From way back I’ve been a “texture girl”. It affects a lot of things for me – from the food I eat to the clothes I wear, and yes, to the jewelry I make. :) Texture can make or break things for me. I don’t like scratchy clothes, gritty foods, smooth dishcloths. I don’t like corn tortillas, instead I favor flour ones, because I don’t like the texture of corn tortillas. You get the idea.


While I make do make jewelry that is ‘smooth’ and more sleek – I LOVE texture! Texture can add so much to a piece – character, depth, visual interest. And there are so many ways to GET texture. From expensive rolling mills, to inexpensive options like a nail and hammer.

I surfed back through my blog and pulled some photos of pieces with textures:

This piece was textured by hammering the sterling onto concrete – in the driveway. LOVE the effect. :)






The rolling mill was used to texture the sterling in these earrings. The metal was run through the mill with window screening.








More window screening





This pendant was given texture with a quasi-fold forming technique. The granules also add a layer of texture.








Corrugation was used here to provide texture to the sterling – a nice offset to the smooth copper.












This pendant shows some chasing all around the bezel, on the wire.







Stamping with a chasing tool. LOTS of repetition












This was done using nails and screws, etc. I did a tutorial showing how to modify nails etc to complete this pendant.










Etching can provide texture either in terms of a ‘scene’ or just a random pattern.








The two pieces below are samples of reticulation. (using heat – torch – to create texture) The earrings have an added layer of texture as holes were drilled and then the metal was run through the mill to elongate the holes.
















These final earrings combine reticulation, chasing, and roller mill printing.

These are just some of the things I do with texture.

I’m interested in hearing other people’s favorite texture techniques – what do you like to do?
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Color on Metal – Out of the grey and into the blue.

MANY artists use liver of sulphur (LOS) to create a black or grey patina on sterling. But that is not the ONLY color range that LOS offers!

With a little tweaking of the solution, you can achieve variations from reddish brown to blues and purples.

By varying the concentration of the LOS mixture and also the temperature of the mixture, one can get reddish colors – brown, and also blue to purple and adding other components to the mix achieves even brighter blues and purples.

LOS comes in chunk, liquid, and even gel form now. The following observations have been made using chunk form mixed with warm water to dissolve.

Dark grey or black – a strong mixture of LOS in relation to water is used. If the mixture is hot, the patina process will go MUCH faster, creating a deep black very quickly. (be careful, sometimes this can apply such a thick layer that it will flake off) When desired color is achieved, rinse metal in cold water to interrupt the patination process.

Reds and browns – a weaker mixture of LOS/water is used. AND a more ambient temperature solution. Dip metal quickly and don’t rinse. Wait and watch colors develop. Keep dipping and watching the process.When desired color is achieved, rinse metal in cold water to interrupt the patination process.

Blues and purples – a weak mixture of LOS and water. . . or day old mixture may be used. Add industrial strength ammonia to the mixture. (this is ‘professional’ grade cleaning ammonia, ensure proper ventilation when using) Heat metal. (can be done by running under VERY hot water). Dip quickly or paint patina onto metal. Watch CLOSELY as color develops. The metal will go through stages of color. Repeat the heating and painting process until the desired colors are achieved, rinse metal in cold water to interrupt the patination process.

Here is a picture of a sterling piece done in this manner:

Red, blue, green, maybe purple can be seen, and it has an irridescent quality to it.

Here is the reverse side with no flash on camera:

Patinas are not always stable. They can change over time. For this reason, a sealant is often used. Either wax of some sort – Renaissance Wax is a favorite among many; or a fixative spray (Nikolas lacquer has been highly recommended) to preserve color but note that anything placed over a patina will change the effect to some degree as it changes the way light plays over the surface of the metal.

Below you can see the same piece after about 7 mos in a drawer, in no protective wrapping and NO sealant having been applied. Unfortunately the photo itself is pretty poor, there is a lot of glare, however the blues/greens/reds are still visible in various places

and the back ‘after’ picture:

This pendant was colored using day old LOS soultion that had faded to a weak yellow/straw color.

Straight ammonia was added to the LOS solution. There is no need to be specific with ratios, one of the joys of patinas is in experimentation.

The room temperature mixture was ‘painted’ on with a papertowel very lightly, wiping dry, then applying more,then wiping dry until the desired colors were achieved.

The nice thing is if you go too far you can take it off and start again.

One tip – KEEP a notebook for patinas handy on your bench. Record your process including:

  • patina ingredients and amounts
  • meta used
  • temperature of solution
  • temperature of metal
  • method of applying (dunked, painted, misted, etc)
  • time left on
  • rinsing in between applications (if any)
  • repetition of process (if any)

General instructions for LOS in chunk form:

Use a heat tolerated container. Add a quarter cup of hot water. Add one small chunk (a little less than the size of a pea). Wait for it to dissolve. Swirl container to mix.

The LOS is ready to use. Mixed LOS solutions are not very stable. They will degrade over time and usually are not saved. however, for some of the color variations noted above, retaining your mixed LOS can serve a purpose!  LOS will weaken overnight, losing its color (turning more clear) and eventually have a skim or flakes on the surface. When the LOS solution gets to that point – it’s dead. ..inactive, and can be poured down the drain (from what we’ve read). If your solution is still yellow, it is ‘active’ and should be disposed of according to your local requirements.

More on patinas coming soon!

See more Tips & Tricks
Free Jewelry Making Tutorial - Dual Balled Ring

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Sep 202010

Please note that melting points vary from resource to resource – This chart has been comprised using numerous sources and cross confirmations.

Metals Melting Temperatures

Metal Melting Point Celsius Melting Point Fahrenheit
Aluminum 659 1218
Brass (85 Cu 15 Zn) 900-940 1652-1724
Bronze (90 Cu 10 Sn) 850-1000 1562-832
Cast Iron 1260 2300
Copper 1083 1981
Gold (24k) 1063 1946
Iron 1530 2786
Lead 327 621
Nickel 1452 2646
Palladium 1555 2831
Platinum 1770 3220
Red Brass 990 – 1025 1810 – 1880
Silver (pure) 961 1762
Silver (sterling) 893 1640
Stainless Steel 1363 2550
Steel-High Carbon 1353 2500
Medium Carbon 1427 2600
Low Carbon 1464 2700
Tin 232 450
Titanium 1795 3263
Yellow Brass 905 – 932 1660 – 1710
Zinc 419 786


click here for download

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While conversing with some wonderful artist friends, the topic of blogging and RSS came up.

Most people are now familiar with a blog – a web log – shortened to blog. Its an online journal of sorts.

When people subscribe to your blog, they are getting a ‘feed’ — the blog is coming to their email or to a reader.

It comes via ‘RSS’  which is ‘really simple syndication’.

A reader is a service that allows you to get all your blogfeeds in one place. You can read the content right there for the most part.

Wiki can explain it all better than I can -> RSS ON WIKI

People use different methods of tracking favorite blogs, there is the google connect gadget, there are bookmarks, RSS, email subscriptions, readers, etc.

I like to corral not only my favorite blogs, but also my favorite websites, Etsy shops, etc. with a ‘reader’. With a reader you can add not only blog feeds, but a ton of other web content feeds.

Anywhere you see the now familiar RSS icon, you can ‘grab’ the feed and receive updates direct to your reader whenever there is a content update.

But what if you want to respond to a blogpost? No worries, your reader will have a live link you can use to get there.

I use Google Reader, its very user friendly.  Here are some screen shots to help you see how I do it.

I’ll use my Etsy shop as an example.

First, find the little RSS icon.

click it.

That should take you to a page that looks like this:

When you are there, you will have a drop down box that allows you to select how you would like to subscribe. (I use Google Reader, so I would select that.)

Making that selection will add the feed to my reader and also take me directly to my reader.

Once in reader, if there is another website or blog that I know I would like to subscribe to, I can do it right from the homepage of my google reader (if I have the web address or url). Google will import the feed.

You want to find where it says ‘add subscription’.

click that.

Then you will get a pop up where you can enter the url.

you can try this with any url, the worst that will happen is that google will tell you it can’t find a feed for that url or it can’t find content. Sometimes it will offer to create a feed for you. So nice. :)

*~* NOTE: I did this in mozilla firefox — it may look a little different in different browsers. *~*

The Jewelry Artists Network feed can be obtained on the sidebar, or just grab it here.

RSS and feeds are obviously helpful to you, you don’t have to run around visiting all of your happy places to stay up to date. You can do it from the comfort of one home page.

But how is it helpful to your business? What can RSS do for your business?

Stay tuned for the next post to find out!

Questions? Leave in the comments section or use the contact tab above. We’re not computer whiz kids here but we’ll try to help!

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Sep 172010

The new Inspiration page is now live!

http://www.jewelryartistsnetwork.com/index/inspiration/

Feel free to suggest an artist or piece by using the contact tab above.

hope you enjoy the work presented. :)

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Dual Ball Ring “Tutorial”

I have to start out with a disclaimer.

This is not a traditional jewelry making tutorial. This is more like an outline of the technique that I use. It was originally written for a friend who has quite a lot of metalsmithing experience, so it was more of an outline or framework for her to see how I go about this process. I kept imagining I would redo the photos so each step is clearly captured and rewrite the text to make more sense for those who don’t have a lot of metalsmithing experience, however that hasn’t happened (and its been a couple of years I think!) so I’m just going to put this out here now the way that it is…well, with a few minor edits.

Supplies

  • Wire – 12 gauge
  • Wire – 20 gauge
  • Rondelle Bead
  • Manilla folder, water, dish
  • Hammers (forming, rawhide), bench block or anvil
  • Nail
  • Sharpie
  • Ring mandrel
  • Files, sandpaper
  • Soldering supplies – flux, solder, torch, third arm, pickle

Begin by soaking small pieces of the manilla folder in water. ( I leave mine soaking for days, but you can soak them for as little as half an hour)

Wrap the 12 ga wire around the ring mandrel about a half a size larger than you want the ring to be. (some of the size will be taken up by the bead)

Cut into rings.

Next, file ends smooth so you have a flush join to solder. (no pic)

Flux and solder joins on each ring individually.

Return rings to mandrel and use mallet to true up the ring(s) into a circle.

Forge one end of each ring on the bench block with a planishing or forging hammer just enough to create a flat profile.

Then forge the other end of the rings into a sloping area which will eventually be drilled for insertion of wire to hold bead. (sorry no picture of the second side being done)

Next prop rings open on the wider forged end so you can solder the more lightly planished ends together to form the base of the ring shank. (this photo was taken as a ‘set up’ – in reality the open ends would be planished flat as well)

Flux, solder, pickle.

Gently close the shank and file all edges to create a uniform appearance (no photo)

Mark center of top of ring, create a divet with hammer and nail.

Lube your drillbit and drill hole(s)

Cut a piece of 20 ga wire – you want it long enough to go through the ring, the bead, and form a ball on each end.

You are going to use this wire as your double balled ‘pin’. You will want to measure this wire before you melt your first ball so that you can calculate how much wire you’ll need for the second ball.

So, measure, then go ahead and melt a ball on one end of the wire. (make the ball as large as aesthetically fits your design).

Now, measure how much wire you have left. This will tell you how much wire you used to make your ball ( [original length - (current length-ball) = amount of wire 'in' your ball] you’re going to need to know that later).

Next you need to wrap the bead in wet manila folder paper, insert the packet into the opening of the ring, thread wire through your drilled holes.

Cut the end of the wire so that the proper amount for your ball is extending from the other side.

Thread another piece of the folder onto the wire (on the outside of the ring)

(Optional: Take another piece of the folder and wrap it around the top of the bead.)

You now have something that should resemble this:


(but the amount of wire protruding should be trimmed way back! this is left long so you can see )

Suspend the entire packet into a third arm with the exposed wire hanging straight down towards your bench top. Heat to melt the second ball. (this photo is after I torched the second ball)

The ‘trick’ is to use a HOT tiny flame. I turn the gas on very high and then crank up the oxygen to obtain a very hot very tight flame.

*NOTE* The first two times I did this, I did NOT wrap the bead first and it worked fine. Wrapping the bead DOES take up some room so when you are done you may have a slightly looser join. When you remove the folder you will have a tiny bit of space. Very tiny. If you do it that way and don’t like it, try just threading the wet paper on the outside and then wrap the outside of the bead. The end result will be tighter.

FYI: I have NOT had the paper catch on fire. At the very end it will smolder and singe a bit, but thats it. Here is a pick of the singed paper:

Here is another finished ring. This one turquoise.

If it can work on turquoise, then its probably fairly safe on a variety of stones, HOWEVER, I highly recommend you practice with stones that you wouldn’t be heartbroken to lose as with any new technique it can take some time to perfect.

This process was first mentioned to me by Karen Christians (of Cleverwerx) as she was experimenting with it after watching glass makers work with hot glass using wet newspapers. It took me a long time to give it a try but I have found it works well.

I hope you find this useful information!

Other areas you might find interesting

Tips and Tricks Main PAGE

Other helpful posts:
Patina on Sterling

Jewelry Making Tutorials – Metalsmithing and WireWorking

References:
Melting Temperatures
Scrap Metals Refiners and Returns

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