, CO 80525. (970)
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contents of this issue of Lapidary Journal Jewelry Artist
are copyrighted by F+W, 2014. All rights reserved. Projects
and information are for inspiration and personal use only.
Reproduction in whole or in part is prohibited, except by
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YOUR
TURN
reader comments & sketches
NEXT TIME:
› DESIGN CHALLENGES
YOUR COVER RIFFS:
Designs based on William Fretz’s
fluted brass bangle, May/June 2014.
Laurel Nathanson's acrylic
and sterling silver rings,
COVER
Riff on a design feature of
this piece such as color,
texture, form, value, line,
space, repetition, balance,
contrast, unity, or variety for
your sketch.
Shevvy Baker
Peggy Haupt
Louisville,
Kentucky
Gatlinburg, Tennessee
YOUR SETTINGS:
Designs based on faceted quartz
and Mintable opal Galaxy Gem,
cut by Mark Oros, May/June
2014.
Sketch a setting for this kaily
agate cabochon, cut by John
F. Heusler, G.G., page 26.
Francine
Hernandez
DEADLINES:
OCTOBER 31, 2014
Scott,
Louisiana
Email digital scans at 300
DPI or send photocopies of
no more than three sketches
per challenge, indicating the
design factor that is your
starting point. Sketches will
not be returned.
6
Peggy Haupt
Gatlinburg, Tennessee
WRITE TO US ANYTIME:
What do you think about
what you’ve seen and read in
Lapidary Journal
Jewelry Artist?
SEND SKETCHES & LETTERS
for possible print or online
publication to: KRosenbusch@
interweave.com; or Lapidary
Journal Jewelry Artist, 88
Glocker Way, #299, Pottstown,
PA 19465.
Include your name, city, and
state, and indicate “Your Turn”
on the subject line or envelope.
TAKE YOUR TURN
Enter the Gemmys jewelry and design competition.
G
The
emmys
A New Jewelry Arts Design
Annual Competition
Deadline extended: November 14, 2014
Enter at jewelrymakingdaily.com/Gemmys
Presented by
®
› LETTERS
JEWELRY PROJECT
SKILLS
• Soldering
• Stone setting
Re: “Classic Three-Stone Cuff,” April 2014
TIME IT TOOK
Jeff Fulkerson
El Cajon, California
The editors respond: We greatly appreciate
Jeff’s diligence in tracking down the stones
used in his project, and our interest was
piqued. So we reached out to some of our
favorite stone experts for their opinions — and
we got them! Former Smithsonian Institution
curator John White wasn’t sure of the stones’
identification from the images, but he thought
they might indeed be variscite — in a lot of
matrix, of course.
Richard Shull of Out of Our Mines said,
“The pattern and host rock look similar to
‘ribbon’ turquoise from a number of different
Nevada mines as well as ‘ribbon’ variscite from
Australia. Without seeing it come out of the
ground, anything is just a guess and it could be
either one.”
Bruce Barlow of Barlow’s Gems weighed in
and said that he wasn’t sure. He has seen the
stone and heard it called ribbon turquoise. He
added that it would come from either Nevada
or Arizona, not Australia. But he has seen
something similar “made.”
John F. Heusler, G.G. sent this response:
“I do believe it is turquoise, but think about
it this way . . . variscite is REALLY expensive
these days. The best variscite is up to $100 per
pound today. I say Jeff’s stones are turquoise.
“SO . . . I need to say this. A good
gemologist never gives a sight identification.
Without proper testing of refractive index
(huge clue) and other ancillary testing, one
cannot rely on a picture to identify. I see
it every day on Facebook in the different
lapidary pages I belong to. Someone asks
About 8-10 hours
Regarding the stones in my Navajo cuff project, several people
have asked me where I got the stones and if I have any more
available. In trying to find them, I have come across variscite
from Nevada that looks exactly like the stones I used in the
cuff. Turquoise from the Damale mine in eastern Nevada looks
very similar to variscite, and in fact varicite is also mined in that
district, so maybe we can forgive the dealer for the confusion,
although I don’t know where he got “Australian” from. I have
not been able to find any ribbon turquoise from Australia. That
said, perhaps the stones I used are not turquoise, but variscite. I
apologize for any confusion this may have caused.
Classic
Three-Stone
Cuff
A Navajo style bracelet with timeless Southwestern appeal
BY JEFF FULKERSON
26
what this or that is with a picture. I usually
watch from the sidelines and see if someone
comes up with how to tell this person the way
to know is to test it themselves with a scratch
test with a penny or a nail or something of
known hardness. I have many times witnessed
someone telling how a scratch test performed
on a toilet inside cover can determine a stone’s
identity — accurately I might add. In other
words, if I had the stone in hand, in minutes I
can and will identify it — with proper testing.
We can give our opinions of what something is
and perhaps even be correct 8 out of 10 times.
But what about those two that might slip by?
Yeah . . . that.”
To further clarify (we hope), John sent us
images of both variscite and ribbon turquoise.
Thanks to all of our experts for their efforts.
ABOVE, FROM LEFT
Varicite
PHOTO: JOHN F. HEUSLER, G.G.
Ribbon Turquoise
September/October 2014
7
THEIR
TURN
PHOTO: PATRICIA TSCHETTER
a gallery of this issue’s contributors
PHOTO: COURTESY COSTIS
PATRICIA TSCHETTER’S
Dandelion Ring
Oxidized silver, 22K gold, rose-cut diamonds
Net Profits
Page 20
COSTIS’S
Snail Shell Bracelet
18K yellow gold, diamonds
Trends
Page 42
ROGER HALAS’S
Cross for Lita
Ford
8
PHOTO: HAP SAKWA
“Archer’s Thumb
Ring”
Page 46
PHOTO: ROGER HALAS
Sterling silver, black
widow intarsia (black
jade/red jasper),
diamond, amethyst,
sapphire, aquamarine,
ruby
DAVID GUILETTI’S
Pendant
Engraved sapphire, tourmaline, sterling
silver, 18K gold, diamonds
Lapidary Journal Jewelry Artist
Doer’s Profile
Page 80
?
WANT TO CONTRIBUTE?
Share your expertise with other readers in a
project, demo, or article and you’ll be invited
to show an example of your work here. Contributors’
guidelines can be requested by emailing MWhite@
Interweave.com, subject line: LJJA Guidelines.
RINA LIMOR’S
Carved Ring
PHOTO: COURTESY RINA LIMOR
Trends
Page 42
PHOTO: LARRY SANDERS
Blue topaz, diamonds, white gold
NOËL YOVOVICH’S
And the Wind in My Hair Pin/Pendant
Sterling silver, anondized titanium, 14K gold, 22K gold,
Chinese freshwater pearl
PHOTO: LAUREL NATHANSON
Soldering Setups
Page 38
JOHN F. HEUSLER, G.G.
Comet with Coma Pin
18K yellow gold, platinum
“Kaily Agate Pendant”
Page 28
LAUREL NATHANSON’S
Cassiopeia Heart Necklace
Resin, oxidized copper
“Acrylic and Silver Stack Rings”
Page 52
9
10
Lens
Jewelry meets photo sharing
all over again
BY CATHLEEN MCCARTHY
PHOTOS COURTESY OF THE MUSEUM OF ARTS AND DESIGN
through
the
design
Almost as soon as
photography was
invented in the 1830s,
jewelry makers
began incorporating
photographic images in
their jewelry. It began with
the impulse to wear a
replica of someone, living
or dead, usually a loved
one — a photo in a locket
is the classic example.
Photography on the Internet has changed
the game once again, one reason why this
particular artistic merger has taken on new
life. It’s so easy, for example, to pull the detail
of a famous painting off a website, tweak it a
little, and incorporate it into a piece of jewelry.
Jewelry artists around the world are doing just
that — and a whole lot more — with digital
images. Others are shooting their own images
and incorporating them into their jewelry.
If the integration of these two art forms
intrigues you, consider a pilgrimage to Manhattan to see the exhibition Multiple Exposures:
Jewelry and Photography at the Museum of Arts
and Design, where 80 pieces of jewelry demonstrate the various paths this experimentation
has taken over the past 150 years or so.
Curator Ursula Ilsa Neuman specializes
in contemporary art jewelry, but her initial
inspiration for this exhibit was something
old and very personal: jewelry inherited from
her great-grandmother. “I brought them over
from Germany — long, foldout medallion-type
things from the late 1800s, and one of them has
eight little pictures in it,” Neuman says. “I was
aware of 19th-century photo jewelry, and since
I’m very interested in contemporary art jewelry, I
wanted to know more about it. I wanted to investigate what was done in that field since then.”
Focusing primarily on jewelry made in the U.S.
and Europe, with a smattering of pieces from
Australia, New Zealand, and South Africa, the
exhibition opens with a nod to the origins of
this tradition: painted miniatures in a ring and
a brooch. Painted miniatures date to the 17th
century, and two of the pieces on display show
they were being incorporated into jewelry by the
end of that century, and probably well before.
Both depict one eye painted on ivory in watercolor, in an oval setting encased in rock crystal.
One is a ring, a piece of mourning jewelry made
in 1800 of black enamel with a painted eye that
floats eerily in a cloudy sky. The other is a brooch
made 45 years later with a pearl surround. At
first glance, you’d swear they were contemporary
pieces by the same artist.
ABOVE
Artist Unknown
Brooch with Eye
Miniature, ca. 1845
Watercolor on ivory,
gold, pearls, rock
crystal
Collection of Cathy
Gordon
OPPOSITE PAGE
Ashley Gilreath
I Am Who They Were
Neckpiece, 2011
Decal photographs,
sterling silver, bronze,
optical glass
Collection of the artist
11
Through the Lens
Artist Unknown
Anchor-Shaped
Vinaigrette Pendant,
ca. 1855
Ambrotype, sterling
silver setting, glass
Collection of Daile
Kaplan
Several of the contemporary works in the
show seem to harken back to those early
painted-eye miniatures. Suska Mackert, for
example, began in 2005 to make brooches
from eyes (clipped from newspapers) that
appear to float above circular steel bands.
Kiff Slemmons clipped eyes from old tin-type
photos, mounting them in an old clock hand
so they appear to peer out from goggles on the
silver frame of a face.
12
PORTRAITS FOR ALL
Ramon Puig Cuyàs
N° 1279, Ita Est
Brooch from the
UTOPOS Series, 2009
Internet images,
enamel, acrylic resin,
silver, nickel silver,
onyx, shell, pearl,
coral, plastic
Courtesy of a private
collection
The earliest photo-jewelry in the exhibit is from
the 1840s, soon after photography was invented. The advent of photography had a huge
impact, if only because nearly anyone could
now have a portrait taken. “For the first time,
people could realistically be represented,”
Neuman says, “and also the middle class could
present itself as itself.”
Painted portraiture was the only option
before that, and it was the domain of the
aristocracy and über-wealthy. When photography came along, the middle classes were
on the rise. To have one’s portrait taken by a
photographer became a status symbol — and
an increasingly affordable one.
Having a photograph stashed away in a secret
place, like a pendant around your neck, was
a means of keeping a loved one close at hand,
even after death. “The pieces I have, and those
19th-century pieces in the show, are totems
of affection, of memory, of love, and of loss,”
Neuman says.
Along with some photo-jewelry from turn-ofthe-century, there is a fascinating collection of
“trench jewelry” made during both world wars.
Jewelry from the trenches was made mainly
from hammered aluminum with transparent
plastic casings over tiny photos — sometimes
of loved ones, sometimes of the soldier, often
blatantly sentimental with heart-shaped settings.
One eye-catching piece is a “vinaigrette”
made in 1855, once used to hold smelling
salts for reviving fainting women — a popular
accoutrement in those days. This one took
the form of an anchor, with an old ambrotype
photograph set in sterling silver and glass.
About a quarter of the display is devoted to
older work, setting the context for the main
theme: contemporary art jewelry. You’ll find
plenty of modern spins on the photo locket.
I remarked to Neuman that most of the work
on display seems to involve the human form in
some way: humans wearing humans.
“Humans wearing humans, yes,” Neuman
said, “and humans wearing what might have
been anonymous photographs culled from
the Internet, making them very intimate and
personal again — through wearing them and
through the art jewelers using them.”
IMAGE AS NARRATIVE
Images incorporated in early photo-jewelry
weren’t limited to portraits, and the themes
expand exponentially as we move through the
20th century. Most pieces in the exhibit are
what Neuman calls narrative jewelry. “This is
jewelry that’s telling a story, literally,” she says.
“And what’s interesting is that the photographs
“Humans wearing humans, yes, and humans wearing what might
have been anonymous photographs culled from the Internet,
making them very intimate and personal again.”
FROM LEFT
Gijs Bakker
Waterman Brooch, 1991
Copy of a postcard,
diamonds, white gold,
PVC
Collection of Angela
Schaefer
Gijs Bakker
Bib/Slab, 1976
Analog photograph
printed on fabric, cotton
used and culled from various sources — now
the Internet and so on — change when they’re
incorporated into wearable objects. And the
wearable objects get their meaning through
the photography. So there is a really good
cross-influence and cross-fertilization between
the two.”
Among the materials listed as “Internet
mages” in work by artist Ramon Puig Cuyàs is
Mona Lisa’s eye, which seems to peer out at the
rest of the brooch. Cuyàs reworks a fragment
of that painting, scanned and pulled from the
Web, building tiny mixed-media “paintings”
of his own, using enamel and acrylic resin with
embellishments of onyx, shell, pearl, coral, or
quartz, then framing them, slightly askew, in
silver.
A special treat of the exhibit is a nine-piece
retrospective of the photo-jewelry by
Gijs Bakker, prominent Dutch jewelry
and industrial designer who cofounded
Droog Designs. They date to 1976 when
Bakker playfully created a bib printed
with a black-and-white photo of his own
bare chest and another with a woman’s
bare chest, so the wearer ends up with a
chest on his (or her) chest.
In another two-foot wide neckpiece, Bakker
photographed himself from above with arms
crossed so he appears to be hugging the wearer.
(The piece is called Embracement.) “Those were tongue-incheek, self reverential, and just
fun,” Neuman says.
Most famous Bakker piece on
display, however, is the Waterman
brooch, made in 1991 from a photograph by fashion photographer
Bruce Weber of a crouching,
Adonis-like male tipping a bucket
over his head. Bakker bought the
image as a postcard from a secondhand store in New Orleans,
then embellished it with white
gold and diamonds that resemble
BELOW
Martin Papcún
Ring, 1999
Analog artist’s
photograph, silver,
brass
Secondary School
of Applied Arts
(SUPS) Turnov, Czech
Republic
13
Through the Lens
RIGHT
Sally von Bargen
Elegy Neckpiece,
2008
Digital photographs
on paper, brass, paint
BELOW
Fritz Maierhofer
Portrait of the Artist
Bracelet, 1971
Analog photograph,
acrylic, silver
if you go
Multiple Exposures:
Jewelry and Photography is at the Museum
of Arts and Design in
New York City through
January 18, 2015.
More information at
madmuseum.org.
14
FROM LEFT
Bettina Speckner
Brooch, 2004
Artist’s photograph
enameled on silver,
cowrie shells,
amethysts
Courtesy of a private
collection
Mary Hallam Pearse
Feeding Desire Brooch,
2008
Digital photograph,
aluminum, silver, pearls,
glass
Collection of Sally von
Bargen
water droplets flowing from the bucket down
the model’s muscular back.
I asked Neuman if artists were ever faced
with issues of copyright infringement when
making this kind of derivative art-about-art.
“These images are on the Internet already,”
Neuman says. “Many of them are downloaded,
so they’re really common property. This is
really a phenomenon of the last 15 years, a sign
of our time. Even images from Google, the
street views, are common property now.”
Like Bakker, many of the featured artists
alternate between their own and reworked
existing images. Assemblage artist Kiff Slemmons works with old photographs, taking them
apart and putting them together in a way that
gives them new meaning. In The Reliquary of My
Own Making necklace, Slemmons took images
of her own hands making things, encased them
in mica, and set them in geometric silver forms
that link together like a puzzle. “This, in a way,
is a self-portrait, too,” Neuman observes.
German artist Bettina Speckner also
alternates between her own photographs and
reworked old tin-types, often using sections
of landscape and obscuring them with bits of
gemstone. One brooch resembles an oval of
picture jasper until you look closer and realize
it’s a photographic image enameled onto silver.
In other brooches, Speckner etches her photographs on zinc. The results are very mysterious,
often romanticized.
Another section of Multiple Exposures: Jewelry
and Photography involves jewelry made from
camera parts. Jiro Kamata, for example, uses
camera lenses as a container of memory,
sometimes painting them, sometimes inserting
mirrors to reflect something. “These are sort
“These images are on the Internet already, many downloaded, so
they’re really common property. This is really a phenomenon of
the last 15 years, a sign of our time.”
FROM LEFT
Jiro Kamata
Arboresque Brooch, 2010
Camera lenses, acrylic
paint, blackened silver
Hyun-Seok Sim
Panoramic Camera
Pendant, 2000
20K gold, sterling silver,
steel, plastic
of an expression of what would have been seen
through these lenses,” Neuman says. “It’s very
interesting, very beautiful work.”
Jewelry and Photography wraps up with a
section of video about jewelry: the philosophy,
symbolism, and social aspects of jewelry,
jewelry considered in terms of value, the ritual
of putting it on and taking it off. In one video, a
woman is literally overloaded with jewelry and
collapses under the weight.
FERTILE MERGER
Neuman says she wanted to focus on the
merging of jewelry and photography because
it’s such fertile ground for jewelry artists today.
“This is an incredibly active field which speaks
to our times,” she says. “It deals with contemporary issues — political issues, the body
— and not only the beautiful body but also the
diseased body or the unsightly body. It can deal
with personal or culturally important issues.
It’s a phenomenon that is steadily growing.”
It’s also a form of jewelry-making that
appeals to the intellect. “It can be a challenge
for the jewelry maker to incorporate a twodimensional image into a three-dimensional
object, to see the changes and transformations
that occur,” Neuman says. “Part of the challenge is to decide what you crop from that
photograph: What’s the important statement
of that photograph and how do I incorporate
it into a ring or a necklace? What do I want to
express?”
“These two media influence each other,”
she says. “And when you use them together to
create something totally new, you can produce
a very interesting hybrid object.”
CATHLEEN MCCARTHY’S stories have appeared in
Town & Country, Art & Antiques, Washington Post
and her own site, TheJewelryLoupe.com.
Sarah C. Turner
If One Could Wear a
Marching Band 2004
Digital projections
burnish
your image
PAGE
NET
PROFITS
20
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19
NET PROFITS
By Cathleen McCarthy
Gearing
Up for the
Holidays
20
As a jewelry artist, you have an advantage on a couple of levels at holiday
time. People are searching for unique,
personal gifts — and what’s more
unique and personal than handmade
jewelry? Fourth quarter is also makeor-break time for retailers, so if you
sell through shops and galleries (or
want to), this is a perfect opportunity
to get on their radar.
Of course, most of us also have a lot
going on in our personal lives during
the holidays — buying gifts, traveling,
entertaining, having kids home from
school. All this just when the demand
for your jewelry is at its peak — or
should be. You’ll never get a better
opportunity to maximize sales. The
trick is to take advantage of that while
leaving time for holiday fun with family and friends.
This time of year, it’s not so much
about creating new designs as ramping
up production and getting organized
so you can turn things around fast.
OFFER CONSIGNMENTS
Shops and galleries do their biggest
sales during the holidays, and they’re
looking for inventory right now. Many
artists avoid consigning to galleries because they don’t want to tie up
inventory in a long-term loan with no
money up front, but some make excep-
tions this time of year — for good
reason.
Dallas-based designer Patricia
Tschetter has had a lot of success with
short-term consignments during the
holiday season. “Certain galleries
will do a limited engagement where
you can consign pieces for a month
or two months during the holidays,”
Tschetter says. “For most retailers, the
fourth quarter is where they make it or
break it.”
She deals only with reputable galleries, known for paying quickly and
returning inventory fast and in good
condition. The best way to check on
a gallery’s reputation is to ask other
artists you know or check them out
on online forums such as the Orchid
community or (if you’re a member)
the Jewelers Board of Trade.
Just before the season begins,
Tschetter contacts her list of trusted
gallerists and asks if they need inven-
tory for the holidays. Last year, one of
her pieces was featured in the gallery’s
holiday advertisements, an unexpected bonus.
MAKE ONLINE SALES EASY
E-commerce sales accounted for
about 7 percent of total sales last year
and are expected to reach $327 billion
by 2016, according to a recent study
based on U.S. Census figures. Much
of the growth is coming from online
retailers improving their web sites and
services. The analyst behind that study
said: “This is particularly true of categories such as apparel and jewelry.”
He pointed to things like zoom,
color swatches, and configurators to
account for that growth — the kind of
tricky things big retailers use on their
web sites. But it’s worth noting that
he specifically pointed to jewelry as an
area that’s on the rise for online shoppers. While adding zoom is probably
ILLUSTRATION: STEPHAN PARK
Ramp up for mobile-friendly,
fast turn-around on top sellers
It’s not so much about creating new designs as ramping up production
and getting organized so you can turn things around fast.
not an option for your site or online
shop, you can spruce up your images.
If you sell on Etsy, you probably
know how to shoot a piece at various
angles and on the body — and know
firsthand how that improves sales. If
you sell on your own web site, find a
way to do the same thing. Create your
own version of zoom and configurator
with multiple shots.
BE MOBILE FRIENDLY
Make sure your web site reads on
tablets and smart phones. People are
spending a lot more time browsing
and consuming information on mobile
devices — including right now, as they
start to think about the gifts they’re
going to buy. Last holiday season
marked a huge leap in the way people
were taking in information and making buying decisions over the year before. A study by Nielsen & McKinsey
showed a 63 percent increase in time
spent on mobile apps and mobile web
sites in 2012 as compared to 2011.
More people are shopping jewelry
on mobile devices. Whether or not
they end up buying that way, they are
searching and getting ideas for what
they want to buy. They’re looking at
images and reading about jewelry. If
you’re not positioned to be found this
way, you’re losing out.
And for those who prefer to buy
learn more
from cathleen mccarthy
Holiday Selling
September 10, 2014 (WEB SEMINAR)
How to Sell Jewelry Online
Collected Net Profits, 2010-2011
(DIGITAL COMPILATION)
> shop.jewelrymakingdaily.com
this way, you also need to prepare for
mobile sales. Square charges 2.75
percent to process credit cards, and
you can plug in their little swipe gadget
on the fly or connect your site to their
online marketplace and send customers through their payment system. A
slightly more expensive option is to
use PayPal or Google to accept payments. Some customers already use
PayPal to buy online, so they may be
less reluctant to use this option.
If you’re selling your jewelry in
person, some customers may be
more comfortable if you allow them
to use their own smart phone to make
the purchase. It helps to have a web
site with a shopping cart function to
facilitate mobile payments. PayPal,
Google, and ProPay offer codes you
can incorporate to do this. Customers
log into their PayPal account on your
device and make the payment, then
PayPal emails them a receipt.
PayPal and Google charge 2.9
percent plus 30 cents per transaction for any purchase under $3,000.
ProPay (propay.com) offers a variety
of merchant accounts for various
annual fees, starting at $50 to process
only Visa/Mastercard via web or
email. ProPay deducts 3.25 percent
plus a $.35 for each transaction, so a
$10 sale would net you $9.32. Using
their Square-like card readers with
smart phones comes with a different
fee structure.
you introduced a new collection this
year and one particular piece is doing
well, consider a promotion based on
that — possibly a giveaway that you
promote across all your social media
platforms.
Holiday season is a great time to
hold a giveaway because everybody
is in the market for a special piece of
jewelry, especially from their favorite
designers — especially if it’s free. Gift
budgets are tight right now and many
shoppers are waiting longer to shop,
looking for good value and guaranteed
delivery in the last week or two before
Christmas.
Announce a contest or giveaway
three to four weeks before Christmas
to target those last-minute shoppers,
offering a popular piece, preferably
something recent. Consider doing a
pin-to-win contest via Pinterest and
promoting it on Facebook and Twitter.
Have entrants sign up for your email
list and follow you on social media in
order to enter. You’ll get lots of buzz
this year — and build your contact list
for next year.
CATHLEEN MCCARTHY is a freelance writer
whose stories appear in Town & Country,
Art & Antiques, and her own site,
TheJewelryLoupe.com.
find more online
“Get Organized for Holiday
Jewelry Sales”
FOCUS ON TOP SELLERS
Now is not the time to get creative
with new designs but to identify the
top sellers among the designs you
have, then focus on marketing them
and ramping up their production.
What sold best last holiday season?
If rings were big for you, have some
extras on hand and plan to host and
promote ring sales and giveaways. If
JewelryMakingDaily.com/netprofits
21
COOL TOOLS
& HIP TIPS
BY HELEN I. DRIGGS | PRODUCT PHOTOS: JIM LAWSON
22
Supplies and tools for glass on metal enthusiasts
For the Enamelist
Luminous glass and vibrant color appeal so much to the painter in me. The sparkling
glow of transparent enamel always reminds me of a good watercolor — when you can
see the surface of the paper shining through the pigment. Of course with enamel, it’s
the metal that shines through, and that makes the metalsmith in me very happy. I have
been investigating the art of enameling in more depth recently, getting help from a good
friend, taking workshops, and playing more with both torch- and kiln-fired enamels —
and, of course, I’ve found some nice new enamels and tools to share with you.
Thompson’s Liquid Enamels
Thompson’s Enamel has been around since 1890,
and here in the USA, their lead-free enamels are
widely available and well known. In groups, veteran
enamelists even speak in a kind of strange, secret
code based on Thompson’s color numbering system:
honestly, you’ll see them looking at a beige coffee
cup and hear them say something like, “No! That’s
a 2130 for sure, it’s so much juicier than the 2190!”
There is so much more to Thompson than their
familiar lines of basic transparents (2000s) and
opaques (1000s), though!
Like liquid enamels, for example, which I discovered
in a torch firing workshop with the incredible and
inspiring Anne Havel this spring. Liquid enamels are
just what I was searching for because they behave like
paint. You can intermix them with each other or other
enamels, spray, drip or brush them on, and use them
with crackle bases (1006, 1020, 1997 and 2008), too.
They are available in premixed liquid form or as dry
powder you mix with distilled water or enamel flux
(Klyr-fire).
Once you’ve applied them to your metal, let the liquid fully evaporate until you’ve got a smooth, soft surface. Then carefully scratch into or otherwise manipulate the enamel surface before torching or firing. I
had great fun using roll-printed metal and selectively
removing the dry enamel from the high points before
firing.
I also recently sat in on a video filming with Susan
Lenart Kazmer, who uses liquids in her kiln-fired sgraffito techniques, and I picked up lots of interesting
ideas there, too: the ability to make marks in the color
on the metal is just so cool! Thompson’s liquids range
from number 553 (White) to 940 (Mouse). Try them,
you’ll like them!
One other quickie: if you like the look of a matte
surface on your glass, pick up a bottle of Etch-All
(ETCH-4) etching crème. I have tried other brands of
glass etching compound, and trust me, nothing works
as well as this one.
> MORE AT THOMPSONENAMEL.COM
Milton Bridge Enamels
I love transparent enamels best and have been known
to happily torch fire for hours using nothing but hard
clear and letting the metal oxides color the glass.
But every once in a while, I do like to intentionally go
for some vibrant color. These new lead-free 50 mesh
transparents from Milton Bridge Ceramic Colours
Limited offer a nice range of basic colors, and also
include some pretty reds including Ruby (MB104)
and Paprika (MB134).
One thing I discovered from my
HAVE A TOOL,
expert friend is that lead-free red MODIFICATION,
OR BENCH TRICK
is the make-it-or-break-it enamel
TO SHARE?
color: getting a good, consistent
? Email us at HDriggs@
hue that you like and can rely on
interweave.com,
subject line “Cool Tools.”
is what will make you marry a
Please include your
particular enamel brand. I haven’t complete contact informaexperimented too much with
tion with all submissions.
23
COOL TOOLS & HIP TIPS
Ruby holds great promise — it’s a vibrant sort of scandalous,
Friday-night-lipstick red.
these enamels yet, but to me, the Ruby holds great
promise — it’s a vibrant sort of scandalous, Fridaynight-lipstick red.
There is also a line of 80 mesh Opaque with some
delicious colors, especially the greens. Halstead has
added an entire range of enamels, enamel supplies, and kilns to their catalogue, and the Milton
Bridge enamel sets are sold in squat 2 oz. jars with
screw tops. They recommend pre-washing (which
you should do for all transparents). Suggested
firing temps are 1544 for transparents and 1450
for opaques. An economic counter enamel is also
available.
> MORE AT HALSTEADBEAD.COM
Sifters, Cutters and More
24
I can tell that enamel is blossoming in popularity:
seems every jewelry tool supplier has added some
enamels and enamel tools to their catalogue,
including the ever-popular Fire Mountain Gems.
Here’s just a glimpse at what they are carrying now
geared toward the occasional enamelist.
You can order individual jars of the Thompson’s
complete color line of Opaques and Transparents in
2 oz. jars. I snapped up a jar of Jungle green (6181BS)
and Sea green (6182BS) because I am a green girl.
You won’t need to know the Thompson’s color
number if you order from Fire Mountain — just peek
on the website or look in the printed catalogue for
a fairly accurate color swatch of each enamel. The
Thompson’s color number is on the packaging, too,
so once you fall in love with a particular hue, you can
commit that number to memory and become part
of the secret enamelist numeric code speaking clan.
Those helpful folks at Fire Mountain have sorted the
colors into groups: reds, blues, yellows, etc. to make
your color shopping a snap.
Another fantastic little tool I picked up was a 1/32”
steel line sifter (4182TL) because I saw Pauline Warg
use one in her studio during the filming of her Basic
Jewelry Enameling video. I’ve only ever used plastic
sifters, and to me, a tool is better when it’s steel.
You can never have enough trivets when you are
enameling, so snap up a few 3 point trivets (4176TL)
while you are shopping. They’re great when you’ve
got work drying, work cooling, and work waiting to
fire all lined up.
Making sample tiles is a way of life for enamelists. I
tend to err on the side of obsessive in this aspect, so
this Square Disc Cutter (H20-4141TL) is perfect for
giving me uniform, same-size tiles. It’s also superhelpful for other metalwork, too. The sizes range from
4 x 4 mm up to 16 x 16 mm squares. There is also an
oval set (H20-4140TL) that I think would be great for
oval cabochon bezel backs.
If you aren’t up to cutting out your own blanks,
check out the precut copper blanks in a huge array
of sizes and shapes. I adore the rounded triangles
(9333FX) and am saving one of mine to use as a sawing pattern for my students — it’s such a great shape!
> MORE AT FIREMOUNTAINGEMS.COM
learn more
from helen driggs
The Jewelry Maker’s Field Guide
(book)
Basic Fabrication (video)
Riveting and Cold
Connections (video)
From Pam East and SpeedFire
Pam East is one of those artisan/inventors who
continually creates useful and relevant products for
jewelry makers. Here are a few of her latest goodies.
PreNamel Surface Scrub powder is a non-toxic
metal cleaner available in a portable 6 oz. shaker jar
— perfect for classes and workshops. Use it to get the
coveted sheeting of water and to remove all grease,
grime, and gunk from your metal, whether you intend
to enamel or not.
DeNamel does just that. If you hate what came
out of the kiln, you just mix a bit of this powder with
water, brush it on the offending area, fire at 1450 for 2
minutes, and quench hot. Voilà! The DeNamel breaks
through the fired glass enough to cause it to chip off
easily. Thick glass may require two applications and
firings.
This one is just brilliant! Pam’s Articulateable
Enameling Trivet does just that — you can custom
shape it to your piece, and it works with small kilns,
too. Pair the trivet with the amazing Folding Firing
Fork (you’ll notice the notches on the trivet base correspond with the shape of the fork) for a super-secure
trip to any size kiln, which everyone who enamels
knows is the most vulnerable time for a work in
progress.
I haven’t had a ton of time to put the brand-new
SpeedFire Electric Mini Pro kiln through its paces yet,
but the second I opened the box, I was smitten. This
great little plug-and-play kiln is perfect for somebody
like me: it’s got a small footprint, only uses 420 watts,
it’s really easy to use, it’s well-designed, and the firing chamber is about the size of a really thick club
sandwich — so it can handle most jewelry-sized work
easily.
Use it with enamel, metal clay, and glass. It’s great
for those of us who don’t need to invest in a full size
kiln but really need a reliable kiln in bursts. My favorite feature is the lid: the entire top part lifts off to
expose the kiln brick below. And, you can ramp up,
down and hold easily using the simple digital control
and readout. What’s not to love?
> MORE AT METALCLAYSUPPLY.COM/PAM
And in the Wings
You might recall I wrote about Eugenia Chan’s Torch
Firing Basket in the May/June 2014 issue. Well, this
prolific lady is another maker/inventor, and she is
developing a new line
of enameling stencils
made from thicker and
completely transparent
Lapidary Journal Jewelry Artist,
acrylic. If you have
May/June 2014
worked with stencils,
you know they can be
frustrating to use, so
Eugenia is working to fix those annoying positioning
and control problems that thinner stencils made for
other craft disciplines have. Her prototypes are very
promising: more as soon as they get on the market!
> MORE AT EUGENIA-C.COM
find it
HELEN DRIGGS is a Senior Editor for Lapidary Journal Jewelry Artist and an experienced metalsmith and teacher.
Follow her twitter feed @fabricationista.
coming next time
»
Tools and Supplies for Wire
25
SMOKIN’ STONES
By Sharon Elaine Thompson
Kaily Agate
A sister agate born in Mexico
26
PHOTOS: JIM LAWSON
STONES COURTESY JOHN F. HEUSLER, G.G./SLABS TO CABS
WHEN JOHN HEUSLER
named a beautiful agate
discovery “jessite” after his elder daughter,
Jessica, he promised to
name the next find after his younger daughter, Kaily. He didn’t know that
find would come so unexpectedly. When he excitedly received what was to
be 10,000 pounds of jessite, instead, on the truck, he found 10,000 pounds
of another agate that had come from the same mine, the same vein, and
just inches from where the jessite deposit stopped. While the composition
and the source were the same, the “character” or patterning was very
different. They were sister agates, if you will. Kaily’s agate had found its
way home.
Kaily agate is generally light in color — whites, tans, beiges, grays, even
pale pink — with oranges, greens, and yellows. It’s patterned with dark
outlines of cinnamon-like reddish brown, red, dark gray, and red. Like its
sister, kaily agate may contain exposed drusy areas. Occasionally, the drusy
areas are protected by a solid filling of transparent quartz. (And if that’s
not enough, it fluoresces — night club jewelry, anyone?)
Curiosity and customer interest led Heusler to have the stone “read” by
two metaphysical healers who both told him the same thing, he says: kaily
agate is useful in times of transformation and change, it heals the heart,
and it can help resolve conflicts.
The strong patterning makes kaily agate an excellent choice for a center
stone in a neckpiece or brooch. Because of the exposed drusies, it must
And if that’s not enough, it fluoresces — night club jewelry, anyone?
be worn with care in bracelets or
rings. The colors in it make it a
good choice to use with beads of
carnelian, jasper, or quartzes of
all kinds. Faceted stones of citrine
and garnet would make excellent
accents. The light color palette also
makes the stone a good choice to
wear with spring or summer clothes.
Kaily agate will be available at the
Denver Expo Gem Show, September
10 – 14, 2014.
How much does it cost? Rough,
$6 to $18/pound; slabs, $10 to $60;
custom cabs, $60 to $125; standard
cabs, $10 to $60, depending on size,
patterning and color.
How hard is it to find? Available.
Heusler expects to have several tons
in Denver in September; beads may
be available at Tucson 2015.
What kind of jewelry can I put this
in? Anything. With a hardness of 7, it
can take just about any kind of wear,
and will repolish readily if scratched.
Stones with exposed drusies,
however, are safer in pendants,
brooches, and earrings.
How easy is it to set? Easy. Stones are
most often cabbed with flat backs.
What settings are best? Bezels and
partial bezels are probably most
common; prongs can also be used. (For
interest, Heusler cuts some stone with
the drusy opening at the edge. These
are best set with an interrupted bezel
or prongs.)
Artisan/studio dos and don’ts: Any
stone that has withstood cutting, says
Heusler, will withstand the manufacturing process. However, exposed
drusy crystals can be damaged by
tools or polishing. Quartz is sensitive
to thermal shock, so use caution when
steaming. Also start with the least risky
cleaning process.
Wearer dos and don’ts: Wear and
enjoy. Clean with a soft toothbrush and
gentle detergent. Wear stones set in
bracelets and rings with care to avoid
damage to drusies.
SHARON ELAINE THOMPSON has written for Lapidary Journal Jewelry Artist since 1987. Her book, Good Bones: the Elements and Principles of Design for Jewelry Makers, is coming
soon from Brynmorgen Press. You can learn more about her
at sharonelainethompson.com and jewelryartdiva.com.
set it
PAGE
28
KAILY AGATE
PENDANT
find the
sister stone
SMOKIN’ STONES: Jessite
PROJECT: Sterling and
Jessite Cuff
Lapidary Journal Jewelry
Arist, January/February
2014
> shop.jewelrymakingdaily.
com
27
GEM/JEWELRY PROJECT
SKILLS
• Lapidary
• General bench
• Soldering and bezel setting
TIME IT TOOK
15 hours, 26 minutes and 44
seconds (this is approximate)
AN
EASIER
WAY
Purchase some components
rather than make your own;
see page 35.
Kaily
Agate
Pendant
Turn a new stone, a minimal setting,
a dash of gold, and a splash of sparkle
into a piece that is truly your own
BY JOHN F. HEUSLER, G.G.
28
WHEN THE TRUCK PULLED UP
at the
Quartzsite gem and mineral shows early this year, it was supposed to be
filled with a new agate I’d found and named jessite after my oldest daughter,
Jessica. While the gemstone had been a huge hit when I showed the little of it
I’d had, unfortunately, not much more was ever realized, and that truckload?
There was exactly zero jessite in the barrels.
While I was crushed, I quickly realized the potential of what I did have.
Because this new rock was the “sister” to jessite — found in the same vein in
the same mine — I thought it best to name it after Jessica’s sister, Kaily, my
youngest daughter. This particular cabochon is unique even to the Kaily agate
we are finding today. Just like my daughter, it’s the most beautiful gem of all,
and the piece, which I’ve named The Raven, is a present for her 21st birthday.
Happy Birthday, Kaily!
1
2
M AT E R I A L S
Agate rough or slab; I used Kaily
agate
.25 ct. round diamond; or any
round, but you will have to set it
after you solder
3x3 mm square sterling silver
wire, approximately 14”
20 gauge sterling silver sheet,
enough to fit stone plus extra
18K yellow 3x3 mm square wire
x approximately 3”; or other
metal of choice
18K yellow thick walled tubing
to fit diamond x at least ½” in
length
TOOLS
LAPIDARY: #8 Template for
Designer Gemstones, lapidary
equipment, I used Diamond
Pacific’s Genie; Gryphette
diamond grinder
HAND AND BENCH: General bench
tools, polished burnishing tool,
Fordom-style flexible shaft
or similar (Dremel will not
hold tubing), wide cross peen
hammer, rolling mill with wire
rolling capability
Cut the Cabochon
OPENING PHOTO: JIM LAWSON; PROCESS PHOTOS COURTESY OF THE ARTIST
Photo 1 Start with a suitable slab or slab
some rough Kaily agate.
Photo 2 I slabbed a rough piece of Kaily
agate with my Diamond Pacific hydraulic drop saw, which cuts 5-7 times faster
than a conventional saw. I demo’ed one
in Quartzsite and ended up buying it!
You cut with the saw you have.
Find the sweet spot on the slab and
mark it; here, I’ve marked several areas
of interest, but settled on a section of
unusual orange color for this project.
I design and manufacture 12 different
gemstone templates with about 60
designs and chose a flame design —
perfect for Kaily as she is always happy
and lights up with bright smile.
Photo 3 I cut the cab shapes out with my
Taurus 3 ring saw — love this saw. It cuts
quickly, uses water so no oily mess, and
there’s very little waste.
Photos 4 and 5 For the concave area
of the stone, I used a unique tool for
the job called the Gryphette diamond
grinder. It was designed for stained
3
SOLDERING: Torch with multiple
tips, GRS soldering station with
two hands or other type third
hands, pickle pot with Sparex
FINISHING AND SETTING: General
polishing tools, hallmark stamps
for each quality of the noble
metals plus personal hallmark
or logo, dead blow hammer for
stamping hallmarks
OTHER: an open mind!
SOURCES:
4
Kaily agate: slabstocabs.com;
#8 Template for Designer
Gemstones: slabstocabs.
com or Diamond Pacific Corp;
Gryphette diamond grinder:
Diamond Pacific Corp; GRS
soldering station with two
hands or other type third hands:
Otto Frei. Most of the other
tools and materials for this
project will be available from
well-stocked jewelry supply
vendors, many of whom can be
found in our Advertisers’ Index,
page 79.
29
I implore you to sketch designs prior to building a project of any sort.
You do not have to adhere to the design — I certainly did not, but a
sketch gives you a clearer picture of what you are to complete.
5
6
7
5
30
kaily
agate?
PAGE
26
SMOKIN' STONES
glass workers but works well here;
optional grits, cutting heads, and
shapes are available. I cut an extra deep
concave curve on one side and used
various grits to bring to a near polish, as
the Genie wheels are too large for this
concave cut.
Photo 6 After the shape was to my liking,
I used the Gryphette and angled the
stone to bevel it just as I would on my
Genie. The grinding wheels are removable and sit on a spindle. Feather out till
the Genie can get in to cut the rest.
TIP: Raise the grinding head higher
to reach the bevel more easily. Simply
loosen the hex key, raise the head, and
tighten up.
Photo 7 For shaping and contouring,
I use the 6" diameter wheel of my
Genie. It fits the shallower, concave side
perfectly.
Turn the stone at a 90 degree angle
and press into the wheel; move from
side to side but keep the stone exactly
in place: that is, use the whole wheel so
as not to wear it out in the center. At
this stage, just shape the outline of the
stone. I started with the second metal
bond wheel of my Genie. The 220 grit
cuts quickly and will not chip edges on
your stone, especially once broken in.
Photo 8 Next, start beveling the edge
towards the center. I also move the
stone from side to side using the entire
face of the wheel, but to ensure a clean
edge all around, make sure you do
not use an up and down motion here.
Feather the bevel into the concave
side you cut with the Gryphette so the
transition is smooth. Once completed,
angle the stone a bit higher (towards
the top) and cut the next beveled edge.
Repeat until you are on the top of the
stone. It should resemble a dome now,
but somewhat faceted.
Starting at the bottom bevel, smooth
the faceted dome. Use a rotating,
circular stroke in an up and down
motion. Kind of feeling like you’re
patting your head and rubbing your
belly? You’ll get used to that! You
should now see a smooth dome shape.
8
Photo 9 Continue using increasingly
higher grit wheels, repeating each
step with the exception of the beveling
until you reach your last wheel. Make
sure that you use a decent amount of
pressure on the Nova wheels to depress
them inward.
Photo 10 As shown, you need to press
into the wheel to help remove flat spots
and promote rounding, but note: do
not run the stone off the edge of the
wheel as shown! You will get grooved
lines on the face if you do. I merely
photographed this way to demonstrate
how hard to push.
I used a 3000 grit Nova wheel for my
last prepolish. I worked twice as long
on the 1200 and 3000 grit wheels than
all others to ensure removal of previous
scratches. Remember, this material is
agate and darn near polishes up on the
1200 wheel: it looks fantastic on the
3000. Just wait!
Photo 11 I used a rough leather lap on the
end of my Genie and standard cerium
oxide, misted heavily with a spray bottle
of water. Apply medium pressure and
the stone will shine quickly. You need to
keep this wheel wet or it will grab your
stone when it is drying out and toss it
down hard. Don’t want to break it after
all that work, do you?
If you have done all steps correctly,
you should see a nice dome with flat
sides, completely free of scratches. If
you tip it back and forth and look at the
light reflecting off the top, you should
see a fluid, smooth dome without flat
spots or scratches.
Photo 12 Here’s the finished stone, ready
for the pendant design. Did you notice
that I did not use a dop stick? I rarely
do. I teach using one as for most people
it is easier, but I learned this way with
larger stones and I can knock them out
much faster this way. Dop ‘em if you
wish!
9
SAVE $
10
Use copper or brass
instead of 22K gold
for the textured sheet,
which you could also
texture with tools
instead of a torch.
10
9
11
12
Design and Fabricate the Pendant
Photo 13 When instructing, I begin with
a sketch as to how I would build a
particular piece. I then ask my students
to sketch their personal interpretation
of that piece, to change it, and let it
become their design instead of a copy.
I implore you to sketch designs prior
to building a project of any sort. You do
not have to adhere to the design — as
you can see, I certainly did not and in
13
31
14 15
16 17
18 19
20 21
32
fact changed at every turn, but a sketch
gives you a clearer picture of what you
are to complete. These instructions are
how I built this pendant: I would love to
see how many different ways all of you
varied this design.
I started on the right side of the bezel
and used 3 x 3 mm square wire that
began as an ingot I then rolled out in
my mill to several feet long. If you do
make your own wire, be sure you anneal
it correctly. Purchase your wire if you
prefer.
Normally when we do bezels, we
can measure with string or dental floss
around the circumference of the stone.
Be sure to add quite a bit more for this
project! It is not a standard bezel and
will not be set as such.
Photo 14 I forged the curly “wing” of the
top right side of the stone first. Start
with heavy blows and transition to soft
even ones once the shape is nearing
completion to ensure much less filing
and sanding for cleanup. If done correctly, very little sanding will be needed.
I used a wide cross peen hammer;
normally I use a Fretz hammer here, but
mine went AWOL not long ago. Grrrrrr!
Photos 15, 16, and 17 Sand the forged section and shape it with bow pliers, fitting
the stone’s contour exactly. I always use
a light box below the stone to make it
easy to see any gaps. I’m also sure to
mark the bezel — but not the stone! —
with a small piece of painters tape or
Sharpie so I know exactly where I am
at every step. Mark both the stone and
the wire in this case so you “line” it up
exactly every time while forming.
TIPS: Marking the stone with a Sharpie
is a no no — it probably will never come
off! Use painters tape here. Also cover
your bow pliers with a very thin piece of
copper. It won’t mar the metal as much.
Photos 18 and 19 You may find that once
it’s shaped to the stone, the bezel is
not perfectly flat. When that happens,
lay it on a flat surface and hammer the
high spots to bring it into alignment.
Remember, it needs to be soldered to
a flat back plate, so it needs to lie quite
flat!
Your wire should already be annealed.
If it’s not, anneal it now. Forge the left
side.
Photos 20 and 21 Instead of painters
tape, I marked the sterling wire with a
Sharpie. It keeps your place so you don’t
22
23
24
25
26
27
beat your head against the wall when
forming the contour of the stone, and
will sand right off. If you look close you
might see the mark in the photo. Leave
extra wire on the top and the bottom.
Mark sections about ½" apart with the
Sharpie.
Photo 22 Close your rolling mill so no
gaps are showing on the flat side and
insert the wire into the first slot it won’t
pass through.
Roll to the last mark and unroll back
out the way it went in. Turn the wire one
quarter turn and roll again to the same
point and reverse it. Place the wire in
the next smaller slot and roll to the next
mark towards your starting point. Do
not raise or lower the rollers; keep them
exactly the same.
Repeat after one quarter turn.
Continue repeating until your wire is
tapered nicely and is small at the tip.
Note that you wire will increase in
length.
Photo 23 Your wire should resemble this.
Photo 24 File round to the tip of the
taper and sand to 600 grit.
Photo 25 Both sides should be fitted to
the stone exactly. No gaps, right? Note
the saw mark I placed across the top
of both bezels. I use this as the spot to
solder. The line must align straight and
evenly so you will be very close to the
same shape of the stone with little or no
modification after soldering. Well begun
is much more than half done!
Photo 26 Make the join by soldering
together where the saw marks line up.
I use new charcoal blocks to ensure the
piece stays flat. Fire coat it and flux, and
use hard solder here — more than you
think you will need. You will file excess
off later. Pickle, rinse, and check the fit
to the stone. Resolder if necessary.
Photo 27 Coil the tapered end, then raise
it up. We will be soldering it to a flat
backing plate of sterling silver sheet and
we don’t want it to solder down. We
want it free. You may call this section
Willy (feel free to groan now).
Saw out 20 gauge sterling silver sheet
close to the shape of the bezel, leaving
about 6-7 mm around the perimeter for
extra areas to hold onto. I use the GRS
33
A cool trick for even more interesting texture is to add some 22K dust,
but it must be clean metal.
28 29
from warping. I soldered with a larger
tip on my torch and heated the whole
piece from the bottom so all solder
would flow at the same time, which
prevents warping.
After soldering and pickling I placed
the stone in the bezel. A flawless fit!
While the stone was in place I scribed
the back plate at the bottom of the
stone, which will let me see exactly
where to solder the 22K textured plate
planned for up against the agate.
Photo 29 I cut the sterling silver sheet
out exactly to the scribed lines, and I left
the exact shape for the 22K textured
addition.
Texture the Gold Sheet
Photo 30 I textured the gold sheet
30 31
34
32 33
soldering station and hold the piece
with the third hands.
Photo 28 This photo was taken after
I soldered the bezel to the plate, but
there was a small spot that was not
soldered down completely, so I simply
added solder to close the gap after I
gently hammered it flat. I did use both
third hands to hold the sheet to keep it
using a semi reticulation method. A
cool trick for even more interesting
texture is to add some 22K dust, but it
must be clean metal. If you want to try
this, place a sheet of paper under your
bench pin while sawing out the gold
piece to catch the dust, then add it your
sheet just prior to the last heating as
described below, and “fuse” it to the
sheet.
Cut the 22K out and fit it to the stone.
Do not flux. Heat with a slightly reduced
flame. Hold the torch higher up than
you would for typical soldering. Heat to
a dull red and let cool several times. Do
not pickle between heating.
Once the sheet is nearly black, the
last heating will draw the metal up into
a prune-like texture just as it wants to
flow. Remove the torch immediately
and let the redness disappear adding
flame again as soon as redness is gone.
Repeat until texture is to your liking.
Photos 31 and 32 Cut out the backing
sheet and grind with a rotary file. I use
a fine grit file, which seems super rough
until you cut with it. Smooth but very
fast! Use a medium speed with the flex
shaft. You’re wearing eye protection,
right? Sand to 600 grit.
Photo 33 Cut the tips down and file a
34 35
2
EASIER
WAYS
• Use purchased wire
36 37
groove in the back for the bail. Notice I
balled up one tip and ended up doing
both. Embellish as you feel fit. Shake it
up and make it your own!
Photo 34 Sand back plate to a 600 grit
and polish the entire piece at least to
Tripoli stage. You won’t be sorry for this
step!
Photo 35 Make a 3 x 3 mm square 18K
yellow gold wire and taper it with the
rolling mill just the way you did the
silver. Nifty, huh? Length depends
on how much wire you want for
embellishment; if you decide you want
more, you can always make more
tapered wire. File round and sand to a
600 grit. Polish. Cut the wider end and
fit it to the bezel.
Photos 36 and 37 I made two tapered 18K
gold wires and forged a “wing” at the
widest point. Solder at the top and bottom: think of the wires as prongs to hold
the stone in place. Always solder from
the heaviest side and leave the tapered
end for the prong.
instead of making your
own. Hauser and Miller
in St. Louis specializes
in just metal sales and
make all their own stuff.
Call Pat, and he will give
you instructions on how
to anneal properly. Better
yet, order it dead soft to
begin with. (Try doing
that with your regular
supplier)
• Use a purchased
cabochon instead of
cutting one.
My gemstone is very snug and almost
snaps into place. It won’t fall out if I turn
it over — important when fitting a stone
into place with minimal prongs. Add
more if you feel necessary. I ended up
cutting quite a bit off the bottom, curly
wire.
I solder from the back at all times.
Solder always flows towards the heat.
Use hard solder at all joins. Apply fire
coat to both the pendant and the part
to be soldered. Flux. Use hard solder
and apply to the forged piece right at
the edge. Do not overheat here: you
just want the solder to barely flow.
Now heat the entire piece. Once the
flux has become clear, it is hot enough
to attach the wing. Be sure not to
overheat at this stage. Solder both curly
sections, then pickle and rinse. Inspect.
Resolder if needed. These will become
prongs to hold the agate.
TIP: I have a pull-out arm rest on my
bench. Devise such if you don’t have
one.
35
Always polish your tools to a mirror finish. Sand the edges down to a
rounded edge on your pliers as well. Smooth tools leave fewer marks on
your work!
38
find more
• TUBE SET A DIAMOND
“Sterling and Jessite Cuff ”
Artist, January/February
2014
“Ethiopian Opal Ring”
Artist, January/February
2012
• GEM TEMPLATES
AND RING SAW
Cool Tools & Hip Tips
Artist, May/June 2014
com
36
39
40
41
Tube Set the Diamond
Photo 42 Sanding is a snap! Rotate
Photos 38-41 Here is the fun part. The
about ⅓ of full speed and sand up to
600 grit.
Photo 43 Cut off about 90% of the way
through the tubing with saw, but not all
the way or you will be searching for it
when it flies off. Hand cut the rest.
Photo 44 Apply a supersaturated solution of boric acid and alcohol to the
bezel set diamond. Other solutions may
burn the surface of the diamond. Make
sure it is fully covered, including inside
the tubing. Apply 18K yellow gold with
hard solder to the diamond bezel. Once
again solder the tubing from the back of
the pendant.
process is simple and I’ll be brief here,
having gone into detail elsewhere (see
“Sterling and Jessite Cuff,” Lapidary
Journal Jewelry Artist, January/
February 2014 or “Ethiopian Opal
Ring,” Lapidary Journal Jewelry Artist,
January/February 2012).
Find a tube that will fit your diamond,
with a diameter that is smaller ID than
the diamond, but also wider OD (i.e.,
with a thick wall). Place a straight side
setting bur that is the same size to
slightly smaller diameter than your
diamond in a pin vise. Chuck the 18K
yellow gold tubing into your flex shaft
handpiece. The tubing will spin and the
bur will be stationary. Cut a seat that is
just enough to roll over the crown of the
diamond.
Place the diamond in the seat and
slowly rotate the tubing and roll the
edge of the tubing over the diamond
with a polished burnishing tool. Back
burnish the inside edge of the tubing
with a flat graver as shown while the
tubing is rotating. This will help tighten
up the diamond nicely.
TIP: Always polish your tools to a
mirror finish. Sand the edges down to
a rounded edge on your pliers as well.
Smooth tools leave fewer marks on your
work!
Finish the Pendant
Photo 45 Build and solder the bail on the
back. Here is where you may wish to use
medium solder, though I used hard.
Notice that the bail is different on
the finished pendant than in this step?
Once I applied the bail I was unhappy
with the look so I changed it. Breathe
life into a piece by redoing steps when
you’re not satisfied. “Do it again. And
again. Do it until it’s correct — you
won’t be sorry!” is what I often say to
my students. You may hate the piece as
you’re building it, but once it’s complete
you will be quite pleased that you redid
instead of settling for your first attempt.
Don’t settle!
enter our
42 43
CONTEST
g
Jewelrymakin
/
daily.com
Gemmys
44 45
Photo 46 Use a dead blow hammer to
hallmark. It will not bounce with each
strike. I placed a large dapping punch
upside down in my vise with leather
around it to protect it. I use the largest
punch I can that will still fit inside the
bezel. Some artists stamp prior to applying the bezel. This method alleviates the
worry of not knowing where exactly it
will end up in the finished piece.
Deciding at which stage to stamp is
important, so do as I say, not as I do!
Stamp it after the first polish stage,
prior to applying all embellishments. I
cleaned it up nicely, despite the extra
difficulty in doing so. Hallmark it with
the proper stamps but remember also
that if you mark something sterling
or 18K gold you must include your
personal hallmark. I did not stamp it
earlier due to the fact that I always
cut out a nice design that is very
meaningful on the back. I drew the
intended design and cut it out after I
stamped hallmarks. Then I set the stone.
The raven is Kaily’s totem. The raven
brings change, and change is good!
Magic is at play. Here is my finished
design of The Raven pendant. I gave
this piece to Kaily and she absolutely
loved it. Always such a joy when you
give a gift so meaningful. I am on cloud
nine! So is she!
JOHN F. HEUSLER, G.G. owns a fine art gallery
and a jewelry design school, Heusler Academy of
Jewelry Design, in Chesterfield, Missouri. John is a
gemologist, master goldsmith, and a lapidary and
has been cutting gems and hand-making jewelry
for over 40 years. He offers his designer cabochons
in Quartzite and Tucson and on his website,
slabstocabs.com.
PHOTO: JIM
LAWSON
46
SEE MORE WORK
their turn » PAGE 8
37
SOLDERING
SETUPS
what I use and why
BELOW
Noël Yovovich
38
My personal soldering setup is a Meco Midget
torch with propane and oxygen. At work, I use
a Hoke with natural gas and oxygen. Where I
teach, I use acetylene and room air in both SilverSmith and PrestoLight torches. And when I
travel to teach, I often use a hand-held butane.
The little hand-held butane is good for
teaching situations in hotel conference rooms
rather than a jewelry studio, but it is very
limited in what it can do. The one exception is
that rare situation that requires more heat or
more even heat distribution than is possible
with one torch. Then the hand-held can be a
second heat source and I can be a two-fisted
solderer/melter!
The regulators I use in each of these
situations are different, so the settings are
different. I think it just takes a little experimentation to find the settings that give you
enough pressure without blasting so hard that
you blow out your flame.
I switched to oxy/propane from an acety-
Noël Yovovich
25 Birds Reversible Hinged
Bracelet
Sterling silver, etched copper-silver bimetal, anondized titanium,
sapphires, white gold
lene/air SilverSmith torch many years ago
after taking a fusing workshop with Marne
Ryan. Though I don’t use fusing all that much
in my own work, the workshop was my first
opportunity to use the more versatile Hoke and
Meco torches. I love the greater range of flame
sizes you can get — from the tiniest flames
for delicate goldwork to enough heat to melt
moderate amounts of metal for casting (though
oxy/acetylene is still the torch of choice for
casting). Being able to control the gas/air mix
also means your flame can be any size from
needle-tight to soft and bushy.
I think if your work is mostly small, and
mostly silver, you can use any of these torches.
But the kind of control you get with oxygen and
propane or natural gas — both cooler than oxy/
acetylene — is really great if you are working
with gold, and they are clean enough to use
with platinum.
I like to have my torch set up right on my
bench, rather than a separate area. I have a
heat-proof surface with smaller soldering
blocks on it. I feel my flow is better when everything is right at hand. In my own studio, I have
an exhaust that sucks air directly towards the
back of my bench, away from my face.
I quench in water before pickling. I prefer to
avoid vaporizing pickle (even though I use citric acid), and exposing my tools and my lungs
to more fumes than strictly necessary.
NOËL YOVOVICH makes jewelry, teaches jewelry
making, and writes about jewelry making from her
home and studio in Evanston, Illinois.
LEFT
BELOW
Noël Yovovich
Snow Birds Pin/Pendant
Sterling silver, etched and
pierced copper-silver bimetal,
anondized titanium, rollerprinted and pierced copper
Noël Yovovich’s work station includes a Hoke/
natural gas torch and a heat-proof surface with
soldering blocks. She prefers to everything
right at hand when she needs it. (Her personal
setup was packed up at press time on account
of a move and unavailable for photography.)
PHOTO: NOËL YOVOVICH
I feel my flow is better when
everything is right at hand.
Noël Yovovich
Moonlit Landscape
Pin/Pendant
Sterling silver, 14K
and 24K gold,
moonstone, faceted
labradorite beads
SEE MORE WORK
39
TRENDS
By Deborah Yonick
Balance, Duality
and Gems
5 themes for 2015
Fashion and accessories trendsetter Swarovski has been sharing its
forecasting research for the past 12 years, with its Gem Visions 2015 edition, unveiled during the JCK Las Vegas Show, which calls for a focus on
balance and dualities of style for the coming year.
“Changes set in motion in 2014, notably the simplification and abstraction of design, come to fruition in 2015 as a vision of powerful modernity emerges,” describes Dr. Birgit Rieder, director of gem creative
and retail marketing genuine and created stones at Swarovski. “This
sparks new interactions and alliances, and a strengthening of last year’s
message of conversation into collaborations and correspondences.
There’s a meeting of art and science, rational and spiritual, and connections in the brain and between senses. Popular jewelry styles rediscover
the jewel as a communicator, and reinterpret ways to adorn the body.”
Five megathemes are revealed in the research, illustrated by artists
challenged by Swarovski to design jewels based in the trends discovered.
Sandy Leong
Bloom Leaf Cuff
Earrings
18K yellow gold
PHOTO: COURTESY
SANDY LEONG
Mrs. T Jewels
Caviar Line Tunnel Ring
18K gold, brown diamonds
PHOTO: COURTESY
MRS. T JEWELS
42
Rina Limor
Tassel Necklace
Black spinel, Tahitian pearl, diamond
2
CLOCKWISE FROM ABOVE
Royal Asscher
Stars of Africa Cufflinks
18K rose gold, floating diamonds in sapphire globes
PHOTO: COURTESY
ROYAL ASSCHER
Royal Asscher
Shining Stars Ring
White ceramic ring, 18K
yellow gold basket, floating
yellow sapphires in sapphire
globe
PHOTO: COURTESY
ROYAL ASSCHER
Gina Pankowski
Vertebrae Ring
18K gold, yellow and blue
sapphires
PHOTO: COURTESY
GINA PANKOWSKI
1
NEW HORIZONS
ZERO TO INFINITY
‹
Primal energies connect with the
flow of today’s digital dynamism in
a direction that explores the physical and metaphysical. Key materials
include space age metals like titanium and palladium, and celestial
gems like moonstone, pearl, opal,
and star sapphire. Rock crystal,
lapis, black diamond, hematite, and
marcasite are also central. A range
of astral colors with aluminum
finishes and metallics prevail.
Popular cuts include half-moon
and sugarloaf cabochons, and
designs embrace new takes on
invisible and star settings, and
styles that are adjustable in size
and design, chakra balancing, and
energizing. New technology
enables ultra-contemporary
conceptual design.
new horizons
how-to
‹›
A new design scene is emerging that
looks to Eastern Europe for inspiration in
folkloric traditions and handicrafts, ancient pagan rituals and barren northern
landscapes — a new Nordic jewelry. Key
materials include wood, natural fibers,
leather, and horn, as well as matte metals, geodes, drusy, and marcasite combined with transparent gems. Important
are pigmented tones, patinas, and traces
of aging.
Cuts mimic geological formations and
natural crystalline shapes; octahedrons
and upside-down stones; and grain and
organic mosaics. Styles embrace alternative ways of wearing jewelry like ear
cuffs and head ornaments; hoop, chandelier, and long pendant earrings; chains,
mala beads, and tassels; and armor-like
ornaments including wide cuffs and
thumb and archer rings.
PAGE
46
ARCHER’S THUMB RING
ABOVE
Zaffiro
Nebula Cuff
Australian boulder
opal, white diamonds,
teal diamonds, 22K
yellow gold, forged
and oxidized sterling
silver
PHOTO: HAP SAKWA
RIGHT
Madstone
Three Graces Ring
White gold, rubies,
diamonds
PHOTO: COURTESY
MADSTONE DESIGN
43
TRENDS
3
HOMAGE
›
A sumptuous celebration of
the classics, this direction is
inspired by the aesthetics of
antiquity with a strong reference to its architecture. It offers
a new perception of luxury with personal
meaning that goes beyond connoisseurship.
Key materials include emerald, ruby, and
sapphire; and the metals of choice are rose
gold and bronze. Classic cuts are prevalent, as
well as cameo, intaglio, and gem carving; and
popular styles embrace armor-like designs,
talismans, jewels reinterpreting draperies,
and body-conscious jewelry. Archways provide strong inspiration. Jewelry in this trend
is dedicated to perfection in concept and
craftsmanship, and it pays tribute to classical
masters of style.
CLOCKWISE FROM LEFT
Madstone
Persephone Ring
Mythology Collection
PHOTO: COURTESY MADSTONE DESIGN
Rina Limor
Sunrise Coin Collection Bracelet
Sterling silver, coins
Zaffiro
Etrusco Group Rings
22K yellow gold, forged and
oxidized sterling silver, diamonds,
assorted colored stones
PHOTO: HAP SAKWA
SEE MORE WORK
Costis
Sea Life Net Necklace
18K yellow and white
gold, sapphires,
aquamarine,
diamonds, coral
PHOTO: COURTESY
COSTIS
44
4
CREATURES
‹›
Nature meets science in this figurative design direction, juxtaposing
natural and manmade materials in
hybrid flora and fauna. Key elements include opalescent gems like
opals and pearls; colored metals;
juxtaposition of natural and manmade materials and rubber, acrylic,
and ceramics, with enamel and
lacquer chiefly for bangles.
Colors are vibrant, acid-bright,
and natural with fluorescent flavor.
Cuts are organic, with a tendency
for big gems encrusted with pavé.
Design concepts embrace cascading effects, flora lacework, jungle
couture, and arresting color and
shape mixes. Favorite motifs include
bugs of all species, succulent fruits,
and electrified floral jewels.
5
INTIMATE
SOCIAL &
CULTURAL
MEGATRENDS
›
Celebrating intimacy, memories,
and feelings, this theme explores
emotional design and its connection
to the senses. This tendency has a
preference for abstract, conceptual,
and sensual minimalism.
Translucent layers mix with
dense opaque surfaces, rose gold,
and gems like pearl, moonstone,
opal, white agate, morganite, and
champagne diamond. Textures
are inspired by cosmetics, and
influences come from sensual
fabrics like silk and satin. A delicate
palette of almost tinted colors is
prevalent, and cuts are inspired
by body curves — 2D cuts make a
comeback. Attention is focused on
the intimate relationship jewelry has
with the body. Key styles include
hand and body jewels, designs
mixing fabrics with metals and
gems, and message and perfume
jewelry.
Jane Bohan
Pendant
Sterling silver, 18K gold, tourmaline
PHOTOS: COURTESY JANE BOHAN
Bespoke Exclusivity: Creating
more intimate experiences for
shoppers, a return to the family
jeweler.
Replicator: Blending innovative high-tech processes like 3D
printing, laser scanning, laser
cutting, and welding with hand
craftsmanship.
Jane Bohan
Cocktail Ring
Sterling silver, 18K gold, blue
chalcedony, diamond
more about
body conscious
Costis
Wave Ring
18K white gold,
aquamarine, blue
sapphires, diamonds
Neuro Marketing: Refining the
use, placement, and effect of
colors, textures and scents in
product and marketing development that appeal to multiple
senses.
Trends, Lapidary Journal
Jewelery Artist, July 2014
PHOTO: COURTESY
COSTIS
Royal Asscher
Fruit Pendant Bracelet
18K gold, diamond, emerald,
ruby, pink sapphire
PHOTO: COURTESY ROYAL ASSCHER
Debranding: Switching off
the stresses of our frantic lives
through holistic well being,
life balance, and slow luxury
concepts.
Sustainability: Moving toward
greater transparency through
“branded” gems like emeralds
from the Muzo mines and the
variety of stones by Swarovski.
Millennial Consumers: Focusing on Gen Y luxury customers
who by 2018 will have more
purchasing power than any
generation but the least brand
loyalty.
Interactive Storytelling: Creating emotional engagement
with consumers through the
interactive medium of video.
Emerging Markets: Preparing
for explosion in products and
services from emerging markets
for emerging markets, with focus on Russia, India, and Africa.
Wearable Electronics: Developing intelligent accessories
like smart watches, USB stick
jewelry, and jewels imprinted
with Instagram images (i.e.,
JewelGram).
DEBORAH YONICK has been writing about jewelry and fashion trends for more than 20 years for trade and consumer publications and
online, and has loved both for much longer! With roots in New York, she presently lives and works in York, PA.
45
GEM/JEWELRY PROJECT
SKILLS
• Metal fabrication
• Stone setting
• Lapidary
TIME IT TOOK
About 30 hours over
several weeks
46
Archer's
Thumb
Ring
A deadly gem fit for
a vampire slayer
BY ROGER HALAS
JEWELRY AND WEAPONRY
make an unusual association, and yet there are such pieces. The archer’s ring is one. Western archery
uses a three finger draw that excludes the thumb, but the Mongolian draw
relies on a piece of leather, bone, metal, or some other material to protect the
archer’s thumb as it draws back the bowstring.
Historically, thumb rings were used in battle by the Mongols, the Chinese,
the Huns, the Ottoman Turks, and my own central European ancestors, the
Hungarians. Which brings me to our central theme: during the 15th century, a
Hungarian king hired a prince named Vlad III to fight the Ottoman Empire; in
the end, this led to his defeat at Poenari Castle. Centuries later, writer Bram
Stoker popularized Vlad III as a supernatural villain in his novel Dracula.
I have a habit of merging fact with fiction, so let us imagine a world where
vampires are real and a wooden arrow fired through the heart would turn said
beast into a pile of smoldering ashes. In this scenario, my archer’s thumb ring
will have an appropriately Gothic flare to it, along with a distinctly religious
look with which to battle those terrifying and insatiable forces of darkness.
enter our
CONTEST
g
Jewelrymakin
/
om
.c
ily
da
Gemmys
M AT E R I A L S
1 piece of black jade or onyx
12 gauge sterling sheet
16 gauge sterling sheet
16 gauge round sterling wire
8 x 10 mm faceted red garnet
1
2
7 mm faceted red garnet
Two 2.5 mm faceted round
white sapphires
Two 3.5 mm faceted round
garnets
Two 4 mm faceted round white
sapphires
TOOLS
SOLDERING: torch setup, steel
binding wire, yellow ochre
HAND AND FABRICATION: jeweler’s
saw, anvil, ring mandrel, chain
nose pliers, file set, nylon mallet,
small forging hammer, curved
stamp
Cut and Carve the Stone
Photo 1 Cut your black jade (or onyx)
into this tapered shape. Add a curve at
the bottom to fit the contour of the ring;
this seat will prevent the stone from
wobbling once set.
Photo 2 So the stone doesn’t become
just a cab, I used a diamond cutting
wheel to carve grooves into the top.
Now it looks like the back of an insect,
or a trilobite, or some other manner of
arthropod. The detailing here will make
all the difference in the end.
Photo 3 Use polishing compounds to
smooth out the piece: 600 grit rounds
everything off, 1200 and 3000 for
refinement, 14,000 for a high shine.
Then you’re done with the lapidary
component of this project.
3
LAPIDARY: Lasco diamond
carving heads and polishing
compounds, flexible sanding
and polishing pads
FINISHING: Flex shaft, 400 and
600 grit sandpaper, bur setting
set, 400 grit radial bristle brush,
SETTING: painter’s tape, marking
pen, beeswax, pitch bowl and
steel punches
OPTIONAL: band saw with laser
guide
SOURCES
California Red Pitch and setting
punches: Saign Charlestein
Studios. Materials are top
quality; pitch can be heated
with a torch or even a hair dryer
to make it suitable for work.
For general supplies, see our
Advertisers' Index, page 79.
47
4
5
6
7
9
learn
lapidary
BASIC
CABOCHON
CUTTING
for Jewelry Makers
WITH
8
MICHAEL BOYD
Fabricate the Ring
Photo 4 This piece can be made entirely
Basic Cabochon Cutting
for Jewelry Makers with
Michael Boyd (video)
Freeform Cabochon
Cutting with Michael Boyd
(video short)
com
48
from scrap silver or new 12 gauge
sterling from a supplier. I recycled, then
used a piece of painter’s tape to mark
the pattern for the archer’s thumb ring.
The geometry should look like this.
Photo 5 Cut out the pattern using your
jeweler’s saw.
Photo 6 An anvil is the best way to forge
the base into a recognizable ring form.
If you don’t have an anvil, clamp a ring
mandrel in a vise and use a nylon hammer to forge it into shape.
Photo 7 Bind the ring with steel wire,
then solder it closed.
Photo 8 Grind away any excess metal
around the base of the ring so it fits
perfectly against the intended thumb.
Because everyone’s hands are shaped
differently, an archer’s thumb ring must
be customized to the user. That said,
if you want to be an effective vampire
hunter, your weapons need to be built
for maximum efficiency – otherwise you
might become the target.
Make the Main Bezel and Wings
Photo 9 Use your 12 gauge sheet to
make a bezel for the jade. Cut a curve
into the base so it conforms to the
ring. Is this thick for a bezel? Yes, very
10
thick. But there is a solution to this that
involves a hammer and a punch, you’ll
see.
Photo 10 Solder the bezel to the ring.
Photo 11 This is where things become
interesting. Historically, Vlad III was a
member of a society called the Order of
the Dragon, founded by King Sigismund
of Hungary in 1408. Its purpose was to
defend Christianity from its enemies,
particularly the Ottoman Empire. To
reflect this history, we will fashion a pair
of wings that will embrace the carved
black jade, much like the wings of the
two cherubim seated atop the Ark of
the Covenant. This will give the ring an
otherworldly, majestic, almost magical
look.
11
Historically, Vlad III was a member of a society called the Order of
the Dragon, founded by King Sigismund of Hungary in 1408 to defend
Christianity from its enemies. To reflect this history, fashion a pair of
wings that will embrace the carved black jade much like the wings of
the two cherubim seated atop the Ark of the Covenant.
Photo 12 Using 16 gauge sheet, cut out
two wings and two extra wing-like
shapes that will flank the bezel. These
will bulk up the sides and create a
platform for the wings, helping them sit
at an angle rather than straight up and
down, which would look weird.
Photo 13 Stamp a feather pattern into
the wings.
Photo 14 Cut out another smaller pair
of secondary feathers, or coverts, and
stamp and texture them. Then solder
these to the primary wing feathers.
Photo 15 Using a ring mandrel locked in
a vise, forge a curve into those winglike pieces. Solder them onto the sides
of the ring. Remember, these are seats
for the wings, as well as extra detailing,
which generally enhances the look of
any piece.
12
13
14
15
16
17
18
19
Refine the Ring
Photo 16 File notches across the top of
the bezel. This serves two purposes: it
adds detail and, more importantly, it
makes the bezel easier to move than a
solid setting would be, as it will work
somewhat like a prong setting.
Photo 17 Forge a slight curve into the
wings. Make sure that the top edge
sits flush against the bezel so when the
solder runs it creates a solid join.
Photo 18 Using chain nose pliers, take
four lengths of 16 gauge wire, roughly
3 inches long each, and curl spirals into
them. Insert them into the back of the
ring, in those empty spaces between
the wings and the bezel.
Photo 19 Use 16 gauge sheet to make a
bezel to fit the 8 x 10 faceted garnet.
For consistency of design detail, cut
notches in the top just like you did for
the jade bezel.
Photo 20 TIP: Many power saws have
laser guides built into them, even
49
20
21
22
23
archer rings
are in!
PAGE
42
TRENDS
50
cheaper saws, like this $100 SKIL band
saw from Lowe’s. One way to find the
center line of an organic shape such as
this ring – which is comprised of some
highly unconventional geometry – is to
use this laser guide.
That said, position the setting for the
garnet as well as the two additional
spirals that will flank it. Use beeswax to
make everything adhere, and mark these
target zones with a pen. This method
is reliable and easier to calculate than
fumbling with a straight edge.
Photo 21 Solder the 8 x 10 bezel into
place. Then, using yellow ochre, paint
the front of the spirals to prevent the
solder from flooding the details. If you
do this correctly, the solder should make
contact only with the shaft of the spiral
and nowhere else.
24
SEE MORE WORK
Photo 22 For the bottom of the ring,
which is actually the top when the ring
is in use (to skewer the vampire, of
course), we need something gemmy.
To balance the color scheme, we’ll use
that 7 mm red garnet. Make a bezel and
notch it.
Photo 23 To make sure that the 7 mm
bezel fits right, lay a piece of 400 grit
sandpaper over the curve of the ring,
and run the bezel back and forth until
the geometry matches. This method
applies to any of the previous steps as
well.
Photo 24 Solder the 7 mm bezel in place.
To ensure proper alignment, use the
laser guide trick I showed you earlier.
Photo 25 For the 8 x 10 setting, grind
away the excess metal at the base of the
bezel.
25
For setting stones, this is one of the most important processes you
might ever learn: using a a steel punch and a forging hammer in a pitch
bowl partially filled with lead gives you better control than a bezel
pusher, which would be useless here. You need the force from a
hammer to move that metal.
26
27
28
29
Set the Stones and Finish
Photo 26 For setting stones, this is one of
the most important processes you might
ever learn. A pitch bowl is a heavy cast
iron bowl that is filled with pine resin, i.e,
pitch. I fill my bowl partially with lead to
make it even heavier. So, with the ring
buried in the pitch, the overall weight
of this setup keeps everything from
bouncing around from the multiple hammer strikes required to forge the metal
against the stone.
Using a steel punch and a forging
hammer gives you better control than
setting with a bezel pusher. In fact, here, a
bezel pusher would be useless. You need
the force from a hammer to move that
metal.
Photo 27 Cut seats for two 2.5 mm white
sapphires that will go next to the 8 x 10
garnet; two seats for the 3.5 mm garnets
that will go on the wings, seen here; and
two seats for two 4 mm white sapphires
that will go on the two wing-like seats
under the wings. This all adds some flair
to the piece, suitable for a superhero
vampire hunter like you. Notice I didn’t
mention myself. In my case, supervillain
would be more appropriate.
Photo 28 Use a stone setting punch to
flush set the round faceted stones.
Photo 29 Before polishing, I cover any
stones with painter’s tape, then use
400 grit sandpaper to smooth out the
details. This is a fast, efficient method
that prepares the piece for the final
polishing stage. One you’re satisfied with
the results, switch to a 400 grit radial
bristle brush, followed by rouge. Once
complete, your archer’s thumb ring will
be ready for battle.
PHOTO: JIM
LAWSON
learn more
from roger halas
GEM/JEWELRY PROJECT
SKILLS
• Metal fabrication
• Stone setting
• Lapidary
• Casting
TIME IT TOOK
Roughly 20 hours
Phoenix Barrette
Conjuring the immortal firebird
BY ROGER HALAS
44
ROGER HALAS is a stone cutter, metalsmith and
jewelry designer in Southern California. His clients
range from the everyday person to performing artists
working in film, television, and the music industry.
He can be reached at rhalas@jungleintrigue.com.
Phoenix Barrette (project)
Lapidary Journal Jewelry Artist,
July 2014
51
JEWELRY PROJECT
SKILLS
• Sawing and fabrication
• Annealing and balling wire
• Riveting
TIME IT TOOK
1 1⁄2 hours per ring
Acrylic &
Silver
Stack
Rings
A mixed media rainbow for
each finger or just one
BY LAUREL NATHANSON
52
AN
EASIER
WAY
Make a rivet head without
the torch; see page 54
I LOVE ACRYLIC SHEET:
the range of colors it comes in,
how easy it is to cut, and how much fun it is to combine with other materials.
Using just a toaster oven, you can form acrylic into curves, such as the bands
in these acrylic and silver rings.
To make these rings, you’ll cut, file, sand, drill, and form the acrylic into
bands and texture, drill, form, and patinate the silver, eventually riveting it
to the plastic bands. I love stacking them and making them in every color of
acrylic I can find!
Design Start
Acrylic. I was drawn to
acrylic because of its wide
range of bright colors but
soon found that it shares
many working properties
with metal. I love taking the
plastic and adapting metal
techniques and tools to it.
And did I mention — there
are two shades of pink!
M AT E R I A L S
2
⅛” acrylic sheet in various colors
18 gauge sterling silver sheet
18 gauge sterling silver wire
TOOLS
HAND AND FABRICATION: Jewelers
saw and saw blades 1/0, Bur
Life lubricant, texturing stamps
and hammers, drill press, drill
bits #60 and #55, center punch
and anvil, wire cutters, chasing
hammer, stepped ring mandrel,
drill press vise
1
Lay Out the Band
The following steps are for a ¼"
high band, size 7.5. Different plastics
suppliers have slightly different colors,
and I purchase mine in 1 by 1 foot
pieces.
The acrylic can be scored and
snapped into smaller pieces. To score,
use a utility knife and a ruler. Create
a deep groove, place score line face
up at the edge of a table, and apply
downward pressure to snap. Wear
safety glasses.
Photo 1 Keep the paper on both sides of
the acrylic to assist in the layout, and to
protect the sheet from scratches. Draw
a line and use your jewelers saw to cut a
3
strip at ¼" high x 2¼" in length.
Photo 2 On one side of the strip, draw
a line ⅛" from the end. Place a dot
centered on the line. Drill a hole using
a #60 drill bit. Use plenty of lube each
time you drill a hole through the plastic.
TIP: Bring the lube up high onto the bit,
not just on the tip.
Photo 3 Preheat the toaster oven and
baking sheet to 300˚F-325˚F. Place the
ring mandrel standing up in a drill press
vise.
Get your thin leather gloves and your
phone or a kitchen timer. Remove the
paper backing from the acrylic strip and
place it into the oven. Set the timer for
3 minutes.
FINISHING: Various files, rough
sanding disc or sand paper,
wet/dry sandpaper 220-600 or
sanding pads, liver of sulfur
patina, pumice powder or steel
wool
SOLDERING: Smith Little Torch or
other small tipped torch, third
arm and tweezers
OTHER: Toaster oven, timer, thin
leather gloves, ruler, utility knife,
safety glasses
OPTIONAL: Circle draw plate,
tapered ring mandrel
SOURCES
Acrylic sheet can be purchased
from many sources on line. TAP
Plastics is a favorite. Most of
the tools and materials for this
project will be available from
well-stocked jewelry supply
vendors, many of whom can be
found in our Advertisers’ Index,
page 79.
53
I was drawn to acrylic because of its wide range of bright colors but
soon found that it shares many working properties with metal. I love
taking the plastic and adapting metal techniques and tools to it.
AN
EASIER
WAY
No Little Torch? No
problem! If you aren’t
using that torch or if your
wire ends are too big or
are misformed, you can
make a rivet head using a
draw plate instead. Feed
the wire into the snuggest
hole of the draw plate and
use a riveting hammer to
flatten the ball into a small
flat head. You can also
file the head to make it
rounder and cleaner.
enter our
CONTEST
g
Jewelrymakin
daily.com/
Gemmys
54
ARM
RAINBOWS
Expand your scale and
you can create acrylic and
silver bracelets to wear
singly or in a stack.
PHOTO: JIM LAWSON
4
5
Photo 4 The strip will be very malleable
but only for a few seconds, so you have
a pretty short window of time to get the
strip curved. With your gloves on, bring
the strip to the mandrel at the size 6.5
step with the seam facing towards you.
Press and hold the band in place until
the plastic cools. Make sure to really
press down at the two ends so they are
very snug against the mandrel.
TIP: If you are not satisfied with your
curve, you can put it back into the oven.
It will completely re-open, and then you
can start the curving process again.
Texture the Silver
Using a jewelers saw or table shear, cut
a silver strip ¼" high by ¾" in length.
Using a Sharpie or a scribe, draw a line
⅛" in on both ends of the strip.
Photo 5 Use a center punch to create
6
starter holes midway on the lines, then
drill using a #60 drill bit. Sand the silver
and texture it to your liking.
Photo 6 Anneal the silver. Using a larger
size on your stepped mandrel, curve the
silver piece until it lies nicely on top of
your preformed plastic.
NOTE: The plastic can be filed a bit on
the top to ensure that the silver piece
lies nicely.
Riveting
Photo 7 Now, we make the rivets. Cut
two ¾" pieces of 18 gauge silver wire.
Place one in a third arm. Use a smalltipped torch to ball one end: the smaller,
the ball the better. Then, ball a second
wire. You can also use a draw plate
instead of a torch, see page 54.
Photo 8 To mark the second hole in
the plastic, align the silver strip with
the plastic strip and insert one of the
rivets through the holes. Squeeze the
acrylic band until the second silver hole
overlaps the plastic at approximately ⅛"
from the end. Use a Sharpie through the
hole to mark the plastic.
Photo 9 Remove the silver strip. Drill
through the plastic using a #60 drill bit.
TIP: I drill very slowly to ensure that I
stay on my dot.
Replace the #60 with a #55 drill
bit and redrill through both holes in
the acrylic. Do not drill back through
your silver holes. Put both parts back
together and place the rivets through all
holes.
7
VARY IT
There are so many ways
to vary this design. Here
are a few to get you
started — then have
fun exploring your own
possibilities.
• Try sweat soldering a
8
LAUREL NATHANSON is an artist, jeweler, and
high school jewelry shop teacher from Northern
California. Her jewelry line, Sugarcoat, combines
her roots as a jeweler with her passion for pattern
and surface design. You can see more of her work
at laurelnathanson.com.
• Make your central
silver piece a circle
instead of a rectangle
• Try copper or
anodized aluminum.
Have fun exploring
different possibilities!
Finishing
Photo 10 Use figure 8 movements on the
rough sandpaper on each side of the
ring, so that the edges of the metal and
plastic are flush and smooth. Remove all
parts.
Photo 11 Using sandpaper or sanding
blocks, clean up the surface and edges
of the plastic.
Use liver of sulfur to oxidize the silver
piece. I go to very dark, then remove
the patina from the raised areas with
pumice or steel wool, leaving it dark in
the texture.
NOTE: Acrylic can be submerged into
liver of sulfur, so if you want, you can
rivet the rings together first, then drop
the whole thing into the patina.
Photo 12 Feed the rivet wires from the
inside of your ring to the outside. Place
the ring onto the tapered mandrel and
cut the wire so that its exposed height is
the thickness of a piece of 16 gauge sheet.
Lightly tap your rivet wires with the
rounded end of the chasing hammer to
create your rivet heads.
shape onto your silver
9
SEE MORE WORK
10
11
12
55
FACETS
news & product innovations
NAJA DESIGN
COMPETITION
The Naja Tool & Supply recently
announced the winners of its 8th
annual design competition. The contest
is intended to award excellence within
the Colorado jewelry and metal artist
community, and prizes are award in
both Pro/Am and Student categories.
The theme of the 2014 competition
was “Buckles.”
1st Place,
Pro/Am
Lee Westover
PHOTO: COURTESY
THE NAJA TOOL &
SUPPLY
MORE AT NAJATOOLS.COM
FAR LEFT
2nd Place,
Pro/Am
Tim Burnham
LEFT
3rd Place,
Pro/Am (tie)
Judy Brown
BELOW
3rd Place,
Pro/Am (tie)
Tyler Johnson
PHOTOS:
COURTESY THE
NAJA TOOL &
SUPPLY
56
1st Place, Student
Amy Mower
PHOTO: COURTESY THE
NAJA TOOL & SUPPLY
We've expanded the deadline! Because of the
quality of submissions we've received, you now
have until November 14 to submit your entries fo
the Gemmys, a new competition sponsored by
Lapidary Journal Jewelry Artist.
The contest is open to metalsmiths, gem
cutters, and other jewelry artists and is an
opportunity to showcase your designs for
jewelry, metal objects, gems, and jewelry or
gem sets or suites. You must execute the
new from...
designs yourself or with others. The designs
will be judged on visual appeal and impact,
originality, execution, and (for jewelry) wearability.
Winners will be published in the 2015 Gemstones Annual. For complete contest rules
and to enter, visit jewelrymakingdaily.com/
Gemmys.
Remember: the final deadline is November 14,
2014. So send your designs in today!
SPECIAL INTEREST PUBLICATION
Best of Lapidary Journal Jewelry Artist: Making Soldered Jewelry
forge wire
CAGES
3D
capture
STONE,
GLASS and
FOUND
and other
forms
OBJECTS
for JEWELRY MAKING
BOOKS
Unexpected Findings: 50+ Clever Jewelry Designs Featuring
Everyday Components
By Michelle Mach
PROJECT/ARTICLE COMPILATIONS
FORGE WIRE CAGES AND
OTHER 3D FORMS FOR
JEWELRY MAKING: CAPTURE
STONE, GLASS AND FOUND
OBJECTS
10 Stunning Gemstone Jewelry Projects
From the Editors of Lapidary Journal Jewelry Artist
WITH
SUSAN LENART
KAZMER
With Susan Lenart Kazmer
Trailblazing metalsmith Susan Lenart Kazmer shares her
signature wireworking techniques in this workshop focused on wire cages and other dimensional ways to use
wire in jewelry. Showcase found objects, add an organic
look, and achieve motion in your designs with Susan’s
creative ideas.
VIDEOS
Further Explorations in Jewelry Enameling: Kiln Fired Liquid
Enamel and Sgratffito
With Susan Lenart Kazmer
Texturing with Hammers
With Bill Fretz
TOOLS
Fretz Tools
Wubber Tools
> more at shop.jewelrymakingdaily.com
57
FACETS
OOPS!
This sterling silver link from the 100 for
One Links CERF benefit reported on
in the July issue is the work of Linda
Ricci, who was identified by her pseudonym instead.
PHOTO: COURTESY A HUNDRED FOR ONE
REVERE ACADEMY
CAD CLASS
The Revere Academy will offer a beginning CAD class
as part of its Summer/Fall 2014 Open Session. This
5-day class introduces the basic tools and functions of
3DESIGN, a very popular CAD program for jewelers.
Participants will learn how to design original jewelry
projects and then create photorealistic pictures for
website display, catalog and professional portfolios.
The CAD-created designs are printable into 3D models
for lost wax casting
Revere faculty member Vasken Tanielian will teach
the class.
58
MORE AT REVEREACADEMY.COM
Vasken Tanielian
Rings
CAD Renderings
COMING IN NOVEMBER
Nancy Blair
Fused Silver Bracelet
PHOTO: NANCY BLAIR
•
•
•
•
Padparadscha sapphire
Fused silver bracelet
Faux Fabergé pendant
Wire tools
PHOTOS: COURTESY
REVERE ACADEMY
NEWS TO SHARE?
? Facets accepts news and images of new
products, innovations, industry happenings,
and events as space permits. Share your news
by sending items to: KRosenbusch@interweave.
com; or Lapidary Journal Jewelry Artist, 88
Glocker Way, #299, Pottstown, PA 19465. Please
be sure to indicate “Facets” on the subject line
or envelope.
Shows of Integrity
Show Schedule
A Whole World off Fine
PEARLS
Gem, Mineral, Jewelry & Bead Shows
Kansas City, MO
All Kinds of Better Natural Stone
BEADS
Oct 31st - Nov 1, 2, 2014
36th Annual Fall Show
Kansas City International Exhibit Hall
Laughlin, Nevada
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59
ASK THE EXPERTS
questions, answers, & tips
By Tom & Kay Benham,
contributing editors
PATINA ON COPPER
Q How can I achieve the brown
patina shown on the copper
sunflower in Their Turn in the
December 2012 issue of Lapidary
Journal Jewelry Artist?
Lydia Bruins
Dordrecht, Netherlands
A This is the process that works best for
us. First, clean all surfaces of the metal
with a brass brush and dishwashing
detergent (we use Dawn), taking care to
handle the cleaned piece by the edges to
eliminate any fingerprints on the metal
surfaces.
We mix enough room-temperature,
distilled water to cover the piece(s) to
be colored with a drop or two of gel liver
of sulfur (LOS) in a glass bowl. Stir with
copper tongs to mix.
Using the copper tongs, swish the
piece in the LOS solution, rinsing and
brass brushing with detergent between
dips. We apply 4 or more layers of
the patina to create a depth of color.
Once we are pleased with the patina,
we dry and set the piece aside. Apply
Renaissance wax and buff.
As you will note, this is not an
exact science. We often clean a scrap
of metal as a test subject to see
if the solution is at the desired
strength. Using the solution at
room temperature slows down the
patination, allowing the colors to
develop slowly. Sometimes we use the
brass brush between dippings, and
sometimes we dip a finger into a paste
of fine pumice and water or use a piece
of fine steel wool to create highlights.
It is most important that the metal
is free from any fingerprint oils, which
can impede the process. We feel we get
more repeatable patinas using distilled
water so we are not introducing
unknown chemicals into the mix. It
must be said that applying wax or
spray will not permanently prevent
oxidation of the copper, but they will
slow down the process.
TIPS|Chasing and Repoussé
We love these twin techniques and have taught them
in workshops many times.
Here are some of the tips
we’ve put together for those
sessions.
60
• If you are right-handed,
you will always work the
pattern from left to right;
left-handed individuals will
always work right to left.
The logic is that the hand
holding the tool does not
obscure the line of sight to
the front edge of the tool.
• Hold the chasing hammer
in your dominant hand
to guide the chasing tool
held in your non-dominant
hand and lightly outline the
pattern. Elevate your elbow
so your lower arm and hand
are on a straight line. Grasp
the hammer lightly, flexing
your wrist to allow the
hammer to hit the top of
the chasing tool gently and
to rhythmically move the
tool along the pattern.
lows the tool to walk in the
direction of travel.
• A light touch with the hammer is all that is needed;
you don’t need to do all the
work in one pass; you just
want to maintain control so
you keep the chasing tool
on the pattern, creating a
smooth chased line.
• Illuminate the pattern with
a task light; if you can’t see
the line, you can’t chase it.
Keep your eye on the leading tip of the tool to follow
the pattern, look where you
are going rather than where
you have been. As you gain
experience, you will realize
that you can steer the tool
by slighting twisting it ever
so slightly, nudging the
leading edge to follow the
pattern.
• Try to keep your lines
clean and smooth to avoid
making double lines. We
find our liner tools move
smoother when lubricated
ever so slightly, with a drop
of mineral oil, beeswax, or
the ever reliable nose oil.
• On the first pass, the chasing tool should be held perpendicular to the surface
of the metal, slightly tilted
back from the direction of
travel so that approximately
¾of the bottom edge of
the tool is in contact with
the metal. This position al-
• Make the second pass
using the same liner tool
to make the lines a little
deeper and more defined.
The second pass is a
planishing pass that irons
out any choppy marks from
the first pass. Hold the tool
vertical, front to back and
left to right, as you smooth
and deepen the chased
line. With the tool flat in
the bottom of the groove,
it will not automatically
walk forward, so you must
apply a slight amount of
pressure to keep it moving.
Don’t forget to keep the
tool lubricated. Once you’ve
worked the pattern a second time, it will be visible
on the reverse side of the
metal; the scored lines of
the pattern will insure crisp
bends in the metal during
repoussé.
• Do not clutch the chasing
tool too tightly — this prevents the tool from moving
forward. If the tips of your
fingers and thumb look
white or are getting numb,
you are holding the tool too
tightly. Relax!
• Keep a light touch on the
hammer. A gently, rhythmical tapping is what is
needed.
TIPS| Avoid Fire Scale with Prip’s
Over the years we’ve received inquiries
from metalsmiths seeking a quick,
easy, and safe method for removing
fire stain also known as fire scale from
silver jewelry. Unfortunately, there is
no quick or easy way to remove fire
scale: the process demands sanding
and polishing away the discolored
layers of silver, and that takes time. The
best solution is not allowing fire scale to
form in the first place.
The modern way to achieve this is by
changing over to one of the new no- or
low-tarnish silvers such as Argentium®
sterling silver, but these new products
may not be for everyone. They have
their own peculiarities and require a
learning curve and higher cost. The
commercial jewelry industry prevents
fire scale by soldering in special
furnaces that provide oxygen- free/
inert gas atmospheres that ensure
no oxide layers will form — but this
solution is really out of reach for home
studio jewelry makers.
However, a time-honored method
used by traditional silversmiths is also
the cheapest and easiest process. A
home studio user can encase and
shield their metal with a glass-like
flux barrier coating to prevent oxygen
from reaching the hot metal and
reacting to create discoloring oxide
layers. The most common material
used to provide this barrier coating
is a borax-based paste flux commonly
used in silver soldering procedures,
which works to some extent. It
is difficult to obtain a smooth,
consistent coating with paste flux,
though, and an uneven or spotty layer
will result in blotches of fire scale that
can result a very difficult cleanup and
polishing job.
In the middle of the last century a
very talented silversmith, artist, and
teacher named John Prip was given
credit for popularizing a formula
of boric acid, borax, and TSP (trisodium phosphate) mixed in water.
The mixture can be sprayed on the
warm silver to create a white coating
that protects the metal from oxygen,
thus preventing fire scale. Besides the
original water-based solution, we’ve
seen numerous variations of the basic
formula using that are both water- and
alcohol-based.
Some jewelers swear by Prips
solution, while others have no success
whatsoever with it. So we asked
ourselves: what’s the real story? What’s
the proper formula for a Prips soldering
flux solution that works consistently
from batch to batch?
We started our investigation by
looking at the original formula for
Prips flux solution, which is: boric
acid, 150 gm; borax, 100gm; trisodium phosphate 100gm. To create
the solution, boil ingredients in a quart
of distilled water until dissolved. If
you need more water, add some; the
concentration is not as important as
the ratio of the three chemicals. If the
solution crystalizes, slowly warm it
ASK THE EXPERTS VIA
JEWELRY MAKING DAILY
? Send your questions and tips to:
jewelrymakingdaily.com/asktheexperts
(Send snail mail to: Lapidary Journal
Jewelry Artist, Attn.: Ask the Experts, 88
Glocker Way #299, Pottstown, PA 19465.)
Please include your full name and where
you live. Answers and tips will appear in
print with more online.
again. This flux is a popular protection
against fire scale.
To build a thick glassy coat, warm
the work slightly and quench it in
Prips solution. Repeat several times.
An alternative is to warm the work,
then spritz solution from a spray
bottle. Again, several applications
are recommended. The resulting
glassy skin is waterproof, so it can be
sustained throughout several solderings
if you quench in water only, but it will
dissolve in hot pickle.
One of the problems with alcoholbased fluxes is that alcohol is a poor
solvent for boric acid. It will dissolve
only about 2% by weight of the boric
acid, so many layers of dipping are
required to build up a proper layer.
To speed evaporation, a torch is often
used to burn off the alcohol. An
open container of an alcohol-based
Prips for dipping and the open flame
of the torch, though, can lead to a
dangerous fire. Spraying the alcoholbased Prips around an open flame
is like waving around a small flame
thrower.
We use water-based Prips
solution with the 3-2-2 ratio of
chemicals and use a torch to
warm the metal and evaporate the
water. You can use a spray bottle to
disperse the water-based material
onto the warm metal with no danger
of fire. The only major problem is
that the sprayer quickly becomes
clogged with crystals so it must be
flushed out often with hot water.
May the flux be with you!
61
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Guilded Lynx
Metal Clay Leaves by Hadar Jacobson
Jewelry & Metal Arts
Studio & School
“Where your
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Guilded Lynx welcomes
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Two-toned Turkish Bracelet by Joyce Tromp
Angled Red Jasper Pendant by Lexi Erickson
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Jewelry Making Daily
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64
Then you’ll
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handmade
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Whether you’re new to jewelry
making, looking to learn advanced
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in sharing, learning, and being
inspired, this is the place for you!
The Denver School of Metal
Arts
William Holland School of
Lapidary Arts
321 W. Ben White Blvd, Suite 204
Austin, TX 78704
Ph. (512) 799-0731
info@creativeside.org
www.creativeside.org
Offering classes from beginner to advanced, Creative Side is the top jewelry
crafting school in Central Texas. Private
classes and studio rentals are easy to
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workshops including Forged Together
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6810 N. Broadway, Unit L
Denver, CO 80221
Ph. (303) 428-3162
mail@metalartschool.com
www.metalartschool.com
The Denver School of Metal Arts offers
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and many more. Conveniently located
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students need.
PO Box 980, 230 Lapidary Ln.
Young Harris, GA 30582
Ph. (706) 379-2126
lapidary@windstream.net
www.lapidaryschool.org
We offer classes in beading, cabochons, silver, gold, wire wrappings,
glass beadmaking, chain making,
channel, faceting, gem ID, mineral ID,
intarsia, glass fusing, opals, silver clay
casting, jewelry repair, and gem trees,
from April–October each year. Check
out our website.
Revere Academy of Jewelry
Arts
Florida Society of Goldsmiths
(FSGNE) Studio
760 Market St., Ste. 900
San Francisco, CA 94102
Ph. (415) 391-4179
info@revereacademy.com
www.revereacademy.com
Take your jewelry to the next level!
The Revere Academy of Jewelry Arts
in downtown San Francisco offers
professional instruction for students
at all levels. State-of-the-art jewlery
studios feature live close-up video
camera and wide-screen TVs so
students can see every detail. Short,
intensive, weekend classes in Design,
Fabrication, Argentium, Clasps, Polishing, Wax, Casting, Setting, Diploma
programs, and more.
Teaching the art of metal and so much
more. Downtown Historic District in
Artisan Alley, Deland, Florida
info@fsgne.com
www.FSGNE.com
Our chapter is one of 7 in the State of
Florida, non-profit and run by volunteers. We invite all to join, to participate and share in all phases of jewelry
making classes held at our studio. The
website is regularly updated with new
information on classes. Tom & Kay
Benham are our resident “Ask the Experts” and are often found teaching a
class. Watch our website for information regarding our 18th Annual Winter
Workshop at the Atlantic Center in
New Smyrna Beach. Join us for 5 full
days of hands on study with 5 accomplished instructors in January, 2014
Clear Creek Academy of
Jewelry and Metal Arts
3648 Navajo St.
Denver, CO 80211
Ph. (303) 429-1401
Fax: (303) 650-4714
info@clearcreekacademy.com
www.clearcreekacademy.com
Clear Creek Academy offers classes,
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forging and forming, casting and wax
carving, stone setting, PMC, enameling, jewelry photography and more.
Quality private or group instruction,
flexible scheduling, small class sizes,
and excellent facilities and equipment.
We also have a student gallery to
show and sell your work.
Jewelry Creations Workshop
Ph. (305) 610-6560
info@JewelryCreationsWorkshop.com
www.JewelryCreationsWorkshop.com
Jewelry Creations Workshop is the
place to begin your artistic journey
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Small classes assure the special attention you need to explore your creative
potential. We offer instruction to
accommodate all levels of ability and
interest. Morning, afternoon, and evening classes available, 6 days a week.
Located in southern Florida.
focus on... education
Creative Side Jewelry
Academy of Austin
North Bennet Street School
150 North St.
Boston, MA 02109
Ph. (617) 277-0155
info@nbss.edu
www.nbss.edu
We teach time-honored skills, ideas,
and values of fine craftsmanship
through intensive hands-on training.
Learn to fabricate jewelry in silver,
gold, platinum and palladium and
practice at a dedicated bench. Choose
from the two-year professional bench
jewelry program or shorter workshops
and master classes.
Studio JSD
311 N. 7th Street
Grand Haven, MI 49417
Ph. (616) 607-2470
www.studiojsd.com
Students at Studio JSD are encouraged to develop their unique style as
they learn fundamentals in jewelry
fabrication. Schedules include multiweek class sessions, studio intensives,
technical classes and visiting artist
workshops. Our guests enjoy a large,
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website for current program schedule including special workshops with
Richard Salley, Michael David Sturlin
and Julie Sanford!
Quench Jewelry Arts, LLC
681 17th. Ave. NE, Suite #100
Minneapolis, MN 55413
www.quenchjewelryarts.com
Broad range of jewelry classes &
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Metalsmithing, stone setting, wax
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Taos School of Metalsmithing
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PO Box 3005
Taos, NM 87571
Ph. (575) 758-0207
mndesigns@msn.com
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Taos Jewelry School offers beginning
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The Ranch Center for Arts &
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12825 127th Ave. SE
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Ph. (360) 568-7709
Randi@ArtatTheRanch.com
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Also on Facebook & Crafthaus Located
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exceptional learning experience in a variety of media. Our focus: small classes,
brilliant instructors. Coming in 2014:
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Craft Guild of Dallas
5100 Belt Line Road, #400
Dallas, TX 75254
Ph: (972) 490-0303
info@craftguildofdallas.com
www.craftguildofdallas.com
The Craft Guild offers jewelry and metalsmithing courses in state-of-the-art
studios. Learn fabrication, wax carving/
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addition to year-round beginning to
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offer master workshops taught by
renowned artists.
Metal Clay Leaves by Hadar Jacobson
Trade School for Bench Jewelers
Two-toned Turkish Bracelet by Joyce Tromp
Angled Red Jasper Pendant by Lexi Erickson
Free eBook
How to Make Jewelry:
3 Handcrafted Projects
Northwest Gemological
Institute, LLC
10801 Main St., #105
Bellevue, WA 98004
Ph. (425) 455-0985
Fax: (425) 454-3088
registrar@nwgem.com
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67
nothing is as rewarding as
creating your own jewelry
Our free jewelry making
community celebrates all
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and helpful tips from other
successful jewelry artists.
Whether you’re new to
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Join expert metalsmith and gem artist Michael
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Make your metal
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Join acclaimed metalsmith Andrea HarvinKennington for her video workshop that
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GIVE YOUR
METAL JEWELRY
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Discover this must-have metalsmithing
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Patina: 300 Surface Effects
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Matt Rufola
QBHFTtYt
DISCOVER
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In Michael’s words, “The time we spend looking for tools could be spent using the tools instead.”
Join successful goldsmith Michael David Sturlin
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Manipulate
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Discover ways to pattern mokumé gané including
twisting, carving, and hammering unique shapes
and designs. Plus, with up-close shots and multiple
examples of each technique, you’ll see which patterns
you can achieve with each technique.
Start creating your own designer metal at:
shop.jewelrymakingdaily.com/AdvancedMokumeGane
Saw like a pro!
Dive into the fundamentals for working with this important tool
Join award-winning goldsmith and
jewelry artist Michael David Sturlin for
this workshop packed with helpful
information on the jeweler’s saw. Learn
how to turn the main obstacles of sawing
into your greatest strengths! Begin with
sawing a straight line, and before long
you’ll progress to curves, stairs, peaks,
waves, spirals, and beyond.
Launch into your new dimension of jewelry making at:
shop.jewelrymakingdaily.com/JewelrySaw
SETTING FANCY STONES
L
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MNÅKQMV\Ta_Q\P[\MXJa[\MXLMUWV[\ZI\QWV
Join jewelry artist Ann Cahoon as she helps
you expand your stone-setting skills with
this DVD about how to set fancy stones.
Intimidated by square-shaped stones? Begin
with ovals, and then graduate to one-pointed
pears, two-pointed marquises, and finally fourpointed squares, building on the techniques and
skills you have learned as you go.
=VKW^MZ\PM[MKZ]KQIT\MKPVQY]M[I\"
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NOW AVAILABLE!
CLASSIFIEDS
RATES AND INSTRUCTIONS:
Minimum 25 words. $2.30 per word for one-time
insertions. Bold ad with frame $12.50 extra per insertion; Gold highlight extra $20 per insertion. For
an additional charge of $15.00 per month, print ads
will also appear on our web-site. Payment required
by closing for first-time and international advertisers. Visa & MasterCard accepted. Call Stephanie
Griess at 877-613-4630, or e-mail: sgriess@inter
weave.com. Closing Date: 60 days ahead of issue.
Late copy will be run in next issue unless otherwise
instructed. Visit us on the web at: www.jewelryartist
magazine.com.
CUSTOM MANUFACTURING &
DESIGN
WE HAVE 40 YEARS’ EXPERIENCE IN VOLUME
JEWELRY PRODUCTION. We use de-oxidized
sterling silver alloy, never firescale! Metals used
include de-ox silver, de-ox 10, 14, 18k gold, deoxidized yellow bronze, silicon bronze, and white
bronze. Our special processing is cast and tumble
only or mechanical finish or complete hand finish, ensuring a quality product. We are experts in
mold making in silicon and latex rubbers. We provide small runs or up to 1,000s of pieces. Model
making is also available. Please contact RUIDOSO
METAL WORKS through our website www.ruidoso
metalworks.com or our toll-free number (888)
552-5299.
FINE GEMS: OPTIMA GEMS
www.OPTIMAGEM.COM We have the most accurate colored stone grading in the industry. Our
FREE MONTHLY NEWSLETTERS include unenhanced color photos of every gem we sell. We
provide consistent fine-quality calibrated gems
with free color matching. In addition, we have
a huge selection of unique cuts, unusual gem
types, crystals, and bargain CLOSEOUTS. Have
fun with our monthly gem quiz and enter to win
FREE GEMS. Call our USA-based customer service team today for honest and friendly service.
(800) 543-5563 support@optimagem.com.
SPINEL, Black 5mm rounds, great Diamond sub—
$.95 ea (800) 543-5563
LAB EMERALD, 9x7mm emerald barion (4 max)
$25 ea (800) 543-5563
TOPAZ, white 4mm round Sterling earring—$2 ea
www.optimagem.com
OPAL ROUGH, Mexican orange—$5/100cts
(800) 543-5563
GEMOLOGY
GEM and MINERAL ID TOOLS—Refractometers,
Jeweler’s eye, Gem Testers, Gem Filters, Specific
Gravity Balances, Mohs’ Hardness Points, Diamond and Gold Testers, UV Lamps, Geiger Counters, Software. MINERALAB, 2860 W. Live Oak
Dr., J, Prescott, AZ 86305.
GEM CUTTING SERVICES
78
HIGH-QUALITY GEM CUTTING SERVICES, from
Sri Lanka, Faceting into Similar Standard of Top.
American & European Gem Cutters. Tel: (347)
985-9782 U.S.A. Email: sithygems@yahoo.com.
Web: www.gemcuttingservice.com.
GEMS, FINISHED
ALEXANDRITE, ZIRCON, EVERYTHING in between! Gems, crystals, minerals, rare garnets,
special quartzes, tektites, meteorites, cabochons,
facet rough, geodes, slabs. panafram@hotmail
.com. Latest catalog $2. Panafram, Box 358-LJ,
Riviera, TX 78379-0358.
FINEST QUALITY CABOCHONS: Amber; ammonite; chrysocolla; chrysoprase; drusies; eilat;
fire agate; unusual garnets; jades; jaspers: orbicular, picture; tabu; labradorite, Montana, Mexican
agates; moonstones; opals; parrot wing; unique
quartzes; spectrolite; sugilite; sunstone; thulite;
variscite; more! papmins@lycos.com. Color catalog $3. PAPM, Box 905, Kingsville, TX 783640905.
TOO BROKE TO RETIRE. I bought some cabcutting equipment. Cutting Peruvian Blue Opal,
Variscite, Fortification Agate, etc. Free Wholesale
Catalog rough and cut gems. Most varieties of
gemstones included at lowest wholesale direct
importer prices. Lots of Old Stock. In “Lapidary
Journal” since 1972. Jimsstones@aol.com; (330)
453-4628. Jim’s Gemology, 1322 Harrisburg Rd.
NE, Canton, OH 44705-1851.
WEBSITES
MINE FOR SALE
AMETHYST MINE FOR SALE in the heart of Amethyst Country, Thunder Bay, Ontario, Canada.
Breezy Mountain Amethyst Mine is 3 miles from
the Trans-Canada Highway on a private gated
road, truck only, and has high-grade purple and
red amethyst ready for mining. Selling for $39,000
US, contact Tim Twomey at (807) 767-4662.
Find the finest rock shops, jewelry supplies
and lapidary materials. Whether you need
jewelry findings, mineral and fossil specimens,
rough material, lapidary equipment, gems,
findings, jewelry, or the perfect gift, you can
find it here. For information about adding
your gem and jewelry shop to the next issue,
please contact Stephanie Griess at 877-6134630 or email sgriess@interweave.com.
OPALS
COLORADO
ROCKAWAY OPALS ON THE CANYON Your
shopping destination for the finest opals from
around the world. Top Australian Black Opals and
Fabulous Ethiopian Crystal Opals. Exquisite Opal
Jewelry and Carvings. Visit @ 610 B Canyon Rd.
Sante Fe, New Mexico 87051 or on the web www
.rockawayopals.com.
ROCK SHOPS
COLORADO SPRINGS. ACKLEY’S carries an
extensive line of lapidary and silversmithing supplies, rough rock, and mineral specimens. Also,
jewelry findings, such as French ear wires, beads,
chains, and mountings. ACKLEY’S, 3230 N.
Stone, Colorado Springs, CO 80907.
WWW.WORLDOFROCKS.COM - Crystals, Minerals, Fossils, Arrowheads, Meteorites, Specialties of
the Month, Beads and Classes. Open Mon, Wed,
Thu, Fri 12-6; Sat 10-6; Sun 1-5. Closed Tue. (734)
481-9981. I-94 exit 183 North. 42 N. Huron St.,
Ypsilanti, MI 48197.
ROUGH: NEW ERA GEMS
NEW ERA GEMS WEBSITE—Shop online at
www.neweragems.com. We offer our complete
catalog online as well as showcasing select pieces
of rough and cut gemstones, quartz and mineral
specimens, lapidary equipment and supplies,
and carvings! Get up-to-date information on new
materials and discounts, check out our show
schedule, and even meet the staff! Order online
or contact us by phone in the U.S. and Canada
toll-free (800) 752-2057; internationally (530)
272-1334; fax (530) 272-2985; Email neweragems
@hotmail.com. Satisfaction or your money back.
Guaranteed!
NEW ERA GEMS, 14923 Rattlesnake Rd., Grass
Valley, CA 95945. To receive our new 2013/2014
full-color catalog, please send $5 to the address
listed above. Along with our catalog you will
receive a $10 coupon off your first purchase of
$50 or more! Contact us now at (800) 752-2057.
(530) 272-1334; fax (530) 272-2985; Email new
eragems@hotmail.com; or look us up on the web
at www.neweragems.com! We look forward to
hearing from you!
SCHOOLS & EDUCATION
LEARN JADE CARVING from one of the world’s
best jade carvers. Intensive 3/5 day workshops in
beautiful B.C. Canada. DEBORAH WILSON, (250)
542-0630; deborahwilson.bc.ca.
SUNNY TAOS, NM Year-round individual and
small classes. Beginning–advanced fabrication
and unusual stone-setting techniques. Taos
School of Metalsmithing and Lapidary Design,
Marilynn Nicholson, PO Box 3005, Taos, NM
87571. (575) 758-0207; www.taosjewelryschool
.com; taosjewelryschool@msn.com.
TRAINING IN JEWELRY; Horology; Gemology;
Cad/Cam; Casting; Fabrication; Stone Setting;
Repair; JA Certification; Short Courses; Certificates; AAS Degrees. Texas Institute of Jewelry
Technology at Paris Junior College (800) 2325804; www.parisjc.edu; tijt@parisjc.edu.
LOST your mind trying to build an e-commerce
site, and... market your jewelry online?
FOUND the perfect place to showcase and sell
your jewelry, www.jewelspan.com! Sign up NOW,
be online TONIGHT. Use promo code LJJ2 for
two FREE months.
Gem & Jewelry Shops
Ackley’s Rock Shop
3230 N. Stone Ave.
Colorado Springs, CO 80907
Ph. (719) 633-1153
Mineral specimens, lapidary equipment and supplies, jewelers supplies, rough rock, slabs, tumbled
stones, cabs, faceted stones, and jewelry. 9–5
Mon–Sat.
KANSAS
McMullen Jewelry Natural Stone Gallery
4717 E. Douglas Ave.
Wichita, KS 67218
Ph. (316) 684-1611
Website: www.mcmullenjewelry.net
Come and discover the wonders of nature. A
wonderful collection of loose gemstones, cabochons, crystals, and mineral specimens. Unique
gifts, beads, and carvings. Custom jewelry work
in silver, gold, and platinum. Professional repairs
done on premise. Graduate gemologist on staff.
The art and craft of metal and stone. Pursuing a
finer quality.
MICHIGAN
Munro Crafts
3954 12 Mile Rd.
Berkley, MI 48072
Ph. (248) 544-1590
Email: webmail@munrocrafts.com
Website: www.munrocrafts.com
Great Prices and discounts. Swarovski, Czech,
Bali, freshwater pearls, wood, bone, glass, metal,
acrylics, and more. Sterling silver and gold-filled
beads and findings. Crafts supplies, charms,
books, tools, beading supplies, polymer clay and
supplies, and classes.
World of Rocks
42 N. Huron St.
Ypsilanti, MI 48197
Ph. (734) 481-9981
Website: www.worldofrocks.com
Fun in classes; highlighting chail mail, metal work,
wire wrapping and other jewelry classes. We
stock rock specialties, findings, tools and supplies.
Open Mon, Wed, Thu, Fri 12-6; Sat 10-6; Sun 1-5.
Closed Tue. Take I-94 exit 183, go north of Michigan Ave.
NEW HAMPSHIRE
Santerre’s Stones ’n Stuff
42 Water St.
Exeter, NH 03044
Ph. (603) 773-9393
Website: www.SanterresStones.com
Minerals, fossils, stone carvings, 14k jewelry, gemstones, wire-sculptured jewelry, faceting and cabbing rough, beads (including gemstone, Kazuri,
Swarovski, pearls, ceramic, lampwork), and findings. Custom faceting and cabbing work offered.
HUGHES ASSOCIATES
Faceting and beading classes. Work done on site.
Unique hand-shaped cabs. Gift items. Conveniently located in downtown Exeter.
QUALITY PRODUCTS FOR
OVER THIRTY YEARS
TEXAS
Nature’s Treasures
4103 North IH-35 (between 38½ & Airport).
Austin, TX 78722
Ph. (512) 472-5015 (Showroom)
Ph. (512) 833-7760 (Rock Depot)
Email: rocks@ntrocks.com
Website: www.ntrocks.com
EPOXY 220 . . . . . . . . . . .amber clear bonding
EPOXY 330 . . . . . . . . . . .water clear bonding
TENAX . . . . . . . . . . . . . . . . .instant super glue
TENAX + Plus . . . . . .a thick instant adhesive
OPTICON 224 . . . . . . . . . . . . .fracture sealer
ATTACK . . . . . . . . . . . . . . . . . . .epoxy solvent
AT YOUR DEALER
Our 14,000 sq. ft. campus includes a retail store
with crystals, minerals, agates, fossils, jewelry and
unique gifts. The Rock Yard has mounds of rock
lining a path with boulders, decorator & naturalscrape pieces to the Rock Depot with lapidary
materials & equipment, tools plus cutting, drilling
and polishing services. Open 7 days.
18116 Mtka Blvd., Wayzata, MN 55391
Tel: 952-404-2626
Fax: 952-474-4636
WASHINGTON
Rings & Things Wholesale
304 E. 2nd Ave
Spokane, WA 99202
Ph. (509) 252-2900
Website: www.rings-things.com
Visit our Spokane, WA warehouse for hands-on
access to our entire line of cataloged items
(everything in our print catalog and online store)
plus special cash-and-carry gemstones, redtagged sale items, African art, and more! Reseller
permit or $50 minimum purchase required. MonFri 10–6 (except first Tue of each month). First
Tue of each month 12–6. Sat 11–4.
www.goldtouchinc.com
100% Cyanide Free Plating!
24, 18, 14k, Rose Gold, Platinum, Rhodium,
Nickel-Free plate, Cleaners, Electroforming
supplies, Anti-tarnish clear coats and more!
Expert Tech Support. Same Day Shipping
800 940-7874, 216 941-7400, fax 216 941-7472
Fee Mining
Plan a real rock collecting adventure and find
your own gems, minerals and fossils. You can
visit these outstanding mines and quarries for
an unforgetable experience. For more information about getting your recreational mine
listed here, please contact Stephanie Griess
at 877-613-4630 or email sgriess@interweave
.com.
NEW YORK
Crystal Grove Diamond Mine and
Campground
161 Cty. Hwy. 114
St. Johnsville, NY 13452
Ph. (800) KRY-DIAM, (579-3426)
Email: fun@crystalgrove.com
Website: www.crystalgrove.com
Mine your own “Herkimer Diamonds” in beautiful
upstate New York. Three large areas, no claims.
Rent our tools or bring your own. Stay next door
in our spacious wooded campground sites for
tent or RV, camping cabins, modern facilities. Mining daily April- October, 8 a.m.- dusk. Camping
begins mid-April.
ADVERTISING
STEPHANIE GRIESS
(877) 613-4630
for classified ads
MARILYN KOPONEN
(877) 613-4613
for display ads
ADVERTISERS' INDEX
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6XSSOLHVIRU
%HDGLQJ)LEHU$UWV
%DVNHWZHDYLQJ(PEHOOLVKLQJ
5R\DOZRRG/WG
JA
67:RRGYLOOH5G
0DQVILHOG2K
ZZZ5R\DOZRRG/WGFRP
American Jewelers Institute, Inc. ....................................67
CGM, Inc. ............................................................................ 40-41
Contenti Co. ............................................................................... 3
Cool Tools ..................................................................................18
CraftOptics ................................................................................18
Creative Side Jewelry Academy of Austin ..................67
Diamond Pacific ...................................................................... 5
Eloxite Corp. ............................................................................63
Evenheat ...................................................................................79
FDJ on Time, LLC ...................................................................67
Fire Mountain Gems & Beads ..........................................ibc
Gem & Lapidary Wholesalers, Inc...................................59
Gemological Institute of America ....................................17
Gold Touch, Inc. ......................................................................79
Guilded Lynx........................................................................... 64
Halstead Bead.........................................................................63
Hughes Associates................................................................79
Interweave .................................. 59, 62, 64, 66, 67, 68, 69,
...................................................... 70, 71, 72, 73, 74, 75, 76, 77
Joseph P. Stachura Co., Inc.. ..............................................59
Knight's ......................................................................................79
Lortone, Inc ..............................................................................63
Monsterslayer, Inc. ..................................................................19
Otto Frei ....................................................................................ifc
Paragon Industries, L.P. .......................................................67
Pepetools, Inc. / Roseco .....................................................63
Pioneer Gem Corp.................................................................79
PJ Tool Jewelry / Impress Art ............................................16
Reactive Metals Studios, Inc. ............................................62
Revere Academy of Jewelry Arts ...................................67
Rings & Things .........................................................................18
Rio Grande................................................................................bc
Royalwood, Ltd. .....................................................................79
Satincord.com .........................................................................79
School of Visual Arts .............................................................19
Shows of Integrity .................................................................59
Snow & Stars Corp.. ...............................................................16
Stuller, Inc. ................................................................................... 1
Tool Craft/Ru-Mart................................................................62
Tru-Square Metal Products................................................59
79
l apidary jou rn a l
J e w elry a rt is t
DOER’S PROFILE
differs for the maker and the viewer.
That piece is still kicking around in
a box; I find it every time I move the
studio.
David Giuletti
Pendant
Rose cut garnet, sterling
silver, 18K and 22K gold
HEROES
No longer living: Lalique, Fabergé, Bill
Reid, the Japanese sword furniture
makers, Ken Hunt. Living: Daniel
Brush, Ford Hallam, Jim Kelso. PHOTO: HAP SAKWA
DESIGN SOURCES
They are all over, but I am particularly
moved by the work of the great
artists and artisans of history. It still
blows my mind that an anonymous
craftsman working 4,000 years ago
could make something that drives me
to get of bed and rush to my studio
so I can play with some aspect of this
work.
FAVORITE PART OF DOING
David Giulietti
DONE
80
For me, all the major
accomplishments are the pieces
where the work has a sum that is
much greater then its parts. I suppose
that is what I think of as art — the
works that make you wonder how it
ever came out of you even 15 years
after you made it.
DOING
My time is split between designing
and making my own work, completing
client commissions, and engraving for
different private clients around the
world. FIRST PIECE
Hard to say what exactly the first was,
but a memorable early work — the
first assignment for my first jewelry
class — was a pendant made entirely
out of one piece of pierced, formed,
and engraved copper: a man in a
boat wearing a funeral hat floating
down a river, which was flowing out of
the doors of a house with a crescent
moon on top of the chimney, and the
silhouette of a dead bird pierced into
the roof.
It was a cathartic piece, symbolic
of the loss I was experiencing while
going through a divorce, yet in his
critique, the professor pointed out
how some people like to use humor
in their work and used my piece as
an example. It made me realize how
much the experience of a piece of art
The sweet spot when I am about three
quarters of the way through a major
piece, and I am in the zone and can
feel my whole being ringing with its
energy and the experience of making.
I often slow down because I don’t
want the experience to end. Finishing
sometimes feels like being kicked out
of a great party.
THE ONE THAT GOT AWAY
There isn’t any one thing, but I have
missed enough great stones and tools
that I am now far more likely to plunk
down the cash in an instant when a
great deal crosses my path because I
am much more aware of how rare the
great pieces are. ON BENCH NOW Holy cow! Unmounted gems galore,
about 23 rings, seven pendants, and
some earrings all in various phases of
completion, and tools and materials
all over the place! My other bench has
even more on it, but you get the idea! see more work @
EngraverDavid.com
Se
Metal e the Full L
in
Clay P
roduc e of
ts Onl
ine
One Fire Mountain Way, DEPT C020
Grants Pass, OR 97526-2373
1-800-355-2137
America’s
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Request your Free 448 page catalog or go online
to see over 120,000 hot jewelry-making
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You supply the creativity,
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else!®
Sandy Mikel, FL
sandhillarts.artfire.com
Gold Medal GRAND PRIZE Winner
Metal Clay Jewerly-Making
Contest
Fire Mountain Gems
and Beads© 2014
Love at f irst touch.
Grain
LOVE RIO AND THAT THEY CARRY ARGENTIUM
Silver! I love this product because it is so easy to
work with and is tarnish resistant. Rio has added so
many Argentium findings that now I can exclusively
say all my pieces are 100% Argentium.
—Vicki Pellegrini,
metalsmith
Sheet
Wire
Settings
Earring components
End caps
Clasps
Jump rings
R io Gra nde.
Recommended by jewelers since 194 4.
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70 years. Diverse products, sterling know-how, and
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800.545.6566
riogrande.com

Lapidary Journal Jewelry Artist

Transcription

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