Making Jewellery 2016-05

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Beaded chain technique

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LAMPWORK

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BEADING

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w w w . c r a  t s i n s t i t u t e . c o m

Views and comments expressed

by individuals in Making Jewellery

magazine (ISSN 1756-4069) do

not necessarily represent those

o the publishers and no legal

responsibility can be accepted

or the results o the use o

readers o inormation or advice

o whatever kind given in this

publication, either in editorial

or advertisements.

No part o this publication may be

reproduced, stored in a retrieval

system or transmitted in any orm

by anymmeans without the prior

permission o Guild o Master

Crafsman Publications Ltd.

Making Jewellery is published

13 times a year by

GMC Publications Ltd,

86 High Street, Lewes,

East Sussex BN7 1XN East Sussex BN7 1XN www.makingjewellery.com www.makingjewellery.com www.thegmcgroup.com www.thegmcgroup.com 01273 477374 01273 477374 EDITOR

EDITOR Sian Hamilton Sian Hamilton

[email protected]

SUB EDITOR

SUB EDITOR Sarah Doughty Sarah Doughty

STAFF WRITER

STAFF WRITERSarah FarleySarah Farley

EDITORIAL ASSISTANT

Ellen Evans

DESIGNERS

DESIGNERS Claire Stevens, Claire Stevens,

Jo Chapman Jo Chapman PRODUCTION MANAGER PRODUCTION MANAGER Jim Bulley Jim Bulley [email protected] [email protected] PRODUCTION CONTROLLER PRODUCTION CONTROLLER Amanda Allsopp Amanda Allsopp amanda.allsopp@thegmc amanda.allsopp@thegmc group.com group.com PUBLISHER

PUBLISHER Jonathan Grogan Jonathan Grogan

PRINTER

PRINTER Precision Colour Printers Precision Colour Printers

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30

Saraguro stitch Saraguro stitch

Editor’s letter

I

t’s May! And the summer is coming, yes it reallyt’s May! And the summer is coming, yes it really

is. So I’m excited as

is. So I’m excited as I can’t wait for waI can’t wait for warmerrmer

weather and to abandon the jumpers for my

summery T-shirts and lighter colours i

summery T-shirts and lighter colours in generaln general

(not sure who says I have to

(not sure who says I have to wear dark colours in wear dark colours in thethe

winter, but it appears to

winter, but it appears to be a must be a must in my wardrobe!).in my wardrobe!).

An

Anywyway, ay, baback ck to to susummemmer. r. As As eaearly rly as as MaMay iy is is in tn thehe

year I like to t

year I like to think it’s the beginning of a new seahink it’s the beginning of a new seasonson

so I decided it was time for an outdoor theme!

I chose garden parties and I am glad I did.

Sian

1

This issue is f

This issue is full of lovely floral designs, laceull of lovely floral designs, lace

effect pieces and generally rea

effect pieces and generally really elegant andlly elegant and

beautiful designs

beautiful designs you would be proud to make andyou would be proud to make and

wear. We also have a

wear. We also have a couple of beading techniquescouple of beading techniques

from Clair Wolfe (

from Clair Wolfe (p30, p62p30, p62) and a project () and a project (p7p700) for) for

you to feast on. Beading is a

you to feast on. Beading is as popular as s popular as ever andever and

I know Clair has the belief that those tiny litt

I know Clair has the belief that those tiny little sizele size

15 beads are addictive; once you start beadi

15 beads are addictive; once you start beading young you

ju

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To ﬁnd an Artistic Wire/Beadalon retailer near you, please visit

www.beadalon.com/store_locator.asp

®

PATENT PENDING

PATENTED

COILING GIZMOS

Design wire jewelry with

new dimension

Crank wire to make

coiled springs & beads

Wire is soft tempered and is ideal

for creating wire wrapped designs

Everything you need to start cutting metal

sheet, large gauge wire, wood, and plastics

Give your designs a

compelling textured look

Try diﬀerent stitches to create

various patterns

Use these clever ﬁxed peg jigs

to make your own wire clasps,

ear wires, and connectors

SAW FRAME WITH 36 BLADES

ALUMINUM WIRE

WIRE KNITTER TOOL

FINDINGS FORMS

BRAID

FLAT COPPER WIRE

To ﬁnd an Artistic Wire/Beadalon retailer near you, please visit

www.beadalon.com/store_locator.asp

3D BRACELET JIG™

PATENT PENDING

Create trendy bangle bracelets,

cuﬀ bracelets, and curved components

CONETASTIC

™

This ingenious tool makes beautiful

wire cones and bead caps

The Largest Selection of Craft Wire

and Wire Working Tools

WIRE STRAIGHTENER TOOL

Make it easy to straighten wire

that has been worked

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Regular

_{ISSUE 92 MAY 2016}

76

Flower bead garland

8

Wrapped with love

56

Crystal garden

3

Easy

� Lacy blossoms

A textured pendant with lace and air dry clay

�� Celebrity Style

Butterﬂy necklace inspired by Vanessa Hutchins

�� Folk-art birds

Polymer clay earrings with a folk-art bird theme

�� Buds and shoots

A necklace made with polymer clay bud shape beads

�� Daisy delight

Polymer clay earrings with bright daisies

�� Beautiful bead

clusters

A cluster eﬀect black agate bead necklace

�� Beaded lace collar

A delicate seed beaded lace collar

�� Mix and match

Lots of component pieces that can be made into a necklace or range of bracelets

�� Flower bead garland

Lampwork ﬂower beads

�� Initial it!

Stamped letter discs

�� Mermaid necklace

Sea inspired necklace and wrap bracelet

Intermediate

� Wrapped with love

An intricate wirework bracelet with decorative swirls

�� Lace cuﬀ

A delicate lace inspired rose gold coloured wire cuﬀ

�� Centrepiece silver

pendant

An embellished donut bead with a silver clay centre

�� Crystal garden

A sparkly ﬂoral necklace with bead bezelled cabochons

Advanced

�� Pretty posy

A charming and elegant stone set ﬂoral silver clay pendant

�� Floral lace eﬀect

A ﬂoral lace eﬀect bib style necklace made in silver wire

14

Pretty posy

34

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18

Colour & Style

62

Technique

22

10 questions

29

Designer proﬁle

55

Trends

4 w w w . c r a f t s i n s t i t u t e . c o m

69

Designer inspirations

Regulars

�� News

The latest jewellery trends, news and must-haves

�� What’s on

Classes, workshops and shows not to miss this May

�� Colour & Style

Fashion trends for your summer wardrobe

�� Readers’ page

Your letters, news and views, plus pictures of your work

�� Book reviews

Imogen Cooper reviews the latest inspiring jewellery books

�� Web reviews

Lauren Johnson surfs the web for the latest jewellery sites

�� Business matters

The latest tips on running your jewellery business

�� Ask the expert

Joan looks at jewellery for a garden party

�� Coming next month

Find out what’s inside our June 2016 issue

�� Top ﬁve

Garden party jewellery components

�� It’s a jewellers life

The latest instalment of Eleanor Swinhoe’s column

Features

�� questions

Interview with talented contemporary jeweller

�� Designer proﬁle

Contributor Zoe Lynham answers our questions

�� Designer

inspirations

Find out what inspires Justine Nettleton

Shopping

�� Trends

Perfect accessories for your wardrobe

�� Product review

Books galore! to help you brush up on your skills

Techniques

�� Technique

Learn to do Saraguro beading stitch, which is a type of netting stitch

�� Technique

Learn to use transparent polymer clay

�� Technique

Learn to make beaded hoops for use as a chain

�� Product test

Clair checks out a bead bag by the Celtic Bead Shop

�� Basic techniques

ren s

e

f Eleanor

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LACY BLOSSOMS

Create a textured pendant adorned with

bunches of ﬂ owers. By Linzi Alford Buckmaster

T

his simple-to-make air-dried clay pendant is given a delicate pattern and embellished with bouquets of pretty acrylic flowers in soft tones of lavender, mauve and lil ac. The pendant combines the textural mesh patterns of lace together with an array of flower clusters. Using the same technique you could replicate any pattern or filigree and use any colour or type of flowers.

STEP �

Cut a section o lace in a rectangular shape. Seal with several coats o acrylic sealer allowing each to dry beore applying the next. Cut a piece o reusable poster putty to the same shape and press lace into it ﬁrmly, right side out. This is to stabilise the lace to ensure that the silicone moulding materials does not adhere in every single hole o the abric pattern.

MATERIALS

Silicone moulding putty Apoxie Sculpt air-dry clay in colours: pink, red, orange, blue, white, super white

Lace or textiles to mould

w w w . c r a  t s i n s t i t u t e . c o m 6

Project

_Easy

STEP �

Cut a 40cm length o 0.5mm lavender wire. You can use longer or shorter lengths, but this seems the most convenient length. Attach to the silver wire by coiling it several times. Trim the wire ends. Attach the first flower by threading the lavender wire up through the flower hole, through a seed bead and then back down into the flower hole on the outside o the seed bead. Add as many wire loops

or attachment points as you wish, rame the whole pendant or just around two corners; it is up to you to decide. I it helps, then drill multiple holes to wrap wire through. Use one type and size o ﬂoral beads or mix it up. Be colour coordinated or make a cottage garden o shades. For a diﬀerent take, overlay a contrasting colour (o acrylic paint, mica powder, marker pen or ink) to highlight the lace pattern, i.e black over pink, or sparkly over black with crystals and silver. It really is a versatile method.

Designer tips

RESOURCES Acrylic ﬂowers: www.bargainbeads.co.uk Apoxie Sculpt: www.avesstudio.com.

Check or stockist local to you. The colour mixing chart is also available here to download. Non-stick mat:

www.aﬃ xitcraf.co.uk Chain, ball chain or ribbon to

hang pendant rom

Spray acrylic sealer or PVA type medium Non-stick mat 40cm x 0.8mm (20 gauge) silver wire 120cm x 0.5mm (24 gauge) lavender wire

Acrylic ﬂowers and leaves in your chosen shade(s) approx. x 21 depending on size

Seed beads, same quantity as ﬂowers

Rotary tool drill Selection o pliers Metal ﬁle

Sanding block or ﬁne sandpaper Wire cutters

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7 P H O T O G R A P H S : L A U R E L G U I L F O Y L E , L I N Z I A L F O R D B U C K M A S T E R STEP �

Thoroughly mix the silicone moulding putty. It normally consists of two colours to be mixed in equal parts (1:1). Once mixed it will ‘cure’ in about 10 minutes so do not spend too long blending the two parts. Roughly shape the silicone putty into a rectangle shape. Press the lace ﬁrmly face down into it. Ensure there are no air bubbles trapped, as these will cause blank areas. Wait for 10 minutes for the mould to c ure.

STEP �

Mix the air-dry clay to the desired shade (or of course you can use an existing colour with no blending). Wear disposable gloves, as some colours will stain your ﬁngers. Mix a pale lilac colour, with red + blue bended (plus an equal amount of blue) + white (and an equal part of blue). Use the colour chart on the supplier website for assistance, if needed, in mixing the colours. Once mixed, form a rectangular shaped piece and press into the lace mould.

STEP �

Leave overnight and once the clay has dried, remove from the mould. Using a rotary tool, drill a hole in the top centre. Using a metal ﬁle and then a buﬃ ng block, remove all the uneven edges and any surplus clay to neaten the shape.

STEP �

Cut a 40cm length of 0.8mm silver wire. Make a wrapped loop at one end and pass it through the hole on the pendant front to back. Wrap wire tail again to secure.

EARRINGS Shape two small pieces of clay into teardrop shapes and place into the mould. Allow to dry, then sand and drill as before. Add beads by making eye

pins with short sections of 0.8mm wire. Thread through an acrylic ﬂower and attach with a jumpring to earring wires. BRACELET

Using the same technique as the main project, make a mould of a short section of lace binding. Form a bracelet bar shape in clay and press into the mould. Allow to dry, but remove before it is totally set and drape over a pencil to get the slightly curved shape. Once dry, sand and drill a hole at each end. Attach a chain and a clasp, connecting using large jumprings.

Extra Projects

Make earrings

and a bracelet

Easy

Project

STEP �

Finish oﬀ the pendant once all the ﬂowers are attached by taking the chain nose pliers and making a sharp half turn in the slack wires on the reverse of the pendant. This will tighten the wire, although be careful not to overdo this as it can pull the wire away f rom the pendants edges onto the back! Add a chain, a ball chain or a ribbon through the wrapped loop bail and a clasp, if required. STEP �

Continue to thread flowers and leaves around the perimeter of the pendant adding as many as you please. Work your way around, making a couple of coils around the 0.8mm wire in between each flower to secure. If the 0.5mm wire becomes brittle as you near the end then clip off the kinked section and start with a new length; try using 3 x 40cm lengths on this pendant. You can continue to add more flowers or leaves onto the design until you are happy with the overall look. STEP �

Wrap the silver wire in a series of wiggles and loops that encompass both the back and edge of the pendant. These loops will form attachment points for the ﬂowers. Secure the wire on the reverse by looping and twisting together, but leave it reasonably loose. It will tighten it once all the ﬂowers are added.

w w w . c r a f t s i n s t i t u t e . c o m CONTACT www.magpieinthesky.co.uk www.facebook.com/magpieinthesky [email protected] d ld. tions ead

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WRAPPED WITH LOVE

Make an intricate

wirework bracelet

with decorative

loops and swirls.

By Karen Caine

B

efore you start the bracelet, you will need to be aware of how to cut the frame wires. First you need to measure your wrist in centimetres to discover your bracelet length (BL). Then cut three frame wires using the following calculation:

Inside wire = (BL x 2) + 8cm for hook and spiral

Middle wire = (BL x 3) + 20cm for the decorative swirls at either end Outside wire = (BL x 3) + 23cm for the decorative swirls and to make the eye for the hook

STEP �

Cut your rame wires using the ormula described above. Then measure and mark a point 10cm rom the lef on the middle and outside wires and 4cm rom the lef on the inside wire. Starting at the 10cm mark you just made, and leaving a 12cm tail that you’ll use later, coil the weaving wire three times around the outside wire (OW) in an anticlockwise direction. Leave the weaving wire sticking up at the back.

MATERIALS 1mm rame wire 0.4mm weaving wire (14 x bracelet length) 4 x 6mm beads

Liver o Sulphur (optional) 0.7mm and 0.3mm weaving wire (or extra projects)

2mm beads (or extra projects) RESOURCES www.cooksongold.com CONTACT www.thecrafydwar.com www.crafydwarfutorials.com www.acebook.com/thecrafydwar

Project

_Intermediate

STEP �

Using the two 10cm lengths o rame wire you lef bare in Step 1, create some decorative elements at the end o your bracelet. Swirls, spirals, zigzags – the design is up to you. You can also choose how to ﬁnish the ends. You can ball them up with a torch, or simply cut them with ﬂush cutters. Once complete, use short lengths o weaving wire to sew the ends to the bracelet to prevent them moving.

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Intermediate

_Project

P H O T O G R A P H S : L A U R E L G U I L F O Y L E , K A R E N C A I N E STEP �

Add the middle wire (MW) just above, making sure that the two 10cm marks are aligned. Continuing in an anticlockwise direction, coil the weaving wire three times around both wires. Now add the inside wire (IW) above. Bring the weaving wire up the back o all three, then coil it three times around the top two rame wires. On the third loop, poke the weaving wire orward between the two wires (IW and MW).

STEP 3

Continue the weave by looping three times around the lower two rame wires (MW and OW), then take the weaving up the back o all three rame wires, so that you’re in a position to coil once more around the top two rame wires, then push the weaving wire through between IW and MW once more. Repeat this pattern until a ribbon o weave covers the bracelet length (BL) you measured earlier.

STEP �

To make the eye, loop the weaving wire three times around IW and MW, then coil it three times around MW. Repeat twice more so that the weave continues on IW and MW, but leaves OW bare. Make sure the rame wires still line up then bend the woven ribbon back on itsel. Follow with the bare wire, but leave a gap or the hook to go through (approx. 5mm). Resume the same weaving pattern as beore.

Be careul not to accidentally reverse the weave during this project, especially i you put it down or a moment. From the ront the weave should have a regular 3-3 pattern, while at the back you can see the weaving wire periodically crossing all three rame wires.

I you have problems poking your weaving wire through when sewing your decorative elements in place, push a pin into the weave and wiggle it in a circle to enlarge the gaps in the weave.

Designer tips

STEP �

Continue weaving until you have equal lengths on either side o the curve. Finally, coil the weaving wire three times around OW beore cutting and tucking it in. Use the tail you lef in Step 1 to tie the two sides o the bracelet together. Maintain an anticlockwise direction and loop the tail around each o the six rame wires in turn. Repeat twice more, then coil, cut and tuck in the tail’s end to ﬁnish.

STEP 7

Now take the remaining outer pair o rame wires and curve them back on themselves and then swirl them around the body o the bracelet, adding a bead to each wire as it sweeps across the ront. Make sure that the decorative wires are pinched closely enough to the body o the bracelet that the beads cannot slide around to the inside o the bracelet. I you want your bracelet to have a sense o symmetry, place the beads one-third and two-thirds o the way along the bracelet.

STEP �

At the end o the bracelet, add some more decorative elements using the same techniques as in Step 6. Create the br acelet’s hook with the two remaining inner  rame wires. Make a simple decorative loop with the ﬁrst, then bring the second wire parallel to it beore sweeping it around into a hook with a loop at the end. Make sure that this loop is small enough to pass through the eye you created in Step 4.

STEP �

Cut oﬀ the hook’s excess wire and hammer the shank to make it solid. Now wrap your bracelet around a bracelet mandrel (or similar object) to make it round. Use your hands to shape the woven parts and a mallet to shape the bare wires where they overhang the woven parts – just make sure you don’t hit the bead s! Add a patina i you like, then settle back and admire your handiwork.

PENDANT

Start 2cm rom the lef and create a ribbon in the same way you created the bracelet, substituting the eye part or the pendant’s two bails. Bring the two ends o the ribbon together at the heart’s point and old the 2cm lengths over the longer rame wires to anchor them in place. Sew all the layers

Extra Projects

Make a pendant and earrings

w w w . c r a  t s i n s t i t u t e . c o m 9 together, then use the lefover rame wires to orm

the decorative arcs. EARRINGS

Make straight ribbons and use the centre rame wires or the ear wires. Curl the other rame wires into decorative swirls.

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w w w . c r a f t s i n s t i t u t e . c o m

w w w . c r a f t s i n s t i t u t e . c o m 1111

Regular

The latest jewellery making

trends, news and

must-have

s.

By Ellen Ev

ans

EuroSynergy2 Polymer Clay

Conference

Do you love working with polymer clay? The

International Polymer Clay Association will

hold EuroSynergy� in B

hold EuroSynergy� in Bordeaux fordeaux from ��-rom ��-��

July. The conference is an opportunity to meet

other artists from around the world, listen to

inspirational presentations and buy and sell

polymer work.

polymer work. Three days of workshops fThree days of workshops follow,ollow,

held by highly regarded international tutors. All

of the presentations at the conference and the

workshops are brand new to Europe and the

presenters are from USA, Europe and the

Middle East. The cost of the conference is ��

Euros and each workshop is priced separately.

Full details of the programme and location can

be found on the website or Facebook g

be found on the website or Facebook group.roup.

www.eurosynergyconference.net www.eurosynergyconference.net

NEWS

Pulse

From ��-�� May, artists and makers will ﬂood

to Pulse at Olympia London. The large-scale

event promises a wealth of beautiful things to

see, including jewellery from the very best

makers. It’s a chance to pick up gifts and

inspiration, with lots of one-oﬀ pieces on

display. The team at Pulse have identiﬁed key

trends and motifs for the upcoming Autumn/

Winter ��

Winter �� season, such a� season, such as oriental-sts oriental-styleyle

snake charms/serpent bangles, enamel and

crystal bugs and minimal c

crystal bugs and minimal circles and stars.ircles and stars.

Earrings and rings are the key pieces to look out

for at the show.

www.pulse-london.com

Artistic Wire Large Wire Crimp

Connectors

Beadalon have launched new Artistic Wire

Large Wire Crimp Connectors. They are the

perfect cold connection to join large gauges of

Arti

Artistic Wire together. Calstic Wire together. Calibrated for ��, ��,ibrated for ��, ��,

and �� gauge Artistic Wires, you can also use

them for Artistic Wire Braid, �� gauge

Aluminum Craf

Aluminum Craft Wires, and to join multiplet Wires, and to join multiple

strands of smaller gauge wires. To use, place

one end of the wire that you are joining half

way into the Crimp Connector. Place the other

wire in the opposite end so that the wires meet

in the middle. Use the back notch of the Mighty

Crimping Pliers for the �� and �� gauge wires

and the Standard Crimping Pliers for the ��

gauge wires to gently squeeze one side of the

crimp then the other for a secure connection.

www.beadalon.com

Amanda Coleman D83 Bejewelled Bugs

Daniella Sigurd A45 Bejewelled Bugs

Glitter and

T

wisted classes

Throughout May and beyond, Lydia Foster will

be running Silver Workshop days from her

studio in Emsworth, Hants. Go along to learn

how to make your own piece of silver jewellery

to take home. The workshops take place from

��am-�pm, and cost £��, including all

materials and lunch. For dates and other

information, visit the website.

www.glitterandtwisted.co.uk

07786005955

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Regular

Digital Paper

Jewellery

On the ��-�� May ��, Francine Oeyen is presenting a two day course on paper jewellery at the Victoria & Albert Museum in London.

The course combines analogue and digital processes, using paper and cardboard. Suitable for beginners, the workshop is a chance to try something diﬀerent. Using a variety of techniques, you can create a unique and creative piece of contemporary jewellery. Visit the website for prices

and to book.

www.vam.ac.uk/whatson

Wendy Ramshaw’s Room of Dreams

Don’t miss your chance to see work by designer Wendy Ramshaw, a British jewellery icon. Birmingham Museum and Art Gallery is exhibiting her ‘Room of Dreams’ until ��nd May.

Ramshaw draws inspiration from stories such as Alice in Wonderland_{to make up an insta llation of}

many parts, f rom small jewels in frames to large freestanding furniture. In t he artist’s own words: “The dream is the room and every one of its individual contents is in some sense a part of a dream. A white wall is covered wit h frames, ea ch of which contain s a piece of jewellery, each inspired by a

dream or dream-like situation…a series of stories and images waiting to be considered and discovered…. Room of Dreams has brought into existence so many imagined objects, gathering together so many thoughts in one place, ‘the room’. It has fulﬁlled and completed a dream for me.” In this exhibition, jewellery is imagination.

www.birminghammuseums.org.uk

Amulet Master Class

Tracey Spurgin will be teaching her renowned Freya’s Tears Amulet master class at her Craftworx Studio in East Yorkshire on Fri � to Sun � May. This is your chance to experience the project originally designed for the �nd Midsummer’s Dream Metal Clay Retreat that took place in June last year and has since been taught around the country as well as in Belgium. Tracey has decided to extend the workshop from two to three days to give students plenty of time to completely ﬁnish their creations. The cost of the class is £��. www.craft worx.co.uk, ��

Want to get out and about this spring? Here are

some creative shows and classes not to miss.

WHAT’S ON

In the Studio

In the Studio Jewellery School runs a wide variety of courses taught by worldwide experts. Upcoming classes include Chasing and Repoussé, in which you can learn how to hammer metal into beautiful sculptural designs of your choosing using this traditional Italian technique. There is also a course on fusing, fabricating and granulating Argentium silver, which does not leave ﬁre scale, is tarnish resistant a nd can be fu sed to itself without the need for solder. Demonstrations are followed by hands-on experience to create earrings, rings, and a bead. www.inthestudio.co.uk B I R M I N G H A M M U S E U M S T R U S T

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PRETTY

POSY

Create a charming and elegant, stone set,

ﬂ

oral silver clay pendant.

By Nicola Beer

N

icola is a silver clay and wire artist, and is a level two accredited ACWUK instructor. She is inspired by fairytales, legends and nature to produce enchanting and whimsical jewellery designs.

Nicola’s pendant was inspired by thoughts of fragrant English country gardens and pretty ﬂowering meadows. Silver clay is the perfect medium in which to recreate the delicate beauty of early summer blooms and the design can be adapted to feature any natural element to represent diﬀerent seasons of the year.

MATERIALS 30g Silver Clay Silver Clay paste Silver Clay syringe Fine silver bezel wire

Oval cabochon, 20mm in length Selection o ﬁreable 1-2mm cubic zirconia stones

Teﬂon sheet Badger Balm Roller Paintbrush

Playing cards or spacer bars Small ﬂower cutters

Clay pick or sharp craf knie Tissue blade

Ballend tool

Rubber tipped clay shaper Thick and thin drinking straw Sanding pads or polishing papers Kiln, blowtorch or gas hob Bezel pusher tool

Liver o Sulphur gel Brass brush Polishing cloths

Rotary tool and sanding/polishing attachments or tumble polishing machine RESOURCES www.metalclay.co.uk www.j7j.biz www.design-a-cake.co.uk CONTACT www.acebook.com/RubycurlsJewelleryDesigns www.etsy.com/shop/Rubycurls w w w . c r a  t s i n s t i t u t e . c o m 14

Project

Advanced

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15

Advanced

_Project

P H O T O G R A P H S : L A U R E L G U I L F O Y L E , N I C O L A B E E R STEP �

Shape a length o fine silver bezel wire around the cabochon. Ensure that you start and end the wire along a straight edge o the cabochon. Trim the bezel wire down to the exact size to orm a close fit. File the edges o the bezel wire so that they are parallel and sit flush next to one another. Apply silver clay paste to the join and allow to dry. Place the bezel onto a firebrick and fire the join with a blowtorch until  used.

STEP �

To create the pendant backplate, lightly balm the work surace, your hands and the roller. Roll out a sheet o silver clay 1mm (or 4 cards) thick and cut out a large oval. The cabochon should ﬁt into the centre o the oval, leaving a 1.5cm space around the circumerence o the stone. Roll out another 1mm sheet o clay and cut out a second oval that is just a ew mm larger than the cabochon.

STEP �

Wet the surace o the large oval with a

paintbrush and water and layer the small oval on top. The wet surace will give you a minute or so to position the smaller oval so that it sits centrally. Gently push the bezel wire into the smaller oval. The wire should be suﬃ ciently embe dded to hold it in place but not cut through the back. Using a pick or craf knie to cut out an oval inside the bezel, leaving a gap o at least 4mm around.

STEP �

Set aside the back plate to dry. Take a sheet o clingfilm and loosely old it a couple o times but do not completely flatten it out. Roll a small lump o clay to a depth o 0.75mm (3 cards) thick and cut out several flowers in two different sizes. Place each flower onto the olded clingfilm and use a large ball tool to gently depress the centres. This will shape the petals. Allow the flowers to dry.

STEP �

Whilst the flowers are drying, work on refining the back plate o the pendant. Use round needle files to shape the interior oval and sanding pads or papers around the edges. Refine the flat suraces o the backplate, ensuring that there are no divots or scratches. Baby wipes are particularly useul or this job and produce a lovely fine finish. I using baby wipes don’t allow the clay to get too wet, you may need to dry it at intervals.

STEP �

Place the backplate to one side and start preparing the bale. Lubricate a piece o teﬂon sheet and roll out a small lump o clay to 1mm thick. Cut out a diamond shape with a tissue blade that is approximately hal the length o your backplate. You can make it smaller or larger, according to your taste. I you can’t do this by eye, use a paper template or a cutter to help.

Any small ﬂower shaped cutter can be used. Cake decorating suppliers are an excellent source o tools or metal clay work and some sugar craf cutters come in really small sizes which is perect or silver clay.

Use damp, ﬂock tipped disposable lipgloss applicators to reﬁne tiny components.

When positioning the ﬂowers, ensure that you leave enough space around the bezel wire to be able to use a bezel-pushing tool to secure the stone.

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16

Project

Advanced

STEP �

This is an articulated swinging bale so the ends need to be joined to form a loop. Lubricate the plastic, rounded handle of a tool or a thick straw and drape the wet diamond over it. Rest the ends of the tool on a prop and apply a small amount of paste to one end of the bale and a little water to the other end. Gently press the ends together and use a rubber clay shaper to blend. Set aside to dry.

STEP �

The bale of the pendant is ﬁxed in place with a loop of silver clay. Create the loop by rolling a thin snake of silver clay. The snake should be approximately 2mm thick. Thoroughly wet the snake with a paint brush and water to p revent cracking, pick it up with the paint brush and coil it around the smooth plastic handle of a tool or a thin drinking straw. Allow the coil to dry.

STEP ��

Spend some time reﬁning the dried bale and pendant. When the coil is dry, cut it into semicircles. Apply a thin layer of water to the back of the pendant. Feed the loop through the bale and apply a little silver clay paste to the underside of the loop. Position the loop on the back of the pendant and give it a wiggle until you feel the clay start to drag, indicating a bond. Hold it for a minute or so and then leave it to completely dry.

STEP ��

The pendant should be ﬁred without the stone in place so remove it if you have it in the setting. Fire your pendant according to the manufacturer’s instructions either in a kiln, with a blowtorch or on a hob. Place the pendant onto a rubber block and pop the cabochon into the bezel setting. Use a bezel pusher tool and press the bezel wire around the cabochon with gentle pressure and small movements. Work on alternate sides to push the wire over the edges. Burnish the wire all around the cabochon for a neat ﬁnish.

STEP ��

Most fireable stones will survive a kiln, hob or torch firing but the stones will be susceptible to thermal shock. For this reason, allow the hot silver to cool naturally and do not quench to avoid discolouring or cracking the stones. When cool, brush the piece vigorously with a brass brush to bring the silver to a satin finish. Or, for a mirror finish, use decreasing grades of polishing papers, rotary tool polishing attachments or burnish in a polishing tumbler.

STEP �

To create flower centres, gather a selection of 1–2mm stones and a syringe of clay. Pipe tiny bal ls of clay twice as large the stones. Pick up a stone and place it, point d own, dead centre onto the wet ball of clay. Press the stone down with a clay shaper until the girdle of the stone is encased. Allow these to dry and then adhere them to the centres of the dry flowers. Arrange the flowers around the bezel of the pendant and glue each one in place with water and silver clay paste.

EARRINGS

Cut out additional ﬂowers and layer them up with water and silver clay pas te. Fire and add earwires.

RING

Loop and twist thin clay snakes around a ring mandrel, prepared with a rin g paper, to make a ring band. Add a stone, small ﬂowers and tiny leaves as embellishments.

Extra Projects

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Metal Clay Workshops

[email protected]



Beginners



Intermediate



Advanced



Certification



Master Classes



1-2-1 Tuition

Premier Metal Clay Jewellery School

www.craftworx.co.uk

Follow Tracey Spurgin on Facebook & Twitter

For a brochure contact us at Flux’n’Flame

Milton Abbas, Dorset DT11 OBD Tel: 01258 881690 Mobile 07785 550771   

Flux’n’Flame

Jewellery School

‘Humour, patience and creativity Jess and Al have in abundance. Nothing is too much trouble, and

everyone is treated like family. One of the nicest places you could wish for to learn and express yourself,

comforted in the knowledge that each piece will be made to their

exacting standards. I can’t praise them highly enough.’

Susan, student

At Flux n Flame we offer jewellery     with sterling silver, gold and precious

stones using traditional jewellery     friendly, informal atmosphere with superb tuition from professional

award winning jewellers               

situated in the heart of the beautiful Dorset country

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Regular

Colour & Style

FLORAL FESTIVITIES

Wonderland

Flower

power

I

t’s almost festival season; if you didn’t manage to get tickets for Glastonbury – fear not! Hosting your own festival in the garden is so much fun! Plus you don’t have to worr y about portaloos or not showering for days, as all your home comforts are just inside the door. This festival season has a ’70s Woodstock inﬂuence, which has been revived for the summer. Wellies are the festival essential; we love the pattern on these jolly boots and they will certainly lif t spirits on a rainy day. You could even set up a tent in t he back garden for extra festival atmosphere, while this tee ticks a ll the retro buttons. A saddlebag is idea l for carr ying around

your must-haves. This bag has beautiful embroidery detail. Zhandra Rhodes is renowned for her festival prints, this lipstick dress completes the laid-back ‘I’m with the band’ vibe.

Zhandra Rhodes lipstick dress, £119, www.peopletree.co.uk Luxe Willow saddlebag, £75, w ww.joythestore.com

Floral wellies, £35, www.seasalt.co.uk Happy campers T-shirt, £6,

www.primark.com

As the weather warms up and the

ﬂ

owers are blooming, it’s the perfect time to host a garden

party – with plenty of outdoor style! By Rachelle Bell

I

f you want to host a kooky, eclectic event, take inspiration from the ‘Mad Hatter’s tea party’. We’re thinking an updated version of the Victorian classic novel. Sleek cuts with a fun t wist. Abstract patterns teamed with the traditional ‘Alice’ blue-and-white colour palette. We love the head-to-toe white look with a patterned blazer for detail. Keeping with the blue theme, these trousers with their peg-leg style would also work well with basic, neutral pieces. For a bit of pizzazz, add an embellished clutch bag. This sequined, ﬂoral piece certainly adds a sparkle to a minimal outﬁt. We can’t mention wonderland without including a white rabbit. This jumper is cute yet fun with the il lustration-style print, team with a sparkly skirt for an eccentric look, or keep it pared back with skinny jeans and loafers.

Bunny jumper, £21.99, www.newlook.com Blazer £65, White trousers, £45, all w ww.longtallsally.com Sequin clutch bag, £28, www.wallis.co.uk Patterned trousers, £18, www.bonmarche.co.uk ompletes t l i -an vi e. , .. ebag l b , .. ,, ww... --. .. Happy Happy w .w.primar . 18

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Colour & Style

Regular

Quintessentially British

19 Floral prairie dress, £60, www.yumi.co.uk

Floral trousers, £40, ww w.riverisland.com Bee purse, £4.99, www.newlook.com Floral and tartan tea dress, £57, www.lookagain.co.uk

B

ritish summertime has lots of traditions, picnicking being one of them! We love rallying up the troops and heading out for the day, knowing we have lots of amazing food for an impromptu lunch in a sunny spot. A ﬂoral tea dress, teamed with a cardi is a cute yet casual outﬁt. We have lots of beautiful British wildlife in the summer and we think the humble bumblebee is something to be celebrated. This adorable bee purse is so kitsch! Peg-leg trousers are the silhouette to be sporting this summer. We also love these white trousers with

their gorgeous, delicate wildﬂower pattern. Whilst you sit in the meadows you can admire the dainty ﬂorals on your legs too!

h

of one day, oo e e e e er.

Croquet on the lawn

I

f you fancy something a little more sophisticated, hosting your own afternoon tea party complete with croquet on the lawn is a great way to enjoy summer. Of course, you have to look prim and proper whilst you sip your Pimm’s. Dainty, retro silhouettes are perfect for this trend. A floral shift dress is a very flattering cut for many shapes and sizes. Th is high-necked applique top would look wonderful teamed with a pastel pencil skirt. Who says heels are impractical for garden games? These court shoes have an almost tropical floral print and add a little daytime glamour. To add a bit of sparkle, why not add an embellished beaded collar to complete your outfit? Even on a casual day, a beaded collar worn with a plain white t-shirt looks good.

Floral shif dress £39, bracelet £6, earrings £3, all rom

www.mandco.co.uk

Diva ﬂoral cluster collar, £16.50, www.missselridge.co.uk F&F pink ﬂoral top (matching skirt available), £16, www.tesco.com/ clothing

Floral court shoes, £18, www.very.co.uk

your legs too!

. 0, ing skirtn rt

. m/ , £1 ,,

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MATERIALS

0.8mm (20 gauge) silver coloured wire – to make your own eye pins

31 x green agate beads 7 x silver frosted beads 6 x 40mm silver bullet beads 62 x flower bead cups

Decorative flower toggle clasp RESOURCES

All beads and findings apart from the silver bullet beads are from: www.hcbeads.com

Silver bullet beads were from US company: www. hilltribesilveronline.com

Similar brushed silver available from: www.beadstampede.co.uk Looking under category ‘metal accent and focal beads’ CONTACT

[email protected]

Using a bead board really helps with not only planning the correct length of your necklace but also to stop beads rolling around. However if you don’t have one, you can always measure the desired length and mark lines onto an old tea towel.

Designer tip

Project

Easy

Extra project

Make earrings

The green agate beads come on a string of approx. 48 beads so you should easily have enough to make matching earrings. Remember to keep two beads that are the same colour to make a matching pair.

CELEBRITY

STYLE

Make a butter

ﬂ

y necklace with green agates

inspired byVanessa Hudgens.

By Tansy Wilson

I

have taken inspiration from her name ‘Vanessa’, which actually means ‘Butterﬂy’ in Latin and is one of the reasons Vanessa recently had a butterﬂy tattoo done on her neck. Her style is the perfect mix of edgy and feminine, which I captured with these pretty agate beads in contrast to the hard-edge brushed silver. 20 e green gate beads come on string of pprox. 48 ea s so you should easily have enough to make matc ing earrings. Remember to keep two beads t at are t e ame co our to make a matching pair.

ct

ngs

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Easy

Project

STEP �

It is easier to make your own eye pins for this project, using 0.8mm wire. Cut approx. 30mm of wire and make an eye loop at the very tip of the wire using round nose pliers. Thread your eye pin through a flower bead cup, followed by a green agate bead then finally through another flower cup.

STEP �

Make another eye loop using round nose pliers as close to the top of the last added flower cup as possible. Cut away any excess wire. See page 96 for how to make simple lo ops.

STEP �

If you are making your own eye pins, you can make them the size you require to accommodate all your different sized beads. Repeat Steps 1 and 2 so you have all of your assorted beads ready to link together.

STEP �

The butterfly connectors will be linked by the jumprings added in Step 4. Keep working your way around the bead board ending up by joining a clasp using one jumpring either end.

STYLE PROFILE

VANESSA

P H O T O G R A P H : H E L G A E S T E B / S U T T E R S T O C K . C O M STEP �

Open an oval jumpring and link through the top hole of a butterfly connector and close. Repeat, to add another oval jumpring to the bottom of the connector. Repeat this step to add jumprings to the other butterfly connector.

STEP �

Arrange all your beads on a bead board playing around with ideas of symmetry or perhaps you would prefer a random pattern. Either way, when you are happy with your design, simply open one eye loop on a bead and link it to the next bead along. P H O T O G R A P H S : L A U R E L G U I L F O Y L E , T A N S Y W H E E L E R

Vanessa Hudgens is an American actress and singer rising to fame as Gabriella Montez in the High School Musical series. Songs from the series and ﬁ lms charted worldwide. She has also appeared in various ﬁ lms and television series for the Disney Chann el but is now focusing on her acting career, currently playing the title role in the Broadway musical

Gigi and also the role of Rizzo in Grease: Live.

P H O T O G R A P H : F E A T U R E F L A S H / S H U T T E R S T O C K . C O M 21 diffe and bea rra boar of sy pref way, desi P H O T O G R A P H S : L A U R E L G U I L F O Y L E , T A N S Y W H E E L E R P H O T O G R A P H : F L A T D E S I G N / S U T T E R S T O C K . C O M

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22

Feature

Who am I?

I am

_{Stacey Bentley}

Stacey frequently uses enamelling as a focal point to create unique jewellery

designs, often with an industrial or architectural feel.

P H O T O G R A P H : S C O T T R A N K I N

How did your interest in jewellery start? I enjoyed wearing jewellery as a little girl, but it never crossed my mind I would end up becoming a jeweller. I had always enjoyed art and design as a subject and in particular I loved to paint. My art teacher would teach me how to use oil paints and the diﬀerent brush techniques after school so the natural progression for me was to apply to study ﬁne art as part of a Foundation course at Leeds College of Art. Here I was opened up to a new world of disciplines such as illustration, printmaking, textiles, fashion and photography. I loved �D design in particular, and this is where I was introduced to the world of jewellery. Where did you train?

After passing my BTEC diploma in Foundation Studies at Leeds College of Art, I went on to study Jewellery Design and Silversmithing at Edinburgh College of Art. I had enrolled straight into the �nd year at the college with very little technical ability, so I had to work hard to catch up with the rest of the students. I soon became immersed in the world of enamelling and once I had graduated with a �st class degree I went on the study my MA in Jewellery also at ECA. Where is your studio?

I set up my own st udio in ��, a year after I had ﬁnished college. My studio is in a fantastic old warehouse in Edinburgh next to Haymarket Railway Station. The environment I work in is very industrial so it provides me with a wealth of inspiration and complements my work perfectly. I share my studio with three other talented jewellers as well as a painter, violin-maker and glassworker.

What is the ma in inspiration for your design? I have always been inspired by architecture. I grew up in a small industrial town called Batley

1

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Feature

1. Blue Enamel Geometric Necklace: silver and lapis enamel

2. Necklace with Orange Pendant: oxidised silver, iron, enamel

3. Black and gold geometric studs: oxidised silver, 23.75ct gold leaf

4. Black and Gold Ring:oxidised silver, 18ct gold

5. Squar e Cuﬄ inks: oxidised silver

6 7

in West Yorkshire and I remember sitting with my dad painting the old cotton and textile mills. After I moved to Edinburgh I loved the grandeur of the architecture there and this began to fuel my jewellery designs. More recently I have begun to look into the geometric patterns of Islamic architecture after a recent trip to Egypt, and a new collection is currently being developed from this research.

What is your preferred medium?

I like to use precious materials in my work such as silver and gold. I usually oxidise the silver to give it a more industrial, architectural feel. ��ct gold is used to highlight a piece of jewellery or complement a colour. I have always

incorporated colour into my work and my preferred medium is enamel. I matt back the shiny surface to create a bold block of colour. Do you have a favourite tool?

My favourite tool is my jewellery bench. The bench was passed down to me from the late

Willia m Kirk (��–��), an inﬂuentia l silversmith who taught at both Glasgow School of Art and Edinburgh College of Art. I feel extremely privileged to be able to work from this bench.

What are your goal s?

My main goal is to continue running a successful jewellery design and making business. I love making one-oﬀ pieces for collectors and I have been focusing on this aspect of design and making for the last few years. Recently I have been developing a more commercial and accessible range of jewellery to sit alongside my one-oﬀ pieces, which I hope to launch within the next year.

Do you oﬀer workshops and jewellery classes? I oﬀer one-to-one tuition at my Edinburgh studio. Students are able to work at my bench with access to all tools including my enamel collection and kiln. I teach the basic jewellery skills and techniques to get them started. I

also work for the University of Edinburgh as a Lifelong Lear ning tutor, specialising in Etching and Enamelling. This takes place in Edinburgh College of Arts specialised workshops

overlooking the castle.

Where do you exhibit/sell your work? I currently have several stockists in the UK, which include The Scottish Gallery, Edinburgh; Contemporary Applied Arts, London; Studio Fusion, London; and Victoria Sewart Gallery, Plymouth. I also exhibit regularly with Dazzle Exhibitions as well as sell through their online store LoveDazzle. International galleries include Gallery Lulo, California.

What has been your greatest achievement? I think my greatest achievement is simply getting to be a jeweller for a living.

CONTACT

www.staceybentley.com [email protected] 4 3 5

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Project

_Easy

Sculpt these folk-art inspired birds using polymer clay. By Emma Ralph

E

mma is a project designer passionate about polymer clay. She has authored two books on the subject and numerous articles. She also owns EJR Beads, providing tuition plus beads and polymer clay supplies by mail order.

Polymer clay is the perfect material for making beads. These stylised birds borrow from traditional folk-art motifs, updated with subtle shimmer, thanks to luscious mica powders. Cernit polymer clay comes in fantastic colours and is very strong when baked, but the project works equally well with other brands.

MATERIALS ¼ block uchsia Cernit polymer clay

¼ block turquoise Cernit polymer clay

Cosmic Shimmer pale gold mica powder

1 pair ice blue anodised niobium ear wires 1 pair yellow anodised niobium headpins 1 pair green anodised niobium 6mm jumprings Clay compatible varnish

Ceramic tile or other suitable work surace

Metal ruler

Clay cutting blade or craf knie Clay modelling tool or

knitting needle Wooden toothpicks Pasta machine

22mm and 18mm small teardrop metal cutters

Sof medium paintbrush Flat nose pliers

Round nose pliers Wire cutters RESOURCES www.ejrbeads.co.uk/shop CONTACT [email protected] www.acebook.com/EJRBeads

FOLK-ART BIRDS

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Easy

Project

P H O T O G R A P H S : L A U R E L G U I L F O Y L E , E M M A R A L P H STEP �

Knead the uchsia polymer clay well to condition it ready or use. Working on a ceramic tile or other suitable work surace, roll the clay into a log approx. 10mm in diameter. Lay the log against a metal ruler and with a craf knie or clay cutting blade, cut two sections each 3cm long. Roll both the sections into round balls.

STEP �

Pinch one corner o each clay piece between your thumb and orefinger to orm a short, stubby t ail. You can shape and position the tail in any way you choose. Smooth and shape the clay with your fingertips and ensure both pieces match. I the clay gets too sof, pop both pieces in the ridge or a ew minutes to chill the clay and stiffen it up a little. STEP �

Fold each disc in hal and pinch the meeting edges close together. Don’t squeeze out any trapped air rom between the olded suraces. Just concentrate on nipping the

edges close together with your ﬁngertips until the seam gets smaller and you can eventually smooth it away with your ﬁngertip or a modelling tool. The olded discs should start to look a little like ortune cookies at this point. STEP �

Flatten the balls between your ﬁngertips to shape them into plump discs, approx. 5mm thick. You don’t need to get the discs perectly smooth – any ﬁngerprints or lumpy areas will smooth away as you work the beads urther. Just try to ensure they are nicely circular and match each other in diameter as closely as possible.

STEP �

Pinch and stroke the opposite corner o each clay piece outwards to make the bird’s head and neck. Slowly coax the clay out into a tapered point, smoothing the clay as you go. Work on both birds beore proceeding to ensure their necks match. Bend the ﬁrst 5mm or so o the tapered point down back towards the body to make a stylised head or each bird.

STEP �

Roll out a sheet o conditioned turquoise polymer clay using the thickest pasta machine setting. Lay the sheet on the work surace and cut out our small teardrop shapes using the smaller sized metal cutter. These simple shapes make ideal wings! Apply a wing to each side o both birds, placing them in any position you choose.

STEP �

To make the lea charms, cut our larger teardrops rom the remaining turquoise sheet. Sandwich a closed niobium jumpring between two o the teardrops. Hide the jumpring’s opening between the clay layers and be sure to allow at least hal the ring to overhang the clay to create a generous hanging loop. Repeat to create a second charm. Careully lif each charm and pinch the clay together lightly to secure.

STEP �

Add some textural pattern to each lea charm – this not only adds visual interest, but ensures the clay pieces are well bonded and secure around the jumpring. Use the end o a knitting needle to push down the clay by the jumpring and the end o a wooden toothpick to crimp a pattern around the edge o the charm. You can adorn your charms in any way you choose.

I the clay is too sof, layer it between sheets o clean paper or 10 minutes to absorb some o the oil, then rek nead well.

Use a protective dust mask when using mica powders and wear eye protection when cutting niobium wire.

Wrap a little sticky tape around the jaws o your pliers to protect the anodised surace when working with niobium ﬁndings.

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Project

Easy

STEP �

Pierce a vertical threading hole

in each bird using a wooden

toothpick. Keep the birds in place

on the toothpicks and indent some

decoration using another toothpick

or suitable modelling tool. Adorn

the birds as you

the birds as you wish; I’ve chosenwish; I’ve chosen

simple lines and dots, typical o olk

art. Add patterns to the wings and

tail i you wish and

tail i you wish and don’t orget todon’t orget to

give your birds some eyes!

STEP ��

Make two small turquoise accent

beads. Brush the charms and beads

with mica powder using a sof

paintbrush. I’ve used pale gold,

but any translucent or intererence

powder works well, allowing

the clay colour to

the clay colour to show throughshow through

the shimmer. Brush oﬀ any loose

powder and bake the clay pieces

ollowing the manuac

ollowing the manuacturer’sturer’s

instructions. When cool, varnish the

pieces to protect the mica powder

and allow to dry.

STEP ��

Wrap a little sticky tape around the

jaws o some round nose

jaws o some round nose and ﬂatand ﬂat

nose pliers – this will protect the

delicate oxide layer on the anodised

niobium ﬁndings as you work.

Form a loop in the end o a niobium

headpin and attach one o the lea

charms, closing the loop afer using

both pairs o pliers. Repeat with

remaining headpin and lea charm

to orm a

to orm a matching pair.matching pair.

STEP ��

Snip the head oﬀ each headpin with

wire cutters. Wear eye protection

whilst cutting niobium as it is a

hard wire that can ping oﬀ in any

direction! Thread on the bird beads,

and the small turquoise accent

beads beore turning a hanging

loop in the remaining headpin wire.

Attach the completed earrings to a

pair o niobium ear wires.

NECKLACE

Make larger birds and extra charms to create a necklace. Using a

lark’s head knot, attach a lea charm to the centre o a metre length o

2mm diameter cord. Attach jumprings to the remainin

2mm diameter cord. Attach jumprings to the remaining lea charmsg lea charms

and knot them and the bird beads along the cord ollowing whatever

spacing you choose. Knot on accent beads to create tie ends or

simple astening.

EARRINGS

Create matching earrings using lea charms and

Create matching earrings using lea charms and accent beads withaccent beads with

anodised niobium ﬁndings.

Extra Projects

Make a necklace and earrings

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