Making Jewellery Issue 108 Summer 2017

Jewellery MAKING FREE BEADS!
MAKING JEWELLERY • SUMMER 2017 • ISSUE 108
The UK's best jewellery magazine
60
PROJECTS
& IDEAS
TECHNIQUES
Wire weave in a vice
Polymer clay faux
gemstones effects
Inside
this issue SUMMER 2017
ISSUE 108
Silver clay, £5.99

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wirework,
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polymer clay,
and much more...
MJ108 Cover 03 SH.indd 1 31/05/2017 15:20

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MJ108_P01_Ed's Letter SH.SD.indd 1 30/05/2017 12:13

ISSUE 108 • SUMMER 2017
CONTENTS
REGULARS
5 JEWELLERY TALK
The latest news, reviews and information
18 EVENT REVIEW
We review YCMI 2017
20 COLOUR & STYLE

Inspiration for exotic escapism
42 10 QUESTIONS
Interview with jeweller Tania Manerova
65 WHAT INSPIRES
Find out what inspires Becky Morgans
81 TOP 8
Designs with a tropical flavour
82 PRODUCT TEST
Sue reviews an enamel kit for novices
86 PRODUCT REVIEW
We review essential tools
92 IT’S A JEWELLER’S LIFE

The latest installment of Anna
Mcloughlin’s column
TECHNIQUES
12 VICE WEAVE
Learn how to make your own sturdy woven
forms for bracelets or rings
74 POLYMER CLAY CABOCHONS

Make faux stone effects with clay
94 BASIC TECHNIQUES
Beginners’ techniques to get you started
81
2
12
makingjeweller y.com
MJ108_P02-03_Contents SH.indd 2 25/05/2017 14:40

PROJECTS
8 PARADISE SUITE
Fabulous pieces inspired by nature’s birds
of paradise and palm trees
23 NATURE INSPIRED
Combine different techniques to create
a range of mesmerising jewellery
28 BRICK STITCH BEADS

Fashion elabourate-looking pieces using
this simple technique
35 SUMMER NIGHTS
Use silver clay and glass paint to make
pretty jewellery featuring dolphins
40 BEACH STYLE
Gorgeous necklace inspired by pop
star, Shakira
45 TROPICAL COLOUR SPIRALS

Use paper and casting resin to make tiny
spirals to decorate a range of bezel trays
52 CRYSTAL PEACOCK BROOCH

Create a beautiful brooch using wire and
23
multi-coloured crystals
60 TUBULAR BELLES
Capture the essence of summer with these
easy-to-make, easy-to-wear bangles
66 DREAM CATCHERS
Embrace the trend for dream catchers with
these bright, zesty net pendants
70 WILDLIFE
Copper wire is used to create a stunning
collection of colourful jewellery
84 GOLDEN EARRINGS
Make earrings with
your free beads
70
52 45 3
MJ108_P02-03_Contents SH.indd 3 30/05/2017 12:15

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004_MAJ_108.indd 4 5/25/17 9:36 AM

NEWS
JEWELLERY TALK News, reviews and all the gossip
MARKS & SPENCER PRESENTS

SKIN KINDTM JEWELLERY
Marks & Spencer (M&S) and AnchorCert Group have teamed up to
launch Skin Kind, a new standard in hypoallergenic jewellery, a first on
the UK high street and a direct response to the fact more than one in
four customers told M&S they don’t wear fashion jewellery because of
fears of an allergic reaction.
M&S are changing the specification and manufacturing process
of its jewellery – minimising the effect of the most common metal
allergens. For example, earring posts are now made of titanium – one
of the most non-reactive metals. Strict weight limits are set for fashion
earrings to make them easier to wear all day and smooth edge clasps
and connectors are used on all fastenings to
minimise any irritation.
Victoria Gallant of M&S and Nyasha Pitt
of AnchorCert Group helped design the
jewellery to be both stylish and comfortable.
Victoria says: ‘We were surprised to hear so
many customers were worried about buying
jewellery because of allergy fears and we
wanted a solution to put their minds at rest.’
She adds: ‘Now Skin Kind is the standard
across our entire range – all customers can
wear M&S jewellery with confidence.’
From May, all M&S fashion jewellery will
meet Skin Kind standards and customers
should look out for the new Skin Kind
labels on products. Prices range from £5 for
earrings to £29.50 for a necklace.
Visit marksandspencer.com to explore
the collection.
ALTERNATIVE BIRTHSTONES
Most people are aware of the gemstones most commonly associated with their birth month,
but what about the slightly more obscure? Five out of 12 months are linked to alternative
birthstones, so take a look below and see whether your birthday falls into this category.
IMAGES: SHUTTERSTOCK
JUNE AUGUST OCTOBER NOVEMBER DECEMBER

Alexandrite Spinel and Sardonyx Tourmaline Citrine Tanzanite and Zircon
(Sardonyx shown) (Tanzanite shown)
makingjeweller y.com 5
MJ108_P05-07_News SHLGSD.indd 5 25/05/2017 10:34

NEWS
What’s on
JULY, AUGUST & SEPTEMBER
Find out what’s happening in the jewellery world near you
JULY AUGUST SEPTEMBER

22 JULY – LONDON 3-6 AUGUST – OXFORDSHIRE 6-8 SEPTEMBER – EAST YORKSHIRE
ENAMELLING ON COPPER FOR KAREN’S JEWELLERY WORKSHOP FREYA’S TEARS AMULET
JEWELLERY Make a bespoke Sterling silver ring as a – MASTER CLASS
A one-day workshop learning the craft of festival keepsake, for a friend, for your Create a beautiful necklace influenced by
kiln enamelling with tutors from Eleanor wedding or to propose, at the Wilderness the Viking era and Norse Mythology at
Designs. £130, jewelleryboat.com Festival. £40, wildernessfestival.com Craftworx Studio. £295, craftworx.co.uk
25 JULY – WEST SUSSEX 6 AUGUST – SCOTLAND 9-10 SEPTEMBER – COTSWOLDS

ONE-DAY JEWELLERY WORKSHOP ANODISED ALUMINIUM JEWELLERY FABRIC & RESIN BANGLE WORKSHOP
This one-day course will help you develop Learn an array of techniques for adding Enjoy this two-day course converting a strip
your drawing design skills for making colour and texture to aluminium during this of fabric into a resin bangle: you will also
jewellery, near Chichester. one-day workshop in the heart of Edinburgh. have the opportunity to make a matching
£111, westdean.org.uk £85, summerhallschoolofjewellery.co.uk pendant and pair of earrings.
£139.95, resin8.co.uk
11 AUGUST – WALES
CARVE A SILVER RING WITH
MAGGIE CROSS
Make your own silver ring using jewellers’
wax and a selection of tools in Bara Menyn.
£55, makeitinwales.co.uk
18-20 AUGUST – SCOTLAND

ADVANCED ENAMELLING
TECHNIQUES
Design and make your own enamelled
jewellery piece with simple fittings during
this three-day workshop in Fife.
£200, carolinefinlay.co.uk
12 SEPTEMBER – HAMPSHIRE
JEWELLERY WORKSHOP
Discover how to make beaded bracelets,
29-30 JULY – HEREFORDSHIRE earrings and handbag charms during this
STONE SETTING 1 one-day beginners’ workshop at Sandham
On this two-day jewellery workshop, you Memorial Chapel. £15, nationaltrust.org.uk
will use a variety of techniques to make
a range of stunning stone settings. £220, 14-17 SEPTEMBER – GEORGIA, USA
melissahuntjewellery.co.uk 2017 OLD SOUTH BEAD RETREAT
This retreat gathers like-minded people
to enjoy beaded jewellery making in the
beautiful city of Savannah.
$625, socialbeadia.com
24 SEPTEMBER – SUFFOLK
RING MAKING WORKSHOP
On this one-day workshop, you will use a
variety of equipment to make a range of
stunning silver clay rings.
£99, silverclayworkshop.co.uk
6 makingjeweller y.com

NEWS
MASTER METAL CLAY ONLINE

Yorkshire-based Tracey Spurgin of
Craftworx has launched an Online
Distance Learning Course so you
can learn how to use metal clay
from the comfort of your own
home. The four-week course
aims to help those who don’t
have time to travel to one of her
workshops or would like to try
out metal clay before committing
to attending a workshop – and is
run via a private Facebook group.
This is how the course works.
Once you have signed up and
paid your fee, you are invited to the
Facebook group. Only course members are
able to view the information published in the group and have
access to illuminating written notes, images, short step-by-step
instructions and videos. Its brilliant structure means you can NEW PIGMENTS FOR RESIN8
make four charming metal clay project pieces with a professional Resin8 has added metallic colours and acrylic tints to its popular
and secure finish! pigments and dyes range.
Tracey also intends to release frequent standalone online The resi-METAL Pigments come in a small plastic tub and are
project videos – for a fraction of the cost of joining a one-day shimmering pre-polymer pigments that can be added to clear resin to
workshop at the Craftworx studio. The first is Tracey’s Fuchsia create stunning effects.
Earrings workshop that demonstrates how to make a pair of The resi-TINT Pigments come in a plastic dropper bottle so you can
earrings out of metal clay – the fab full-length video is now dispense small droplets to suit the desired colour effect, you will only
available to purchase and download at craftworx.selz.com. require a very small amount to transform clear resin into vibrant colours.
The Online Distance Learning Course costs £55. To fi nd out The tints are fully intermixable colours, so you can make up your
more and sign up visit craftworx.co.uk. perfect colour combination – the latest additions are Copper Rush,
Aluminium Oxide and Blue Steel. Find out more at resin8.co.uk.
Your Essential Jewellery WORKSHOPS WITH METAL CLAY LTD IN

Making Accessory WAREHAM, DORSET
Keep your beadwork organised with the MAKE YOUR OWN NIGHTSCENE PENDANT
Bead Board at Beads Direct. The useful craft Anna will show you a variety of techniques for
surface features a soft padded side, perfect for creating wonderful textures and interesting
securing your needles and pins to, while the shapes, as well as lots of handy tricks for working
other side features a flat, sturdy base in deep with small and intricate forms in metal clay
purple fabric, ideal for when you’re working (pendants are around 2cm). You will leave with a
with lighter, white or silver beads! Find your fabulous pendant of your own design.
bead board at beadsdirect.co.uk £195 – 23 September
MAKE YOUR OWN FINE SILVER TWIG RING

Learn how to make a delicate, organic, romantic
ring with sparkling cubic zirconia stones and
precise, tiny ornaments during a one-day
workshop led by Anna Mazoń from Poland. You’ll
use silver clay to create petite twigs, which you’ll
decorate with bark textures, extremely detailed
tiny leaves and other embellishments – plus, learn
how to set faceted stones directly into the silver
clay. These skills can easily be adapted to your
own style, merged with your favourite techniques
and used with different metal clays. Some previous
silver clay experience is necessary.
£195 – 24 September
For more information on how to book, visit:
metalclay.co.uk/courses

PROJECT
PARADISE
SUITE SAMMI FLETCHER
C
reate this fabulous collection of
jewellery, inspired by nature’s amazing
birds of paradise, palm trees and all
things tropical. Beautiful and fun, suitable for
day or night wear, these are perfect for a gift
designed to bring a smile.
MATERIALS & TOOLS

● 0.8mm (20 gauge) bronze colour wire
● 0.8mm (20 gauge) gold colour wire
● 0.4mm (26 gauge) bronze colour wire
● 0.4mm (26 gauge) gold colour wire
● 0.4mm (26 gauge) turquoise colour wire
● 0.4mm (26 gauge) red colour wire
● 6mm red beads (red quartz)
● 8mm green beads (Amazonite)
● 4mm Baltic amber beads
● Gold colour earring findings
● Gold colour jumpring
● Gold colour chain
● Wire cutters
● Round nose pliers
● Nylon jaw pliers
● Chain nose pliers
● 6 step bailing pliers
● Ring mandrel
● Bracelet mandrel (optional)
MJ108_P08-11_Paradise Suite.indd 8 25/05/2017 10:36

PROJECT
3 6
2
PHOTOGRAPHS: LAUREL GUILFOYLE, SAMMI FLETCHER
4 5 7
HOW TO MAKE
1. For the collar, cut two 64cm lengths of points away from the other wire at about 45°. bring your wire up between wires 3 and 4.
0.8mm bronze wire, and three 64cm lengths of Do the same with the other bronze length. Now pick up your final bronze paddle with the
0.8mm gold colour wire. At 6cm from the end Repeat with one gold length using gold spiral sitting outwards and wrap wires 4 and 5
of each wire, bend the end of the wire around weaving wire on both ends, one gold length together twice. Fan the paddles out.
your thumb into a paddle, 4cm in length, with using the turquoise weaving wire, and the
a 2cm overlap. Cut around 90cm of 0.4mm fi nal gold length using the red weaving wire. 6. Take your weaving wire behind and up
bronze wire and attach it to the top of the You should now have five wires with a woven between wires 3 and 4, and wrap wires 3 and
paddle, winding it round and round to cover paddle on one end. 4 together twice. Take your wire up between
the top of the curve. wires 1 and 2, and wrap wires 2 and 3 together
4. Make a spiral on the short end of the wire at twice. You should see the start of the zigzag
2. Start weaving the paddle in an hourglass the base of each paddle. Take a long length of weave forming. Continue weaving up and down
motion. Taking your weaving wire diagonally 0.4mm gold wire (around 2m) and attach it to in this fashion until you get to 8cm from the
from one side of the paddle to the other. If the one of the bronze paddles three times. Make other end of the wires.
weaving wire is coming from underneath, take sure the spiral is facing outwards. Pick up the
it over the top of the wire opposite, then all the gold paddle making sure your spiral is pointing 7. Form the paddle shapes as before, weaving
way around that wire once, then diagonally back inwards, and bring your weaving wire twice them as before in the same colours. Finish the
across to the other wire, and all the way around around the wires at the base of both paddles. diagonal weaving of the collar right up to the
again. (If your wire is coming from the top, take Wires 1 and 2: Take your wire up between these base of the woven paddles, and trim. Attach
it underneath the wire opposite and all the way two wires, then pick up the red paddle and another piece of gold wire to one edge wire at
round once, then diagonally back across to the wrap this third wire to the second wire twice. the base of the paddles, and thread on an 8mm
other wire, and all the way around.) Bring your wire up between wires 2 and 3. green bead. Take the wire up through a gap in the
edge wires to secure and finally attach two red
3. Continue weaving until you reach the base 5. Pick up your turquoise paddle and sit it on 6mm beads in a similar fashion, secure and trim
of the paddle where the wires cross over. Kink top of the red paddle, fanning the paddles out, the wire. Form the collar into shape using your
▼
the wire that crosses over gently, so it now and wrap wires 3 and 4 together twice, then thumbs, mould the wire to fit the collarbones.

PROJECT
8 9 10
11 12 13
14 15
8. For the matching bracelet, weave everything onto each. With the 10cm wire in the centre, findings instead of chain. The use of amber
as above, only starting with 34cm lengths of fan the wires out as above. Attach a 0.4mm gold beads means that these will not be too heavy to
wire, and making the paddles 2cm in length. weaving wire just above the fan shape, weave wear on the ears.
Finish with a single 8mm green bead. Form as before, up across the five wires, down across
the bracelet around your wrist, or bracelet them, then up again. 14. For the ring, cut three 12cm x 0.8mm gold
mandrel, or jar. The bracelet is adjustable so wires and two 12cm x 0.8mm bronze wires.
should fit any wrist, (although you may need 11. Use your bailing pliers to make a loop with 3.5cm from the end of a bronze wire, attach
longer lengths for very large wrists). Play the second smallest mandrel on the bronze a gold 0.4mm wire and weave the five wires
around with wire lengths for different looks, wires at either side. Taking the smallest together as before, bronze wires flanking the
with both sides meeting, or cupping the wrist, mandrel on the bailing pliers, make a loop on gold, until 3.5cm from the other end. Bend
or moving past each other. each of the gold wires either side of the central this around a ring mandrel with the two ends
one. Make a wrapped loop using the smallest parallel to each other and fan them out.
9. For the half beaded bracelet, start with five mandrel on the central wire.
28cm pieces of wire, and make 2cm woven 15. Remove from the ring mandrel. Thread one
paddles on one end as before. Weave for 14cm, 12. Attach a 0.4mm gold weaving wire to one red bead and one amber bead onto each wire
and carefully spread the wires apart. Slide on bronze loop. Wrap around the loop until you at one end, forming a V-shape as before. Make
a 4mm red bead onto each wire so they form a reach the gold loop, then wrap both together sure all the ends are the same length, then
V-shape, and make a wrapped loop just above twice. Now wrap around the gold loop until finish each end off with a spiral. Repeat on the
each of the red beads. Finish by threading five you reach the central wire, take your weaving other side. Place the ring back on the mandrel,
headpins with three amber beads each, and wire around the central wire one, then wrap and carefully curve it into shape.
attaching them with a wrapped loop. the other side as before and trim. Take five
headpins, place three amber beads on each RESOURCES
10. For the beaded pendant, cut two 6cm x and attach to the wrapped loops. Attach the Widely available from
0.8mm bronze wires, two 6cm x 0.8mm gold pendant to a chain with a jumpring. advertisers in this magazine
wires and one gold 8cm x 0.8mm wire. 2cm
from the end of each wire make a 45° angle, and 13. For the earrings, follow Steps 10–12 above. CONTACT
form a wrapped loop. Thread a 6mm red bead Make two pendants, but attach them to earring sammifletcher.com

TIPS & TECHNIQUES
VICE
WEAVE KAREN CAINE
V
ice weave differs from the basket-weave
style usually seen in wire weaving in
four fundamental ways. First, it is
formed using a vice with straight edges rather
than being held in your hand. This enables
the bends in the wire to be crisper and the
resulting weave to be denser. Second, it is the
warp wires that are bent to form the woven
structure rather than the weft wire. This
results in a different texture. Third, the weft
wire does not loop from back to front around
the outer warp wires. Instead, it makes a
sideways turn, generating a scalloped edge.
Finally, the warp and weft wires are the same
size rather than having the typical thick frame
wires and a thin weaving wire.
Vice weave is a rare wire weaving technique,
perhaps because it takes more effort to produce
and the fact that its dense form and the need
to keep it in the vice makes it difficult to shape
or add embellishments. It is a wonderful way of
forming bands and strips though, and should
not be overlooked if you want to create sturdy
woven forms for bracelets or rings or if you
want to incorporate an unusual and beautiful
technique into your work.
MATERIALS & TOOLS

● Vice with flat sides (with plastic or felt jaw
protectors)
● 0.6mm (23 gauge) wire
● Flush cutters and nylon-jaw pliers
● Plastic or rawhide mallet and block
FROM TOP:
Blue and pink strip: Basic weave
Purple and gold strip: Double warp
Green and silver strip: Double crossover weft
Red and silver strip: Double parallel weft
Green and blue strip: Skipping weft
Bronze strip: Switching the weft
MJ108_P12-17_Vice Weave SHLGSD.indd 12 25/05/2017 14:42

TIPS & TECHNIQUES
1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE, KAREN CAINE
4 5 6
HOW TO MAKE
Basic vice weave 3. Bring the weft wire up the channel left by 5. Remove the woven strip from the vice
the splayed warp wires. Starting from the and use a plastic or rawhide mallet to gently
1. To begin, cut seven 30cm lengths of 0.6mm point where you bent the weft wire (at the straighten out any undulations that may have
wire (the warp wires) and one 75cm length of bottom in this instance), bring the warp wires been caused by tilting in the vice. Use a soft
0.6mm wire (the weft wire). This will create a across the weft wire. Take the wires in order, surface – like a paper towel – to protect the
length of weave long enough to make a bangle- one at a time, pushing each one fi rmly against surface of the wire on the underside. Remove
style bracelet. Straighten the wires and stick the weft wire. Once you have switched the the masking tape and the strip is ready to be
them to a piece of masking tape with the warp position of all the warp wires, open the vice used in your project. You can use this same
wires at the top and the weft wire at the bottom. very slightly and push the crossing point of technique to tidy up the alignment on all the
Try to make sure they are tightly packed, but not the wires to move the whole arrangement back subsequent weaves.
overlapping one another. Fold the masking tape and deeper into the vice’s jaws. Make sure that
over to hold the wires in place. it doesn’t tilt and that the taped edge remains Double wires
lined up along the top of the jaw.
2. Clamp the taped end of the wires into your 6. Once you have mastered the basic technique,
vice, making sure that you have first fitted it 4. Bring the weft wire down the front, so that it’s there are plenty of variants you can try. Here
with square-edged jaw protectors (if not you back in its starting position. Once again, starting we’re folding the warp wires over in sets – in
will damage the surface of your wire when from the bend in the weft wire (this time at the this case two by two. You can compare the
you start weaving). The taped edge should run top), cross the warp wires over the top in an result of the double warp to the basic weave in
exactly along the top edge of the jaws. Splay the alternating pattern, then open the vice slightly, the purple and gold strip, opposite page second
▼
warp wires out to the sides in an alternating push the whole thing back and repeat until you from the top.
pattern as shown, pushing firmly to make a run out of wire. See the basic weave in the blue
sharp fold. Leave the long weft wire where it is. and pink strip on the opposite page at the top.

TIPS & TECHNIQUES
7 8 9
10 11 12
13 14 15
7. Another approach involves having two resulting pattern, the double crossover weft is Skipping
weft wires coming from opposing directions. shown in the green and silver strip on page 12.
Start by cutting six short warp wires and two 13. The skipping variation follows the same
long weft wires. Set the weft wires on either 10. The next variation is very similar to the one basic technique and is not difficult to do, but you
side of the warp wires, then fold them in described in Steps 1 to 4, but instead of having do have to concentrate as it’s very easy to lose
masking tape and set them in the vice as you a single weft wire you have two. Simply bring track of which weft wire should be crossing next.
did in Step 1. Then fold the warp wires out as the two weft wires across all the warp wires... To begin, cut seven short warp wires and two
you did in Step 2. Next bring the left weft wire long weft wires. Place the weft wires on either
down the central channel and the right weft 11. …cross the warp wires over starting from side of the warp wires, wrap them in masking
wire up it, making sure that the two wires the bend in the weft wires, move the woven tape and place them in the vice. Fold the warp
don’t cross. strip back deeper into the vice’s jaws... wires out in the usual way and bring the top weft
wire down. Cross the warp wires over again and
8. Bring the warp wires across and then push 12. …and repeat. The trick with this weave is push the woven strip back deeper into the vice.
the whole strip back deeper into the vice as you to keep the weft wires on top of one another,
did in Step 3. rather than beside each other. You can do this 14. Bring the same weft wire back up...
by coaxing them into position with nylon-jaw
9. Switch the weft wires over, so that the left pliers. As you can see from the red and silver 15. …and cross the warp wires again. Push the
one goes up and the right one goes down. Keep strip on page 12, the double parallel weft woven strip back and release the as-yet-unused
▼
repeating this until you run out of wire. The produces a distinct wave pattern. weft wire.

TIPS & TECHNIQUES

TIPS & TECHNIQUES
16 17 18
19 20 21
22 23 24
16. Bring the second weft wire around the Switching the weft 23. Bring up the new weft wire (the one on the
outside edge and up... bottom left you separated in the last step).
21. The fi nal technique doesn’t have a
17. …and cross the warp wires again. Push the dedicated weft wire. Instead, the warp wires 24. Separate a new weft wire (the one that is
woven strip back... switch position throughout, with the bottom now in the bottom left position) and repeat
one always acting as the weft wire. Cut seven Steps 22 and 23 until you run out of wire. The
18. …and bring the second weft wire down 30cm lengths of wire, wrap them in masking result of this weave, switching the weft, is
again. Both weft wires have now made one tape and place them in the vice as usual. shown in the bronze strip on page 12.
journey up and down. Fold the top six wires out and then take the
bottom one, which is acting as the weft wire,
19. To restart the pattern, bring the warp wires up the channel.
across the second weft wire... RESOURCES
22. Separate the bottom wire (the one on the Wire: wires.co.uk
20. …and push the woven strip back into the bottom left) and then fold the others over the
vice’s jaws, release the first weft wire and bring weft wire in the usual way. Push everything CONTACT
it around the outer edge and down again. Keep back deeper into the vice, then fold the weft thecraftydwarf.com
repeating this pattern to create a skipping weft, wire down so that it becomes the top warp wire craftydwarftutorials.com
shown in the green and blue strip on page 12. (the one on the top right). facebook.com/thecraftydwarf

FEATURE
YOU CAN MAKE IT, 2017

Sian Hamilton reports back on the You Can Make It event, the metal clay
conference held in the UK earlier this year
There are times when you find out about an I waited, with probably not as much patience chosen craft. Folks came from all over of the
event and you immediately get excited; this as I should have, until the booking opened, globe to attend with the majority of people
happened to me last year when the information then went straight for the full conference choosing to arrive on Thursday for the full
about a new metal clay conference being set up experience. They had a good range of options conference experience.
in the UK by Metal Clay Ltd hit my desk. Called available. The full experience was to arrive on
YCMI – You Can Make It, it took place back Thursday evening for dinner, then a Master It was lovely to arrive, drop my bags and head
in the spring in a wonderful rural hotel near class on Friday followed by two days of morning to the bar to meet old friends, new friends
Wareham, Dorset. and afternoon talks and hands-on sessions. At and those who feel like friends as you’ve been
the booking stage you could choose what you connected on Facebook but you’ve never
I’m a big fan of silver clay and more recently the wanted to do by picking your Masterclass and actually met face to face until now! With all
development of base metal clays, but have never two hands-on sessions over the weekend. The meals provided in the ticket price, we headed
had the opportunity to attend a conference; demos/talks were drop-in events, so you just to dinner and then off for an early night in
most are held in the USA and it has been years picked which ones you wanted to attend on preparation for the Masterclasses on Friday.
since a big event had taken place in the UK. So spec. There were also options available to arrive
when I read about this one I was probably as on Friday morning for a Masterclass or just to The Friday Masterclasses were varied with
excited as most kids are at Christmas! attend on Saturday and Sunday. choices for making chains, a nightscene
pendant, mokume gane, colouring metal,
From the first initial information you could see It felt like forever and 5 minutes all at the marine mammals and spinning mandala
the conference was going to be a major event same time waiting for the conference to come earrings. I choose to attend the class with
as most of the best Masters of metal clay from around! The event took over the whole hotel for Wanaree Tanner, who had brought over her
across the world were coming to teach classes. the weekend, which was great, as you knew you new range of die-cut tools from the USA
From the outset it became the event of the year could just walk up to anyone and start talking to demonstrate and make the spinning
(some would say decade!) for the UK metal about metal clay. There is no experience that mandalas. The day was spent playing with her
clay community. Aida Chemicals, who make comes close to being at an event with a bunch wonderful tool range with everyone making
Art Clay, sponsored the event, provided all the of other people who totally love the same thing a pair of deliciously detailed earrings. By the
clay for classes and also sent over an amazing as you do; the outside world disappears and end of a full and busy day, we all had a fi red
designer to teach about metal clay. you are immersed in the creative world of your pair to show off.
Friday evening comprised of the welcome demos and talks, there were raffles, a meet the
reception and a short keynote speech by masters evening, a charm swap, presentations
Petra Cameron (the owner of Metal Clay Ltd), and a market to stock up on all the tools you
followed by a lovely dinner. The weekend was just need to have!
full of hands-on sessions and demos or talks
on a vast variety of subjects. The demos and It went way too fast with most attendees
talks were one hour long and the hands-on dragging themselves away on the Sunday, late
sessions about 3 hours. On Saturday I chose a afternoon. No one quite wanted to leave the
hands-on session with Anna Mazoń, making a metal clay bubble we had been in for the last
beautiful 3D butterfly, which was tiny, but so three days! As I departed I heard whispers about
PHOTOGRAPHS: JASON MARDELL AND PETRA CAMERON, COPYRIGHT METAL CLAY LTD
satisfying to make. next year; would Metal Clay do this again?
Though technically not metal clay, I chose to try As I write, my excitement is building as Petra
out Efco cold enamels for my Sunday hands-on has confirmed that they are already working
session and that was quite an eye opener. If I’m on an event for 16–18 March 2018. So folks, get
honest, I had dismissed cold enamel as a resin- those diaries out and pencil in YCMI2018; you
based cheats’ version of glass enamels, but how won’t be disappointed.
wrong I was! I’m a complete convert, the Efco
range is wonderful to use and you can create an
amazing range of effects on metal blanks. I came
away from that session with a crazy swirl of
ideas for cold enamels buzzing in my head.
For more information about YCMI2018
All in all the long weekend event was amazing (this event is suitable for everyone from the
with Petra and her team working incredibly complete metal clay novice to the professional),
hard to make the event something to visit the website at youcanmakeit.co.uk or sign
remember. Along with the classes, sessions, up for the newsletter at metalclay.co.uk.
This month’s inspiration for your wardrobe comes from tropical destinations,
including show-stopping g sunsets and
ping nd the beauty of nature. By Rachelle Bell
Laurie Tassel To
te Bag £59.95
BEACH BAZAAR Sk ye Embroide
ry Cover Up £3
5,
,
This look is inspired by handicrafts that both whitestuff
.com
you see vendors selling on the beach. Eleanor Espadr
illes £59,
These pieces are fun, quirky and look hobbs.co.uk
lovingly handmade. Pom-poms, tassels Capri Filigree Ta
ssel Earrings
and embroidered details add an artisan £8, accessorize
Eliana Embroide .co.uk
quality to your summer wardrobe. The red Trousers
great thing is you can add these designer £79, monsoon
.co.uk
touches to pieces that you already
own. Raid your local haberdashery and
add a pom-pom trim to a plain tee or
hand-stitch your favourite quote onto
a pair of canvas shoes. Add handmade
tassels to earrings and necklaces,
make friendship-style bracelets or try
your hand at weaving. The best thing
about this look is that it doesn’t have
to be perfect. Enjoy the process of
customising and creating your own
clothing. You can always say that you
bought it from a bazaar on your travels
and no one would ever know!
TROPICAL OASIS
Florals are always on trend when the
summer comes around. This time busy
digital prints take centre stage. A bold
swimsuit will be a statement piece for
your suitcase, you could always wear a
maxi skirt over the top to get two looks in
one. Alternatively, a printed kaftan is the
perfect cover-up to take you from beach
to bar. Team with a set of bright wooden
beads in a sunshine yellow for an extra
pop of colour. It’s proven that wearing
5, figlle
5 es.com
eaavve yellow makes you feel happier so even if
Anjuna Dress £4 im su it £32,
t Sw it’s not a shade you’d usually go for, try a
Floral Placemen
om yellow bracelet or necklace and see if your
cottontraders.c
Dress £36, mood improves! A patterned smock dress
Printed Smock
e.co.u k is a key piece for any summer wardrobe;
simplyb
cklace £19, wear it on its own with a pair of sandals
Yellow bead ne
east.co.uk and it’s an effortless outfit. If it’s a British
summer we’re talking about and it’s a
little breezy, wear with a denim jacket and
trainers for a casual outfit.
MJ108_P20-21_Tropical C&S SHLGSD.indd 21 25/05/2017 10:41

022_MAJ_108.indd 22 5/25/17 9:37 AM
PROJECT
NATURE INSPIRED DEBBIE KERSHAW
T
his is a set of jewellery that puts ● Mod Podge or similar RESOURCES
together different crafting techniques ● Waterproof craft varnish in gloss or matt Paper, Mod Podge or similar, wooden shapes,
for a multimedia approach to jewellery ● Brooch back stickers, paints, markers, pencils:
making. It is suitable for any level and can be ● Earring wires amazon.co.uk
adapted to your style and skill level. I have ● Jumprings All other materials are widely available from
recently spent time doing lots of painting and ● Selection of clasps advertisers in this magazine.
thought it would be fun to incorporate this into ● Ring shank (optional)
my jewellery designs. Don’t worry if you can’t ● Carnelian 4mm and 6mm round beads CONTACT
draw as I have included lots of alternatives. ● 0.4mm (26 gauge) and 0.6mm (22 gauge) [email protected]
copper wire
MATERIALS & TOOLS ● 4mm copper spacer beads
● Selection of wooden shaped blanks (birds, ● Selection of pearls
flowers and butterflies) ● Dremel drill or similar
● Butterfly stickers or stamps ● Round nose pliers
● Colourful papers (such as origami paper) ● Chain nose pliers
● Selection of paints, markers, pens ● Wire cutters
and pencils ● Sharp scissors
● Glues (such as Gorilla glue) ● Craft knife
MJ108_P23-26_Paradise SHLGSD.indd 23 25/05/2017 14:44

PROJECT
1 2 3
4 5 6
PHOTOGRAPHS: LAUREL GUILFOYLE, DEBBIE KERSHAW
HOW TO MAKE
Hummingbird brooch are some very good décopatch varnishes that

are great for this.
1. Find a wooden bird shape you would like to
work with. Start by covering your shape in clear 4. To finish off the brooch, add a brooch back
or white Gesso. This will form a base for the with a strong, flexible glue. I used Gorilla
7 paint or markers to adhere to. It will also add glue as it is very strong, but also allows some
to the longevity of the piece. You do not have to flexibility. Please refer to the manufacturer’s
do this step, but your colours could be dull and guidelines for use.
need extra layers if you choose to skip it. Let
the Gesso dry thoroughly before continuing. Tropical birds necklace
You may use a heat gun or hairdryer for this if
you wish to speed up the process. 5. Take the wooden template and draw around
the bird shapes carefully. I used some lovely
2. If you are going to paint or draw your bird it Origami paper. Be very careful with your shape
is handy to have a reference image to refer to. – the more intricate the design the more flimsy
I drew my image in pencil fi rst and then added the shape. So until you wire wrap the frame you
colours in layers with paints and markers, need to be very gentle with the branches.
adding highlights at the end. Alternative
methods for those who prefer not to paint are 6. Carefully cut out your bird shapes. If you find
applying stickers, collage or stamping on an this difficult, you can add an overlapping piece
image and colouring it in (these methods of paper to the birds, stick it on and cut around
are covered in the other steps of this it once dry with a craft knife. You can use Mod
project). Once you are happy with your Podge to stick the paper down to the wood.
image, apply a couple of layers of Use a discarded bank/store card to press out
sealer such as Mod Podge or similar any bubbles in the paper. Run it along the birds
and allow to dry. until they are smooth. Add a couple more layers
of Mod Podge or a similar sealer to the birds
3. For the back of the and leave to dry.
bird, I added colourful
paper. Draw around 7. For the back of the piece, I applied green
the bird and cut out permanent marker to the whole thing in
your shape. I find it useful to colour in the bird a couple of layers. For the front, I used a
first with paint or a marker. This way if any combination of Pro Markers in different colours
of the corners show you have a vibrant colour to decorate the branches and leaves. Once
showing through instead of the plain wood. As completed, add a layer of sealer to the rest of
before, add a couple of layers of sealer. Once the piece on both sides. Then continue with
dry, paint the whole thing with two layers of waterproof varnish layers as before. Make sure
▼
waterproof varnish (one side at a time). There to dry all layers in between applications.

PROJECT

PROJECT
8 9 10
11 12 13
in the butterfly with permanent paint markers.

Seal and varnish your butterfly as before and
drill two holes. Using wire to wrap loop or
beading thread crimped on, add the pearls and
spacer beads to both straps of the bracelet and
finish with a clasp of your choice.
14 15 Wire butterfly ring
13. Use the steps from the butterfly necklace

from Step 9 to decorate a single butterfly for
8. Take a workable length of 0.4mm or 0.6mm 10. Decide where you want your holes to be a ring. Drill a hole in the centre of the butterfly
copper wire and twist together two lengths. for assembly. Put a mark on the back of the from the back. You can make your ring shank
You don’t want the twists to be too neat as butterfly to mark these areas. Attach the out of wire or use a ready made one as I did.
you are aiming for the organic feel of branches. butterfly down to a scrap piece of wood with Wrap one end of 0.6mm wire around the
This step serves two purposes; to reinforce the masking tape and drill your holes. Repeat this ring base and thread the other through the
frame and to add decoration and interest. Wind process for all of the butterflies. For both sides centre hole.
your twisted wire around the branches and of the necklace I used a carnelian wrapped loop
leaves. Finish with a wrapped loop on each end. chain and attached the chain and focal bead 14. Add on your butterfly to the wire, followed
You can add two equal lengths of chain and to each side with 0.6mm wire, continuing the by a 6mm blue round and 3mm spacer bead.
a clasp with jumprings. wrapped loop across the focal bead to secure for Thread the wire back down the 6mm round,
added decoration. through the butterfly and wrap around the
Butterfly necklace base to secure. I continued wrapping my wire
11. To join the butterflies together in the around my butterfly and finished by securing
9. You can use stickers as an alternative to middle I used 0.6mm wire. Wrap loop one and tucking in my wire at the base.
painting if you want to. If you would prefer end of the wire to your butterfly. Add a 4mm
to draw/paint your butterflies, you can do copper bead, 6mm carnelian and 4mm copper Flower earrings
this by using the same steps I used for the bead. Then wrap loop the other end to the next
hummingbird brooch. Take three butterfly butterfly. The wire can be manipulated when 15. These earrings are nice and simple to
wooden shapes that are a good fit for your finished to ensure the necklace hangs correctly. make, but just as effective. Take two wooden
stickers (I used two smaller shapes each side flower blanks and decorate each side with
of a larger one). Colour both sides of the Pearl butterfly bracelet paint or markers. Seal and varnish as we have
butterflies with black/paint or marker. Glue on before and wait to dry. Use 0.6mm wire to
the butterflies and seal and varnish them as in 12. For this piece, I used a wooden shape with wrap loop your earring wires to the flower and
Step 6. (Don’t just rely on the stickers; you still a butterfly outline already on it. You could also a jumpring to add the drop to the bottom of
need to glue them.) rubber stamp an image on if you like. Colour the flower.

027_MAJ_108.indd 27 5/25/17 9:37 AM
PROJECT
BRICK STITCH
BEADS
TANSY WILSONE
MATERIALS & TOOLS
B
rickstitch is the name of a beadworking
technique and although it is a simple ● 30cm x 1mm (18 gauge) silver wire
beading stitch, it creates elaborate- for pendant
looking results. The technique is ideal for a ● 30cm x 0.8mm (20 gauge) silver wire
beadworking beginner as all you need are the for earring hoops
beads, a needle and thread, some wire and ● 20mm diameter circle connectors
some patience. I have used black thread so you ● 30mm diameter brass washers
can see it in the photographs, but I recommend ● Fireline
you use a transparent or smoke colour so it is ● Beading needle
not visible in your designs. ● Assortment of size 8 Miyuki seed beads
● Earring hooks
● Jumprings
● Chain and clasps
● Emery paper
● Cylindrical former
● Round nose pliers
● 2 x flat nose pliers
● Side cutters
MJ108_P28-32_Brick stitch SHLGSH.indd 28 31/05/2017 12:55

PROJECT
PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

1 2
HOW TO MAKE
Large earring hoops (p31)
1. Wrap 0.8mm wire four times around a

cylindrical form approx. 25cm in diameter. I 3 4
have used a glue stick as a former.
2. Slide the wire off the former and cut off two

lots of one and a half coils.
3. Bend the very tip of the wire so it’s nearly a

90° angle, as shown in this image. Sand the tip
of the wire so it’s not got any sharp edges.
4. Now bend the other end of the coil using

round nose pliers to form a small hook that
the wire bent in Step 3 can catch under. This
hook will probably not be at the very end of the
wire. Form it so you do not change the size of
the hoop. Cut away any excess wire and repeat
5 6
Steps 3 and 4 to make the other earring hoop.
5. Cut a 100cm length of Fireline and tie one

end to your earring hoop, leaving a short tail of
thread and then thread the remaining Fireline
through the eye of a beading needle.
6. Pick up two seed beads and slide the beading

needle under and up through the earring hoop.
7. Pull the thread so the two beads snuggle up

to the hoop, then pass the beading needle up
through the second bead added.
8. Pull the thread tight so the two beads rest

▼
flat next to each other on the top of the wire. 7 8

PROJECT
9 10 11
12 13 14
15 16 17
9. Pick up one bead and again put the needle 13. Now pick up another bead and thread the 17 until you come to the end of the row. You
under and up through the hoop. beading needle under the thread bridge directly can then go back again the other way to form
under this bead. another row. As you work round the hoop you
10. Pull the thread so the bead pulls close to may need to use the same thread bridge twice
the wire and thread the needle back up through 14. Take the needle and go up through the same so you do not get any large gaps between beads.
the bead. bead you picked up in Step 13. Finally, pass the beading needle down through
a few beads and tie a knot, cutting away any
11. Pull the thread tight and this one bead 15. Pull the thread and the bead will sit directly excess Fireline. Repeat Steps 5–18 to make the
added will rest flat and snug against the two on top of the row of beads below. other earring hoop.
beads first added in Step 6. You will notice that
a line of thread spans each bead. I shall later 16. Pick up another bead and thread the Pendant (right)
call it a ‘bridge.’ beading needle under the thread bridge directly
under it. 19. You can use thicker wire for a pendant,
12. Keep picking up one bead at a time and as obviously it won’t need to fit through your
taking the needle under and up through the 17. Take the beading needle and go back up the pierced ears – and this makes a more stable
hoop and back up the same bead until you same bead used in Step 16. base for your beads. Bend the wire 5mm
have added enough beads to go around half from one end. Then make an eye loop twice
of your hoop. 18. Pull the thread tightly so the bead rests flat bending the wire back down to match the
▼
on the row below. Keep repeating Steps 16 and 5mm initial stem.

PROJECT
18
19

PROJECT
20 21 22
23 24 25
26 27 28
20. Take the remaining wire and bend it coloured bead rests snugly on the end bead. Gold earrings (p28)
around a large cylindrical former at least 5cm
in diameter. Finally, wrap the wire around the 24. Pick up another different coloured bead 26. This brass washer makes a lovely large
stems under the two eye loops to secure the and thread the needle back down through the circular base. This time I decided to go all the
shape and cut away any excess wire. same bead that the thread is coming out of and way around the circle for a different design.
pull tightly. Keep repeating Steps 23 and 24 to
21. Follow Steps 5–18 to add three rows of beads add beads all the way along. When you get to 27. By adding the layers of beads and an edging
to your pendant. You can go more than halfway the end take the beading needle back down a detail you can achieve a slightly different look.
round with this design or even add more rows! few beads and secure cutting away any excess
However, do not take the thread back down the thread. 28. Add an earring hook, linking it under
beads and cut just yet as you can add a pretty one of the thread bridges as central to the top
edge for an extra detail in the design. Small silver earrings on hooks (p28) as possible.
22. Pick up a bead of a different colour to your 25. If you do not feel confident making your
beaded rows and take the beading needle back own wirework earring and pendant bases,
down through the bead that the thread is you can buy a whole assortment of textured RESOURCES
coming out of. circular connectors or washers to use instead. All materials: highlystrungbeads.co.uk
I have found these lovely textured silver circles
23. Take the beading needle up through the and used exactly the same stitch then added a CONTACT
next bead along. Pull tightly so the different jumpring to link to an earring hook. [email protected]

033_MAJ_108.indd 33 5/25/17 9:39 AM
Flux’n’Flame READ
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034_MAJ_108.indd 34 6/1/17 10:09 AM

PROJECT
SUMMER
NIGHTS JULIA RAI
S
unshine, flowers and a dolphin feature in these
pieces of jewellery are perfect for dressing up to
enjoy balmy, tropical nights. PMC Flex or Art
Clay Silver 950 both allow you to roll them thin and
once dried, they are flexible enough to be used in a
paper punch to create layered metal clay pieces. The
resulting cells can then be used to add colour in a
wide variety of ways including hot and cold enamel,
paints and inks or as I’ve used here, glass paint. These
can easily be made by beginners using simple themed
punches. A little more skill may be required if the
punches have multiple cutouts.
MATERIALS & TOOLS

● 25–30g PMC Flex or Art Clay Silver 950
● Silver clay paste, any brand
● Paste Maker
● Glass paints
● Sterling silver chain
● Earring wires
● Paper punches
● Cutters including small
nesting round cutters
● Jumprings
● 1mm drill
● Tissue blade
● Emery board
● Sanding sponge
● Paintbrushes
● Firing tools
● Polishing tools
● Cutters and pliers
35 makingjeweller y.com 35
MJ108_P35-38_Julia Rai SHLGSD.indd 35 31/05/2017 15:21

PROJECT
1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE, JULIA RAI
4 5 6
HOW TO MAKE
1. When you have chosen the punch for the 3. Trim the edges of the cut out panel with a 5. When using transparent colour like glass
pendant, roll out PMC Flex or Art Clay Silver tissue blade so it is the correct size for your paints, it’s fun to have a texture on the base of
950 two cards (0.5mm) thick onto a sheet of pendant. Roll out some more silver clay three the cell. This can be achieved by using a texture
Teflon. This panel needs to be large enough cards (0.75mm) thick onto a sheet of lightly plate when rolling out the clay initially or by
for your punch plus a border around the edges oiled Teflon, leather or another shallow texture adding a subtle, stippled texture with paste after
at least 5–10mm wide, depending on your of your choice. Dampen the back of the cut out the pendant is assembled. Use medium thickness
design plus some extra so you can handle it panel with water and the surface of the clay paste and a good quality paintbrush to create a
in the punch. Trim it with a tissue blade so it with thin paste. Press the cut out panel gently stippled texture down in the cells. Paint the paste
is square or rectangular and put it to one side onto the rolled out clay, ensuring it makes good in, then using the tip of the bristles, dab down
to dry naturally. Do not apply heat to dry it as contact at the outside edges and around all and lift to create the texture. You can also add
this can make the panel brittle and trickier to parts of the cut out design. Use the tissue blade this texture to the surface of the panel for a more
use with the punch. to trim the clay slightly larger than the cut out unified look to the finished pendant.
panel to allow for shrinkage of the wet clay.
2. When the panel is dry, use a ruler to 6. Once the pendant is completely dry, refine the
draw lines on the surface in pencil from corner 4. While the pendant is drying, make some edges with an emery board if the piece has flat
to corner creating a cross showing the centre donuts for a bail. Roll out silver clay six to edges or a sanding sponge if they are curved. File
of the panel. Turn the punch upside down eight cards (1.5–2mm) thick. Use small round enough to ensure the back and front layers are
and put it on a fl at, stable surface. Slide the nesting cutters to cut donut shapes out of the flush and you cannot see the join between the
dry metal clay panel into the slot and line up clay. Brass tubes in a variety of sizes make two. Always file along the length of the edge, not
the centre of the punch design with the cross. good small cutters. Make more than you need, across it. This is particularly important when
Holding the panel in place with one hand, dry them and then keep them in a box for you are working with layers as filing across can
press down fi rmly on the cutter so you get a future projects. When they are dry, refi ne the dislodge the layers if they are not really well
good, clean cut. Turn it over to release the inside and outside with small files and sanding stuck down. If you can see a line, add some thick
cut out design and carefully remove the panel sponges so they are smooth. File one side of one paste to the edge, making sure it is pushed into
from the slot. Save any cut out pieces donut to create a flat platform, which will stick the join. If the layers completely separate, stick
for other designs. to the back of the pendant. them together again using paste.
▼

PROJECT

PROJECT
7 8
9 10
7. Earlier this year I was teaching at the You Can dolphin pendant to add a drop bead later. When the brand of clay you used. Polish the pieces
Make It event in the UK organised by Metal drilling holes in dry clay, support the piece from using any method you like. Adding the colour is
Clay Ltd. American metal clay artist Wanaree behind with your finger where you are drilling. the final step. Dispense some of the glass paint
Tanner was also teaching and she had a great Use no pressure; just let the drill do the work. onto a glass or ceramic tile and using a small
tip for sticking dry pieces together, which is You can also put the piece on a rubber block paintbrush, add the colour into the bottom of
perfect for attaching a bail to the back of the to drill. the cell. Make sure you clean off any paint that
pendant. Wanaree has found that using Paste gets in the wrong place immediately. Mixing
Maker alone sticks pieces together really firmly 9. There are various ways to finish the edges of colours is also possible with glass paints. Allow
and with none of the mess that can result from these pieces. You can simply leave them fi led the paint to dry following the manufacturer’s
using paste. Mark where you want the bail to go smooth so you can burnish the edges after instructions. Add jumprings, earwires and
with pencil, then dispense a little Paste Maker firing for a high shine finish. You can also add chains to finish the pieces.
onto your work mat and dip the fi led side of a texture to the edges using paste stippled on.
the donut into it. Place it on the back of the This is a good option if you can still see a line
pendant, press firmly and leave to dry. where the two layers meet. Carefully paint RESOURCES
medium to thick paste on the edges and stipple Art Clay Silver 950, silver clay paste, glass
8. To make the earrings, charm and other with the paintbrush. Make sure there is no paints and Paste Maker:
pendants, use the same process of punching paste on the back or front of the piece; clean metalclay.co.uk
out the shapes from a dry panel, sticking this it off before it dries. You can also add a fi led Earring wires, chain and jumprings:
to a back piece and after drying, refining the groove texture to the edges. If you like things cooksongold.com
edges. You can add a texture to the bottom of ordered, measure and mark the position of each
the cells or leave them smooth. Use a 1mm drill fi led groove with a pencil. CONTACT
bit to drill a hole for earwires or jumprings or juliarai.co.uk
add a bail using Paste Maker as before. I have 10. When everything is ready, fi re the pieces csacj.co.uk
also added another hole to the bottom of the following the manufacturer’s instructions for [email protected]

Diploma in Creative Jewellery
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Visit www.londonjewelleryschool.co.uk for more information, or call 0203 176 0546
039_MAJ_108.indd 39 5/31/17 12:28 PM

CELEBRITY STYLE
BEACH
STYLE TANSY WILSON
MJ108_P40_41 Celebrity Style SHLGSD.indd 40 31/05/2017 15:22

CELEBRITY STYLE
STYLE
PROFILE
SHAKIRA
1 2 3
PHOTOGRAPH: FEATUREFLASH PHOTO AGENCY / SHUTTERSTOCK.COM

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER
4 5 6
I
have made this necklace two small rectangles towards 5. Cut your 10m of 1mm waxed
for Shakira, based upon her the top of the circle, making sure cotton cord into 20 lengths, all Shakira is a singer, songwriter,
Colombian roots, which are the post is central on the circle. approx. 50cm long. Thread each dancer and record producer
colourful and vibrant. She also has Finally, place the shape over a one through one cut out rectangle, who shot to fame with the best
recently purchased a Caribbean domed surface. I used a light over the central post and back selling single of 2002 called
island and I think she would look bulb to shape the piece. Leave down through the other cutout ‘Whenever, Wherever’. Her
great on the beach wearing this! on the light bulb and bake in the rectangle. official song for the 2010 FIFA
oven, following the polymer clay World Cup ‘Waka Waka (This
MATERIALS & TOOLS manufacturer’s instructions. 6. Working on one side only, Time for Africa)’, also became
• Block of white polymer clay gather all the cords together and the biggest-selling World Cup
• Texture mat 3. Once the shape has completely glue them into a large endcap. I song of all time. She has won
• Glue cooled, apply a layer of glue all used a two-part adhesive. Leave to many awards, was a coach on
• Metal leaf over the convex surface of the completely dry. Then you can pull the American version of The
• Emery paper dome. Leave to air-dry for about and tweak all the cords so you get Voice and is listed among the
• 10m x 1mm waxed cotton cord 10 minutes. Then carefully pick up the right length as well as them top 100 most powerful women
• 2 x large end caps your metal leaf using a paintbrush not being too twisted before gluing in the world.
• Toggle clasp and layer all over the surface. the other side. Trim the cords if
• 2 x 4mm jumprings Use the paintbrush to push the required, then glue into the other
metal into the texture. Leave to large endcap. Finally, once dried,
HOW TO MAKE completely dry. add a clasp using jumprings.
1. Break off about one quarter from 4. Place the shape onto coarse DESIGNER TIP
the polymer clay block and knead emery paper and rub back and You can get glue especially
it until soft and malleable. Roll it forth to sand a perfect flat bottom designed to use with metal leaf,
to approx. 1mm in thickness. You edge. Then cut the emery paper but an alternative that you may
PHOTOGRAPH: BY OKSANA STOCK /SHUTTERSTOCK.COM
can use blocks or playing cards into manageable strips and already have in your workbox is
either side to be exact, but it is not holding these one at a time in a spray adhesive, which works
essential. Finally, roll or press a your hand, gently sand across the equally as well for this project.
pattern all across the surface. You textured surface. You will sand
want the pattern to have a good away the top edges of the texture, RESOURCES
depth to it. leaving the gilded imprint. You can All materials can be sourced from
also wrap the emery paper around advertisers listed throughout this
2. Cut out a perfect circle from the a lolly stick and sand the inner magazine
rolled clay. I used a drinking glass edges of the cutout rectangles for a
that was approx. 5cm in diameter. perfect finish. CONTACT
Then using a craft knife, cut out [email protected]
MJ108_P40_41 Celebrity Style SHLGSD.indd 41 31/05/2017 15:22

10
QUESTIONS
TANIA MANEROVA
When did your interest in jewellery first start?
I started making jewellery spontaneously in 2011, having had experience
of selling other makers’ work in my own shop. I fell in love with stones
and beading from the start, but then took a risk and tried silversmithing
because readymade findings seemed too simple and weren’t sufficient for
my ideas.
Do you have any formal training? If so, where did you train?
I was trained by Olegs Auzers in his jewellery school in Riga and as a
result was awarded a degree certificate by the Baltic Jewelry Association.
Where is your studio?

It is located in Riga, Latvia. I work here together with my husband, who
left his office job and joined me in this exciting jewellery adventure.
Where do you find inspiration and how do you decide what to make next?
Honestly, I don’t know how exactly designs appear in my head. But
nature certainly inspires me greatly: it’s the best artist and an eternal
source of shapes, lines, movement and colour combinations. I’m a
fan of the visual arts and of travelling: both open new doors and give
me a breath of fresh air. I can inspire myself too: the right mood,
good intuition, a double espresso and I’m ready for long, productive
brainstorming. My schedule often determines what to make next. But,
given free time or an open brief, I’m always in a hurry to realise ideas
which materialise fully-formed in my imagination, and just need to be
brought to life. Of course, there are impromptu pieces: these are made
with neither my control nor my decisions. On these happy days my
hands work independently from my head and this is actually the best
part of the process.
What is your preferred medium?

We don’t use moulds, wax, casting, 3D design or printing. Every piece
starts from metal sheet or wire. I draw details on a sheet, then it needs
to be cut, fi led, formed, engraved and soldered with other details. This
sounds simple, but it takes plenty of time. It’s a long, difficult labour of
love, but worth it for the result.
MJ108_P42-43_10 Questions SHLGSD.indd 42 25/05/2017 14:46

Do you have a favourite tool?
I like using my jeweller’s saw a lot.
Which techniques do you enjoy using?

Soldering is my favourite. I like to control fire, to feel how metal behaves,
to risk using high temperatures when detail can be burned in a moment or
promptly soldered. For me, it’s still a kind of magic. Silver reticulating is a
very exciting process too, since you don’t know exactly how it will turn out.
Do you offer workshops or classes?

We don’t and there are lots of reasons why. The main one is that
we’re still learning, too. It’s a very long process to become a really
good professional. It’s not only a question of technique, there’s a lot of
philosophy in our work too.
What are your goals?

I don’t set goals. Life is encouraging when it’s spontaneous – though I do
have a wish, which is to have more freedom and time to create anything I
have in mind. At the moment I realise about 20% of my ideas, as I have to
work hard to make a living. To have an agent who would care about how
to find the right buyer for my original pieces sounds like a dream, but I
believe we’ll meet one day.
What’s your favourite thing that you’ve ever made? Is there one project that
stands out above the others?
I have two series that are still growing as I add new pieces. The first
is inspired by ancient Fayum portraits: I try to show that we are all
connected through generations and time, born from stardust we will
turn to stardust again. The second is my ‘Paradise Lost’ series: it’s about
PHOTOGRAPHS: TANIA MANEROVA
a place we lost but all remember; myths, senses, humanity and nature are
the main elements of this collection.
CONTACT
manerovs.com
themanerovs.etsy.com
Instagram: manerovatania
43
MJ108_P42-43_10 Questions SHLGSD.indd 43 25/05/2017 14:46

Caverswall Minerals MAKE YOUR OWN JEWELLERY
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Leicestershire, LE8 8AW
044_MAJ_108.indd 44 5/25/17 9:40 AM

PROJECT
TROPICAL COLOUR
SPIRALS TANSY WILSON
S
ometimes it’s fun to combine other materials to soldered pieces
to make bold statement jewellery, as in this collection. Not only is
the metal wire spiralled, but the paper embedded inside the bezel
trays is spiralled too, then coated with casting resin. The soldered pieces
are for a more competent metal worker, but if you are unable to solder
there are also some ideas using readymade bezel trays to achieve a similar
▼
effect, which any level of jewellery maker can try.
MJ108_P45-49_Tropical Colour Spirals SHLGSD.indd 45 25/05/2017 14:46

PROJECT
1 2 3
PHOTOGRAPHS: LAUREL GUIFOYLE, TANSY WHEELER
4 5 6
HOW TO MAKE
MATERIALS & TOOLS 1. Cut approx. 15cm of 1mm Sterling silver wire 5. Place your large soldered circle back onto
● 30cm x 1mm (18 gauge) Sterling silver wire and at the halfway point of the wire make a your soldering block and now add the spiral
● 30cm x 0.8mm (20 gauge) Sterling silver wire small complete circle using round nose pliers. made in Step 4 directly on the opposite side
● 30cm x 0.8mm (20 gauge) copper wire Bend the two 7cm lengths left either side of the to the tiny loop made in Step 1. Add some flux
● 30cm x 30cm x 0.2mm copper sheet small circle around a large cylindrical former and a pallion of hard solder. Heat gently to start
● 3 x 5mm copper jumprings approx. 4cm in diameter. Make sure the two and then intensify the heat so the solder melts
● Assorted chain and clasps 7cm lengths of wire just cross each other. joining the spiral to the wire circle.
● A4 pad of coloured card
● Resin 2. Place the entire wire shape into the jaws of 6. Cut a strip of 0.2mm copper sheet approx.
● Assortment of beads and headpins a vice so the two curved wires that cross each 5mm wide and bend it around the inside of
● Craft knife other are just exposed. Using a piercing saw, cut the large wire circle to form a wall. Mark where
● Cutting mat through both pieces of wire at the same time. the join is and cut so you obtain the perfect join.
● Metal edge ruler This will create a perfect join. Remove from the
● Files vice and manipulate the shape in your fingers 7. Place this copper wall onto your soldering
● Cylindrical former so the two wires meet perfectly. block and add a drop of flux and a small pallion
● Piercing saw of hard silver solder onto the join. Heat so the
● Reverse tweezers 3. Place onto your soldering block and add flux bubbles and then increase the heat so the
● Soldering torch, flux, easy solder, acid pickle some flux and a small square (pallion) of solder melts and runs into the join. Remove the
and water hard solder to the join. Heat gently so the heat, pickle and rinse. Now sand the copper
● Brasso polish and soft cloth flux bubbles and sticks the solder and then wall using emery paper so you get a smooth,
● 2 x flat nose pliers intensify the heat so the solder melts and runs flat top and bottom edge.
● Round nose pliers into the join. Pickle and rinse.
● Mixing cups and sticks 8. Place the wall back inside the silver wire circle
● Cocktail sticks 4. Cut approx. 20cm of 0.8mm Sterling silver and make sure it fits snugly. Carefully remove and
● Glue wire and make a tiny loop at one end using the place on top of a sheet of thin copper as you now
very tip of your round nose pliers. Start to form need to solder on the base. Add flux and pallions
a spiral around this loop. Keep going until the of easy solder all around the outside of the wall.
spiral is approx. 1cm in diameter. Bend the wire When you heat the solder you want it to run all
90° from the spiral and form a wrapped loop at along the join. You will see quite a distinctive line
the top. Cut away any excess wire. once the solder melts. Keep heating the solder so
there are no gaps. Pickle and rinse.

PROJECT
7 8 9
10 11 12
13 14 15
9. Cut away the base using snips and fi le using join, sand the top and bottom edges, and place 13. To make a simpler version of this idea, you
a coarse hand fi le so the base is flush to the onto a sheet of copper to make the base. can use ready-made bezel trays. These come in
wall with no sharp edges. It is crucial there are a variety of shapes and sizes, but the deeper the
no holes so you need to re-solder if there are 11. Solder the base and trim any excess copper tray the better.
any before proceeding to the next steps. Place away and fi le smooth as in Step 9. Make a
the soldered circular tray back inside the silver spiral of copper wire in exactly the same way 14. Using a craft knife along a ruler’s edge on
wirework so it sits flush to the edge of the silver. as Step 4. When you solder it onto the top of a cutting mat, cut strips of thin coloured card
Add flux and pallions of easy solder around the the rectangular tray, place the spiral on a 1mm so they are all the same width. The width is
join. Much like Step 8, you want to heat the sheet of steel so you are soldering it away from dictated by the height of your trays. If the
solder so it runs along the join between the the join on the tray. copper soldered trays are 5mm in height you
copper wall and the silver wirework. This time can cut the card strips all 4mm wide. Ready-
is doesn’t matter too much if there are gaps in 12. Make three 5mm copper jumprings by made trays are much shorter in height so you
the solder. Pickle and rinse. coiling wire around a wire warp mandrel and can cut the strips for those all at 2mm high.
add them evenly spaced along the bottom wall
10. An alternative is to make a simple of the rectangular tray. Again, place them 15. To also make a colourful feature of the
rectangular tray without the need for a silver on the 1mm sheet of steel. Solder, pickle and spirals you can glue random colours together.
wirework frame. Cut a copper strip again approx. rinse. Clean both your soldered trays using This means you can also make larger coils.
▼
5mm wide and bend into a rectangle. Solder the metal polish. Leave to completely dry.

PROJECT
16 17
19
18 20
16. Take one of your strips and tightly coil one have escaped. Then carefully pour into each crystal to each loop to keep it all geometric in
end around a cocktail stick. Continue to spiral tray. Resin has a good surface tension so you design. Finally, add a chain and clasps to the
the coloured card around itself so the coil gets can fi ll it right to the top so it creates a nice tops of your spirals.
larger. Once it’s approx. 1cm in diameter, glue dome covering all your paper coils. Leave to
the end so the coil stays in place. set hard.
17. Make all different sizes of coils and pack 19. To make a decorative bead feature add
tightly into each bezel tray, so there are no large a length of chain to the silver loop on the
gaps. Place your trays in a clean, dust-free dry bottom of the round soldered tray and then
area that has good ventilation. Mix your casting cluster beads onto it to create a dangle of
resin following the manufacturer’s instructions. colour at the bottom. The premade bezel trays
I used a resin that needs a separate hardener, often don’t have additional loops other than RESOURCES
which is mixed by weight ratio. Make sure you the top one for the chain however you could All materials are widely available from
wear gloves and eye protection! add beads to this too! advertisers in this magazine
18. Mix your resin and leave to stand for 20. You can make a more minimal look with CONTACT
approx. 5 minutes so most of the air bubbles the rectangular tray and add a 6mm bicone [email protected]

PROJECT

050_MAJ_108.indd 50 5/25/17 9:41 AM
designer profile
RACHEL NORRIS
Have you always been interested in craft and like Linda Jones and Abby Hook and their How would you describe the style of the jewellery
making jewellery? fantastic publications. you make?
I have always enjoyed art and design, painting Visually pleasing, made for the body, designed
and drawing as a hobby rather than craft Can you remember the first piece of jewellery to create happiness for the wearer and the
and making jewellery. I had dabbled with you made? observer. My designs are ornate representations
silversmithing in my early 40s, but my teacher When I was silversmithing I made a bezel-set of natural forms.
sadly became ill after only a few weeks. I became labradorite ring. I did enjoy the whole process,
busy with family life and I never continued it but I wish I could make it again as I understand What is the most challenging piece of jewellery
further. I discovered wirework jewellery making wire and metals so much better now. you’ve made?
relatively late in life; seven years ago I was on All of them have their own specific challenges,
maternity leave with my youngest child when a Which materials do you most enjoy working with? but if I had to pick out one it would be a little
jewellery making channel started broadcasting. I enjoy working with copper, silver wire 3D gecko. Cabochons are set onto cabochons in
I was immediately captivated. This was a hobby and sheet. I also like working with natural this little design.
that I could pursue in my living room and still gemstones and manmade high-quality crystals.
be around my family. I could see the wonderful If I wasn’t a designer I would be...
design possibilities and I started making pieces Where do you look for inspiration? I am already a vascular ultrasound specialist
of jewellery. I was clumsy at first, but we all have Natural forms, designs from historical periods with a whole other life in this field – I have
to start somewhere! such as Art Nouveaux, the Renaissance period, written and illustrated six vascular ultrasound
William Morris; even line drawings, stone books. But if I were to live my life again, I would
Tell us a bit about your background and training. carvings and tattoos! I don’t use other wirework train to be an astronaut or a geologist.
I am a vascular ultrasound specialist, scanning artists’ work as inspiration as I have set myself
at several hospitals in the South-west of a strict rule that I do not want to copy or gain
England. I have no formal training in jewellery from their work. I need to feel my designs are as
making. I am mainly self-taught, but gained originally from me as possible as I then would CONTACT
early inspiration from wonderful wireworkers feel it was right to claim a design as my own. facebook.com/RachelNorrisJewelleryDesigner
MJ108_P51_Designer Profile SHLGSD.indd 51 25/05/2017 14:49

PROJECT
CRYSTAL MATERIALS & TOOLS

White peacock
● 1mm (18 gauge) round
champagne gold copper wire
PEACOCK
(alternative for some

components)
● 0.4mm (26 gauge) round
BROOCH

(or similar)
● 5 x 6mm/48pk Swarovski
Aurora Borealis (AB) crystal

RACHEL NORRIS bicone beads
● 9–13 x 3mm/48pk x Swarovski
T
his little peacock brooch is made with AB crystal faceted round beads
champagne gold-coloured copper ● 8 x 4mm/48pk Swarovski AB
wire featuring freshwater pearls crystal faceted round beads

and Swarovski crystal details; but also looks ● 10mm x 10.3mm Swarovski AB
wonderful made in copper with multicoloured crystal heart pendant

crystals. The finished piece is 8cm x 5cm. ● Approx. 5mm x 3mm white
freshwater cultured pearls

rice beads
● 5 x approx. 7mm x 8mm
white freshwater cultured

potato pearls
● Any fl at-backed small heart-
shaped cabochon will work

in this design
Blue peacock (alternative)

● 1mm (18 gauge) round
copper wire
(alternative for some

components)
copper wire
copper wire
● 8 x approx. 3mm rose gold plate
brass seed beads

● 10mm x 10.3mm Swarovski
crystal heart pendant,

Bermuda blue
● 5 x 8mm Swarovski crystal,
round beads, light turquoise

round beads, capri blue

round beads, emerald

bicones xillion, blue zircon

● Pen, paper, ruler
● Flush cutter pliers
● Round nose and chain nose
pliers
● Rubber bead mat
● Flush/wire cutters
● Jeweller’s hammer and steel
block
MJ108_P52-59_Peacock Brooch SHLGSD.indd 52 25/05/2017 14:54

PROJECT
1 2 3 4
PHOTOGRAPHS: RACHEL NORRIS, ANDREW PERRIS
5 6 7 8
HOW TO MAKE
1. Make the setting for the cabochon. Draw 7. This stone has a pointed cullet at the back
around the heart-shaped Swarovski crystal and does not sit flat. Therefore, curve the 1mm
with a 1mm gap around it, to allow for wire tails slightly diagonally so they touch the
wire-wrapping space in later stages. If your sides of the heart frame. Make a very soft bend
cabochon is different, draw your own heart at this point (not too much, as you may need
template using this one as a basis. to reshape later). Here I placed the stone on
my finger and am holding the frame around to
2. Take a 16cm length of 1mm wire (better show how it all fits together. The setting allows
too much than not enough). Make a bend in light to pass around the stone and is not a tight
the midsection of the wire to form the tip of fit around the stone. Put this heart shape aside
the heart shape using the diagram in Step 1 for the moment.
as a template. Don’t make the bend too acute;
use the wire’s natural curve to form the 8. Shape the bird’s head and body. Use the bird
heart shape. template to help, using the heart frame as a
core shape. There are solid lines for the head,
3. Pull and shape the 1mm wire gently around neck, inner tail feathers, and inner backing
one side of the heart shape with your fingers and frame wires. There are dotted lines for the eye,
pliers so the wires cross at the top of the heart. face, head crest frame, shoulder and outer tail
feathers frame.
4. Bend the wire at the top of the heart sharply
upwards. Try to keep the main heart shape flat
in one plane using pliers.
5. Do the same for the other side. Crystal Peacock

Brooch extract from
6. Grip the wires where they emerge from Mastering Wirework
the top of the heart with the tips of the pliers Jewelry: 15 Intricate
(about 3mm width). Press the wires down so Designs to Create
they will eventually lie flat over the heart- by Rachel Norris,
shaped stone. The 3mm width will allow for text © Rachel Norris,
the depth of the stone. If your stone is a flat first published in
cabochon, do this on a rubber mat, pressing 2017 by GMC, £16.99.
down on the stone to mould the wire over the Available from TEMPLATE
▼
stone to prevent stone fracture. gmcbooks.com Printed actual size

PROJECT
9 10 11 12
13 14 15 16
17 18 19 20
21 22 23 24
25 26 27 28

PROJECT
29 30 31
9. Shape the head, neck, and inner tail feather 20. Wrap along each side of the heart for about
section. Take 50cm of 1mm wire and make a 3mm until the wraps reach a level where they
little beak shape. Make a little ‘V’ in the wire first. can be bound onto the main neck and head
frame. Stop and check against the neck frame
10. Form the bend to mark the base of the beak/ to gauge this level. Take another 1m of 0.25mm
start of the head. Squash either side of the beak wire and wrap around the tip of the heart
with pliers to sharpen the beak angle. on either side until this wrap also reaches a
level where it could be bound to the two wires
11. Shape the head, neck, and body section leading down from the neck frame. You can
using the bird template. Form the top of the now bind the heart frame to the head, neck and
head and back of the neck first. body frame at four points. 32
12. Make a little curve for the lower jaw, 21. Place the heart shape over the head, neck and
creating a bend at the base of the jaw. body frame, referring again to the bird template
to help. You will need to hold everything in 26. Hammer the back of the spirals on a
13. Form the front of the neck and body. Do not place with one hand while making the binding steel block.
shape the tail feathers yet. attachments with the other.
27. Now work on the eye, face and head crest.
14. Join the heart shape to the body. Take 2m 22. As you wrap around the heart frame, with the Again refer to the bird template to help shape
of 0.25mm wire and wrap twice around the 0.25mm wrapping wire, bind the heart frame to the eye and face. Take 12cm of 0.8mm wire
top of the heart (using the midsection of the the body frame at four points using three wraps and form the eye section. Make one acute bend
0.25mm wire) to start to bind the top of the at each level (see arrows in image). Continue to halfway along the wire and two bends a little
heart together. wrap around the heart frame for a few wraps. further along to form the upper and lower eye.
Wraps need to be mirror-image symmetrical and Then form a little diamond shape by making
15. Bind on a 3mm Swarovski crystal to this in the orientation shown. Do not let the wraps two outward bends at the other end of the
point with a crisscross bead attachment: one overlap and place them carefully into position. diamond to form the corner of the eye.
wire through one side of the bead and the other
through the other side of the bead. 23. Using chain nose pliers, make a little bend 28. From the corner of the eye, shape the
in the 1mm wires lying over the heart stone 0.8mm wire over the head of the bird.
16. Pull the 0.25mm wire ends to attach the where they cross over the bottom edge of the
3mm Swarovski crystal into place and wrap heart frame. 29. Cut the wire tails to a length of 3.5cm for
either wire end around either side of the top of the upper wire and 3cm for the lower wire,
the heart. 24. Leave the 0.25mm wires at the bottom for a measured from beyond the limit of the head
moment and work around from the top of the frame line.
17. Take your heart-shaped Swarovski crystal, heart using the 0.25mm wire. Wrap around the
turn the heart body setting upside down, and heart frame. When you reach the point where 30. Check this shape against the head of the
pass the 0.25mm wire ends through the hole in the wires lying over the heart stone cross the bird. Make any adjustments so that the shapes
the top of the Swarovski crystal on either side. frame, wrap the 0.25mm wires three times fit each other.
around the 1mm wires where they cross on
18. Holding the stone level in the centre of the either side. Wraps need to be mirror-image 31. Take 1–1.5m of 0.25mm wire. Bind around
heart setting, pass the 0.25mm wires back to symmetrical and in the orientation shown. the corner of the eye three times at the midline
the side of the top of the heart that either wire Wrap once or twice at the inside edge of the of the 0.25mm wire, then wrap along the front
originally came from and bind around the heart frame, then cut and tuck in the 0.25mm of the face until you reach a point where you
heart frame. wire ends. Now cut the wire ends running over can bind onto the head frame.
the heart stone from the edge of the heart to a
19. Repeat this binding wrap on both sides to length of 4cm on either side. 32. Bind around the head and face frame at the
make this attachment stronger. Make sure you two points shown (see red arrows in image)
▼
don’t bind the heart too tightly to the top edge of 25. Spiral curl the wire ends to make loose with several wraps around both frames.
the frame. Try to bind leaving a 1mm gap at the spirals on either side to represent the peacock’s
top edge of the stone and the heart frame and wings. Keep the curls as mirror-image
evenly on both sides so the heart is balanced. symmetrical as possible.

PROJECT
33 34 35 36 37
38
42 44
40
39 41 43 45
46 48 49 50
51 47 52 53 54 55

PROJECT
49. Make the bases of the wings slightly higher

than the inner two feathers with a wire tail
after the little bend you make at the base of the
feather 20mm in length. Carefully curl the wire
tails using round nose pliers.
56 57 58 50. Bind a 4mm round Swarovski crystal to the

central tail just under the wire curls, wrapping
on one side around the two right-hand tail
33. Start a basket weave along the chin and 43. Thread feather bases and around the two left-hand tail
forehead sections until you reach the top and on a 3mm feathers on the other side. Bring the wire ends
bottom corners of the eye, halfway along the Swarovski up the base of the tail so they project inside the
eye socket, making sure you have the 0.25mm crystal to the two outer tail feathers but on the outside edge
wires wrapped to the eye socket at this level. 0.4mm wire of the outer tail curls. Wrap one wire twice
Use a weave ratio of three wraps around the face on either side around all the base wires of the two outer tail
relative to two around the eye frame as there is a wrapping feathers on that side (see red arrow in image)
relatively longer distance along the face frame. to the wing. and the other 0.4mm wire around all the base
Wrap along the wires of the two outer tail feathers on the other
34. Bind on a 4mm Swarovski crystal using a wing curl on either side for eight to nine wraps, side (blue arrow). The wire tails should project
crisscross attachment. then cut and tuck in the wire ends around the out of the front of the base of the tail.
wing curls. Be aware this step is fiddly until the
35. Continue the basket weave up to the corner binding wraps are firmly in place. 51. Bind on a 6–7mm pearl with a crisscross
of the eye top and bottom. bead attachment of the 0.4mm wire.
44. Decorate the neck section. Bind a 1m length
36. Wrap the top and bottom wires along the of 0.4mm wire at the midsection around the base 52. Wrap around the side of the tail to fi x the
head frame without weaving, wrapping the of the neck frame three times. Wrap up along the pearl into place. Pass the 0.4mm wires to the
bottom head wire over the head frame three neck frame on that side, three to four times. Stop back of the peacock and wrap them around
times (see red arrow in image), so they meet wrapping here for the moment (see green arrows the shaft of the brooch pin below the other
in between the two head crest wires as shown in image). Turn the peacock over and wrap the two brooch pin attachments to make another
(blue arrow). other end of the 0.4mm wire around the brooch anchor point for the pin.
pin (see red arrow), in a similar way to the brooch
37. Thread a seed pearl onto one or both of the pin attachment in Step 42. Hold the pin in place 53. Work on the tail. I started with one of the
0.25mm wires, bind to the corner of the eye and with one hand while you wrap with the other. central feathers. Take 2m of 0.4mm wire and
cut and tuck in the wire ends. Then, with that same 0.4mm wire end, wrap wrap at the midsection of the 0.4mm wire
across to the other side of the frame, binding at around the tip of the feather until you reach
38. Curl the head crest as in Step 25 and hammer the base of the other side of the neck frame three a point where you could add in a pearl with a
the back carefully. Use a small-faced hammer to times (see blue arrow). Wrap up the neck frame crisscross wrap.
avoid damaging the rest of the design. three to four times. Do not bind to the shoulder
section. Bind once around both the neck frame 54. Use a pearl reamer if the hole is not large
39. Start making the shoulder and outer tail and the shoulder section where it crosses at the enough, or use 0.25–0.3mm wire.
section using the diagram from Step 8 to help back of the neck section once (see black arrow).
shape this frame. Take 30cm of 1mm wire and 55. Continue in the same way, adding in
bend in the middle, curving the sides running 45. Add a 6mm Swarovski crystal in a crisscross a 6mm, 4mm and 3mm Swarovski crystal
away from the bend into a leaf shape. bead attachment, and wrap up the neck to a working from the tip to base of the feather. Add
level where you can add the next bead. in another 3mm Swarovski crystal if there is
40. Using the main bird frame and the drawing room. Cut and tuck in the 0.4mm wire ends
from Step 1, bend the wires so they start to 46. Add a 4mm Swarovski crystal in a crisscross at the base of the feather.
form the tail, but do not form the whole tail yet. bead attachment, wrap up the neck frame
again, add a 3mm Swarovski crystal with a 56. Repeat for the other tail feathers, making
41. Make a brooch pin for the bird about 4cm crisscross wrap, and wrap up to the jawline, sure the additions of middle and side feathers
in length (see page 58 for an example of a cutting the 0.4mm wire tails and tucking in the look the same in mirror image.
brooch pin). wire ends neatly.
57. It may be difficult to wrap around the bases
42. Cut the 0.25mm wire tails from Step 47. Shape the tail feathers, making four of adjacent feathers, so just lift them slightly
24 at the base of the heart. Wrap a 30cm teardrop loops of wire using the bird template away from the others and then move them back
length of 0.4mm wire around the brooch pin. as a guide. Shape the inner two tail feathers after attaching the weaves. You don’t have to
Positioning the main frame over the shoulder (originally from the head and neck frame) from wrap all the way to the base. This image shows
and outer tail section, place the brooch pin inside edge to outside edge, making a little the back of the bird.
beneath these other two frames. Bind the bend in the wire tail (on the outside edge of the
brooch pin, shoulder, and main bird frame feather) about 8mm below the tip of the heart. 58. Thread a 4mm and 3mm Swarovski crystal
together using the 0.4mm wire ends a few onto a ball headpin and attach with a wrapped
times around the inner and outer wire tails 48. Cut the wire tails to a length of 15mm. loop to the tip of the peacock’s beak. Gently
just beneath the heart tip, three times on each Shape the outer two-tail feather frames using adjust the tail feathers and wing swirls with
▼
side (red arrows in images). the wire tails from the shoulder section. your fingers. The brooch is now finished.

TIPS & TECHNIQUES
BROOCH PIN RACHEL NORRIS
HOW TO MAKE
A
brooch pin is a simple fi xing for a 1. Take a 14cm length of 1mm wire (less wire 6. Bend the tip of the 180° angular section away
brooch, such as the Crystal Peacock will be used for a small brooch pin and a little from the plane of the brooch. You may need to
brooch on page 52. You can use wires more for a longer pin). Start to make a 180° hold the wire/brooch firmly at the base of the
from the design to bind to the pin, or you can loop 7cm along the wire using round nose 180° section with flat nose pliers or fingers to
wrap 0.25–0.4mm (30–26 gauge) wire along the pliers just under halfway along the cone tip of stop the bottom line of the pin frame distorting
back wire of the pin and use that to bind the the round nose pliers. Moving the loop around out of its plane.
pin onto the design. Here I am using 1mm (18 and perhaps onto the other cone tip of the
gauge) round wire; 0.8mm (20 gauge) wire to round nose pliers, and making sure you stay 7. Squash this little curved tip front to back
make the pin. You should make the brooch pin at the same width/level on the pliers so your using chain nose pliers to neaten the curve.
to fit your design: the total length may need to loop stays even, pull one wire end around the
be smaller or larger than the one made here. round nose pliers so it makes a 360° loop. Both 8. Place the chain nose pliers back on the 180°
wires should now be in the same direction section 5mm below the first curve you made.
MATERIALS & TOOLS lying parallel on opposite sides of the cone of Start to curve this section in the other direction
● 0.25–0.4mm (30–26 gauge) wire the pliers. Stroke the wire fi rmly away from so it curves gently around the upper pin of
● 1mm-0.8mm (18–20 gauge) gauge round wire the loop along both parallel wires with your the brooch.
● Flush cutter pliers thumb and forefi nger to start to straighten
● Round nose and chain nose pliers it out. Measure it against your design to 9. Move the pliers further down the 180°
● Rubber bead mat ascertain the length of the brooch pin you section and make the bend more curved.
● Flush/wire cutters require. Make sure the fi xing wires you have Gradually move the pliers down this section,
● Jeweller’s hammer and steel block left in the design can attach near either end of making little curves in the same direction until
● Nail fi le or jewellery needle fi le the pin you are making. the loop bends around the upper pin. This
curved loop will form the secure catch for the
2. Bend the end of longer wire, 3cm away from brooch. Cut the end of the lower wire of the
the edge of the loop end sharply at 90° to the brooch pin to a 25mm length.
plane of the wire you are bending.
10. Make a loose spiral using round and chain
3. Using chain nose pliers, make a sharp turn nose pliers to act as a pin guard for the brooch.
in the lower pin’s projecting wire about 18mm
along from the 90° turn that you made in Step 2 11. On a steel block, hammer the spiral section
to make a 180° sharp reverse turn in the wire. only, not the rest of the pin. Use flush cutter
Brooch Pin extract pliers to cut the upper brooch pin at a sharp
from Mastering 4. Squash this 180° turn (side to side) with the angle to create a pin end. Cut the other side of
Wirework Jewelry: 15 chain nose pliers, repeating this little squash the pin to make the point even sharper. You can
Intricate Designs to moving from the tip of the turn down to the use a nail fi le or jewellery needle file to fi le the
Create base. This action will make the 180° bent wires end at an angle all around to create a beautiful
by Rachel Norris, lie as close together as possible. sharp point. Move the brooch pin inside the
text © Rachel Norris, curved loop securement/catch to check that
first published in 5. Make a 90° bend in the bottom wire just the sharp point is not longer than the guard (or
2017 by GMC, £16.99. beyond the 180° turn, so that it lies in line with it may cause injury) or shorter than the catch
Available from the main pin. (otherwise it won’t secure properly).
gmcbooks.com
12. The total length of this brooch pin is 4cm.

TIPS & TECHNIQUES
1 3 4
5 7
6 8 10
PHOTOGRAPHS: RACHEL NORRIS
11 12

PROJECT
TUBULAR BELLES KAREN CAINE
F
ill it, join it, wear it! That’s all there is to
it with these easy-to-make, easy-to-wear
bangles. They’re made from clear plastic
tube, which is a brilliantly practical choice for
holiday jewellery, and can be customised in so
many ways. You can even make them as part of
a cool holiday project with the kids. Enjoy!
MATERIALS & TOOLS

● Clear plastic tube 4mm and 6.5mm
diameter
● Filler materials (craft/nail glitter
and beads, water)
● Findings: tube terminals, plastic earring
backs, stick-on diamantés (optional)
● Sharp scissors or craft blade
● Small funnel
● Masking tape
● Paper towels
● Syringe
● Pin vice
● Nylon-coated pliers, round nose or needle
nose pliers (optional)
MJ108_P60-63_Tubular Belles SHLGSD.indd 60 31/05/2017 15:25

PROJECT
1 2 3
4 5 6
PHOTOGRAPHS: LAUREL GUILFOYLE, KAREN CAINE
7 8 9
HOW TO MAKE
Glitter and water bangles 5. Fill a clean bowl with fresh water. Making 7. You can also use this liquid syphoning
sure the filler material can’t fall out, remove technique to create bangles fi lled with just
1. Use sharp scissors or a craft knife to cut a the masking tape covering the hole in the thin liquid. Here we used a small diameter tube,
2cm length of the 4mm diameter tube and tube before re-covering it with your finger. sucked in clear water until it was full and then
around 20cm of the 6.5mm one. Slide the thick Submerge the thin end in the water and keep used a syringe of dyed water to push the clear
tube over the thin one, so that it covers half it there. Remove your finger from the thin end water back out of one end. This two-tone effect
its length. (20cm makes a standard adult-size and suck the water up through the tube. (If isn’t permanent as we used dyed water that
bangle, but you can vary the length, according you are concerned about getting filler material eventually mixes evenly with the clear water
to the hand size of the recipient.) in your mouth, put a piece of cheesecloth over (as you can see from the photos on the page),
the mouth end to act as a filter.) Once you taste but you could retain this effect if you used oil
2. Place a small funnel over the other end of water, place your finger over the end of the thin and water. To finish, we used some off-the-shelf
the thick tube. If necessary, use paper towel as tube without removing it from the water. Then tube terminals and a clasp.
wadding to get a tight fit. take the thick tube from your mouth and put
another finger over that end. Now lift the thin Micro bead bangles
3. Secure the funnel with some masking tape. end out of the water and bring it up level with
the thick end. You should now be able to lift your 8. The micro bead bangle is made in a slightly
4. Put a little masking tape across the hole fingers from both ends without losing water. different way. Begin by cutting around 20cm of
in the thin tube and then pour your fi ller thin tube and push a plastic earring back into
material – we’re using glitter fl akes – into the 6. Carefully form a circle shape and slide the one end.
funnel. Use a scrap piece of wire to de-clog exposed part of the thin tube into the open end
the funnel’s neck if necessary. You can also of the thick tube. Don’t worry if you introduce 9. Attach a funnel to the other end as you did
fl ick the tube with your fi ngernail to help the a small air bubble at this point – they actually in Steps 2 and 3. Pour in micro beads, or other
▼
material go down. add to the finished effect. solid fi ller material, until the tube is full.

PROJECT
10 11
12 13
14 15
10. Carefully remove the funnel and push in Twisted wire bangle 15. Trim the excess wire and use round nose or
another earring back to seal the tube. Cut a needle nose pliers to push the wire inside the
short length of thick tube and slide it over both 13. You can also use long strand shapes to fill tube so you can fit the terminals in each end.
ends of the thin tube to form the bangle. your bangle. Here we’ve opted for a twisted-wire, Here we’ve chosen special ends that enable
wrap-around style bracelet. To start, cut three you to add stick-on, flat-back diamanté stones,
Variations 50cm lengths of different coloured wires. Put all which add a nice finishing touch.
three in a pin vice and then hold them together
11. You can adapt this technique for the blue with nylon-coated pliers. (For photo purposes
bangle. Cut a 17cm length of coloured 4mm we are holding them close to the pin vice, but
tube and put an earring back in each end, in reality you should hold the ends of the wires,
leaving the tube empty. Cut a 5cm length of meaning the pliers would be 50cm from the pin
clear, 6.5mm tube and slide around 1cm onto vice.) Place your hand flat on top of the pin vice,
one end of the coloured tube. Add a little fi ller then roll it across your work surface, keeping the
material – we used glitter fl akes – and then other ends still. Once you have rolled it as far as
push the other end of the clear tube onto the you can, pick up the pin vice and put it back in its RESOURCES
coloured tube until it covers around 1cm. start position and repeat until the wire is twisted Clear plastic tubes and terminals:
Job done. to your satisfaction. perlesandco.co.uk
All other supplies: ebay.co.uk
12. Another option involves using these 14. Trim the wire to remove any parts that were
special double-ended terminals. Here we’ve damaged in the vice, then use nylon-coated CONTACT
fi lled a 20cm length of 6.5mm tube with a pliers to feed the wire a little at a time into a thecraftydwarf.com
large-glitter mix that we made up from several 40cm length of 4mm-diameter tube until it is craftydwarftutorials.com
different colours. just under 2cm from the end. facebook.com/thecraftydwarf

63

064_MAJ_108.indd 64 5/26/17 10:51 AM
INSPIRATIONS
PHOTOGRAPHS: GUY HENSTOCK

WHAT INSPIRES
BECKY
MORGANS
Find out what inspires the unique
organic style of Becky Morgans.
MY DESIGNS
My designs are best described as organic in style – simple, yet elegant. I
like to make jewellery which the wearer can wear every day, not just for
special occasions.
MY INSPIRATION
My inspiration comes from my travels in Asia, especially India – I love
the jewellery of this country very much. Some of my inspiration has
come from wallpaper designs; I like to look through pages of them and
find earrings and ring designs within them. I also lived on a small Thai
island for three-and-a-half years where I first started collecting seaglass
and turning it into jewellery. These days I collect it from the northeast
coast of England, where a Victorian glass factory use to be.
MY TECHNIQUES
Some of the techniques I use are texturising metal using hammers. I
love to go to car boot sales and pick up old rusty hammers or other bits
of metal, which will give the silver a wonderful organic surface. Saw
piercing designs out of sheet silver is also a favourite of mine, as I find
it very meditative. I love gold but it’s so expensive so I use a technique
called Keum Boo which is Korean and means ‘attach gold leaf to silver’.
CONTACT
beckyjewellery.com
etsy.com/uk/shop/beckymorgans
MJ108_P65_Inspirations SHLGSD.indd 65 30/05/2017 12:39

PROJECT
DREAM
CATCHERS CHLOE MENAGE
I
just love the look of dreamcatchers and
have always wanted to recreate one from
beads. This intermediate project shows
you how to stitch dreamcatcher-inspired
components using bright summer colours to
create dazzling earrings or pendants. It makes
the most of 2-hole brick beads, which help to
create a sturdy ring. You’ll use this as a base
to weave a colourful net of seed beads from.
The bright, zesty colours of these pieces makes
them perfect for summer – but why not play
with colour and try one in natural tones such
as tan and turquoise for a more authentic look?
MJ108_P66-69_Dreamcatchers SHLGSD.indd 66 25/05/2017 15:03

PROJECT
1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE; DIAGRAMS: CHLOE MANAGE
4 5 6
HOW TO MAKE
MATERIALS & TOOLS 1. Cut 1m of thread and run through your size 15s instead of three either side of the size
For each component: wax. Thread a needle. Pick up a brick bead, a 11 as they are narrower than Tohos.)
● 16 x 2-hole CzechMates brick beads 3mm glass bead, a brick bead, a 3mm crystal.
● 8 x 3mm faceted Czech glass beads Repeat until you have 16 brick beads on your 4. Pass back up into the last size 15 added. Now
● 8 x 3mm Swarovski Xilion beads thread. Pass through all of the beads again pick up two size 15s, a size 11 and three size 15s.
● 0.5g x size 11 (2.1mm) Japanese seed beads (working through the same hole of the brick (If using Miyuki you’ll pick up three size 15s, a
(Miyuki Galvanised Duracoats) bead) and pull snug until they form a circle. size 11 and four size 15s). Skip the next size 11 and
● 0.5g x size 15 (1.5mm) Japanese seed beads Make a knot and reinforce by passing through pass into the one after, as on the previous step.
(Miyuki or Toho) them all again.
● 3 x 15mm Czech glass dagger beads (optional) 5. Repeat Step 4 to work around the inside of
● Toning beading thread (KO, One-G 2. Exit out of a brick bead and step into the the circle. When you reach the beginning again
or Fireline) second hole in the same bead; this will change you’ll only need to pick up two size 15s, a size 11
● Size 12 beading needle the direction you are working. Pick up a size 11 and two size 15s. (For Miyuki beads, it will be
● Thread conditioner or wax seed bead, pass into the second hole in the next three size 15s, a size 11 and three size 15s.) Pass
● Sharp scissors brick bead along. Repeat around, until all of into the first size 15 from the first swag and into
● Earring fi ndings, jumprings the second holes of the beads have been joined the size 11 seed bead, but from the opposite size
or chain (optional) with a size 11 in between. Reinforce by passing to where you exited from at the start of Step 3.
through them all again.
6. Pass back through the size 15 and the next
3. Exit out of a seed bead. Pick up three size two (or three) size 15s and the size 11. Pick
15 seed beads, one size 11 seed bead and three up two size 15s, a size 11, two size 15. (You
size 15s. Skip the next size 11 along and pass shouldn’t need to change your quantities for
into the one after. (If you are using Miyuki seed Miyuki beads from now on). Pass into the size
▼
beads you may find you need to pick up four 11 in the next swag along.

PROJECT
7 8 9
10 11
7. Pass back into the last size 15 added. Pick 10. Work your thread through to the outer RESOURCES
up a size 15, a size 11 and two size 15s. Pass of the ring again to exit from a glass bead Glass beads, seed beads and crystals widely
into the size 11 in the next swag. Repeat this (not a crystal). Pick up enough size 15 beads available from advertisers in this magazine
step around. to go around your chain or earring wire – Brick beads: robins-beads.co.uk or
depending what you wish to make. Pass back thesouthamptonbeadshop.co.uk
8. On the final swag pass through the last size into the glass bead again from the opposite
15 added, pick up a size 15, a size 11 and a size direction. Reinforce two or three more times. CONTACT
15. Pass into the first size 15 added in this Once secure, work your thread through the pinkhot.co.uk
round. Pass into the size 11 from the opposite outermost beads. Make a few half-hitch knots [email protected]
side, and pass back up through the size 15. and when your thread feels secure, then trim it.
Repeat with your tail thread.
9. Work through the next size 15 and size 11. *
Pick up a size 15 bead. Pass into the next size 11. Optional: Add glass dagger beads to the
11 bead. Repeat around from * to add a size 15 bottom using two of the faceted beads to work
between each of the eight size 11 beads to draw off. You could also create a more statement
the centre together. Reinforce this circle by necklace by adding several of the dream catcher
passing though all the beads worked through in components to a chain using jumprings or split
this step. Alternatively, you can leave this step rings through the beaded loops.
out to create a more open centre, as in the teal
and green version.

PROJECT

PROJECT
WILDLIFE
JAYNE
RIMINGTON
MJ108_P70-73 Wildlife SHLGSD.indd 70 25/05/2017 11:19

PROJECT
1 2 3
PHOTOGRAPHS: LAUREL GUILFOYLE, JAYNE RIMINGTON
4 5 6
HOW TO MAKE
S
ummer holidays are a great time to wear 1. Working from the spool using the 0.9mm the shapes together at the base, and cut wire
brighter colours teamed with statement wire, start to coil by making a loop using the when secure. Use chain nose pliers to separate
necklaces and accessories. If you have a round nose pliers. Then, using flat nose pliers, the coloured wires and round nose pliers to
stash of coloured wires then these projects give grip the loop and twist the wire around the make loops and flatten at base of the feather.
you the perfect excuse to put them together loop and continue by keeping the tension of
to create stunning pieces. Taking inspiration the wire until you have the size of coil required. 5. Make a series of seed bead dangles to
from exotic birds and fish, even with two or After approx. seven spirals of the coil (or until complement the wire feathers by cutting
three colours it’s possible to make something you have the size you prefer), use chain nose approx. 10cm of 0.3mm wire for each piece.
striking. Some previous experience of working pliers to make a bend in the wire above the coil. Use a stopper bead at the bottom of the wire by
with wire is helpful. Use chain nose pliers to pinch the bend and threading approx. 1cm of wire and twisting the
create a tip to the feather. short end together with the long end. Once the
MATERIALS & TOOLS stopper bead is secured, thread on seed beads
● 0.9mm (19 gauge) enamelled copper wire 2. Bring the wire around the shape again and until the desired length of dangle is reached.
(black, dark green, lime green, light blue, form a second bend above the first and use Using the round nose pliers make three loops
violet and dark blue) chain nose pliers to squeeze to a point. Repeat and then wrap beneath the loops and above
● 0.3mm (28 gauge) enamelled copper wire for a third time, then bring the wire down to the beads. Cut the wire and use chain nose
(black and dark green) the bottom and centre of the feather shape and pliers to tuck in the ends. Experiment by using
● Selection of seed beads in size 8 and size 11 make a bend downwards. Leave approx. 5cm different colours, shapes and combinations of
and farfalle shaped beads of wire and cut. To work-harden the feather seed beads.
● Czech glass spacer beads shape, gently hammer on the steel block.
● Druzy agate focal bead to 6. Lay out the wire feathers, beaded dangles
complement wire colours 3. Decide what other colours you wish to use and focal bead and measure how long you
● Chain nose pliers in your design. Make further feather and coil would like the neck wire to be. Cut the required
● Flat nose pliers shapes by repeating Steps 1 and 2 – and reduce length and allow extra to accommodate a clasp.
● Round nose pliers in size so that they can be displayed together Here a 60cm piece of 0.9mm wire has been
● Wire cutters in layers. used. At one end of the neck wire make a bend
● Steel bench block and wrap the short end against the neck wire
● Whammer or hammer 4. Place the layers of feathers and coils on top with 0.3mm wire. Cut and tuck the ends in.
(with slight domed face) of each other with the smallest on top. Using Using round nose pliers, make a fish hook clasp
Wire coiling gizmo (or mandrel) 0.3mm wire and working from the spool, wrap with the wrapped end.
▼

PROJECT
7 8
9 10
11 12
7. Using a mandrel or wire coiling gizmo, use Wire fish set

0.9mm wire and work from the spool to create
springs to cover the neck wire. Measure and 9. The fish are constructed in a similar way to
cut two springs for the required length either the wire feather shape. Start by making a coil
side of the wire feathers and beads. If you have for the required size from 0.9mm wire. For the
made more coiled springs than you need they outer shape make a bend at the top of the coil
won’t go to waste as they can be cut and used as as in Step 1. Use chain nose pliers to pinch into
jumprings. a point and then twist by a 45 degree angle.
This creates the mouth of the fish and a loop,
8. Assemble all the components of the necklace which allows for a jumpring to be attached.
and start threading on. Use a decorative
spacer bead to start and then add one of the 10. Use the chain nose pliers to bend the wire
coiled springs, followed by the beaded dangles around the outside of the coil and form a
and wire feathers. If the necklace is to be ‘T’-shape, which will become the fish tail. The
symmetrical then count out components and lay excess wire can be trimmed and looped to form
them out in the order they are to be threaded. an eye of the fish when bent back against the
Add the final spacer bead and make a wrapped coil. Shape the tail by using the chain nose
loop to finish the clasp and necklace. To make pliers, but leave the tail shape partially open to
earrings make up the feather components and allow for a jumpring.
attach an ear hook with a jumpring.
72 makingjeweller y.com 72

PROJECT
13
14
15
11. Decide on the quantity, size and colour of 14. Attach chain links to each other by placing
the fish required and attach the components the large loop inside the smaller loops and
using jumprings. Attach jumprings on the closing up the smaller loops with chain nose
mouth and tail section of the shape. To pliers. Ensure each link is facing the same way
complete the necklace, either use a ready-made so it will sit well when worn.
chain and a clasp, or make your own chain.
15. To create a toggle clasp for the chain make
12. Measure the chain length required. To an additional link slightly bigger than the rest.
create the chain links, use a mandrel of approx. For the toggle cut approx. 3cm of 0.9mm wire.
1cm and make a coiled spring. Each of the coils Make a small loop at each end with round nose
of the spring can be cut to make a jumpring. pliers and a further loop in the centre of the RESOURCES
Each jumpring can become a chain link by wire where a jumpring can be attached. Add the beadsdirect.co.uk
using round nose pliers and making a loop on clasp to the chain and the chain to each side wires.co.uk
the outside of each end. of the fish necklace. A bracelet can be made in
the same way as the necklace but on a smaller CONTACT
13. Using flat nose pliers, twist the loops at a scale, or make a chain bracelet and attach fireball-lily.co.uk
45 degree angle so they line up and squeeze the fish as charms with jumprings. To make facebook.com/fireball.lily
together. Use the round nose pliers to open up earrings make the fish components, attach with jaynerimington.com
the loops slightly, ready to attach. jumprings and add ear hooks. facebook.com/JRDesignerMaker

TIPS & TECHNIQUES
POLYMER CLAY
CABOCHONS SIAN HAMILTON
U
sing Polymer clay to MATERIALS & TOOLS
make your own cabochon
faux semiprecious stones ● Polymer clay
is really easy. You can acheive ● Gold-coloured foil
beautiful results and make them ● Old polymer canes
any shape you like with just a little ● Liquid clay
effort. One of my favourites is the ● Tissue blade
Abalone paua shell effect! You can ● Pasta machine
do this with any colour of clay as ● 25mm square cutter
it’s the metallic striations that ● Roller and thin acrylic rod
work well with this one. ● Telfon non-stick sheet and clingfilm
● Shaping tools like a doming block
● Fine grit sanding block
● Foil tray and bicarbonate
of soda
● Oven for baking
74 m aa kk ii nn g j e w e l l ee rr yy .. cc oo m
m m
MJ108_P74-79_Sian tech.SD.indd 74 31/05/2017 15:26

TIPS & TECHNIQUES
1 2 3
4 5 6
7 8 9
HOW TO MAKE
Making the cabochon blanks instructions. When baked, give the shapes a 5. Pull the squares apart; you don’t need to cut
quick sand-over with a sanding block. This will them as the foil will rip quite easily. Stack the
1. The first thing to do is make a bunch of scrap create a scratched surface for the fresh layer of squares with different colours together. It really
clay blanks. These will form the base that you polymer clay to adhere to. In this step picture doesn’t matter what order you stack in; just
place the faux stone effect sheets over, but it you can see that one shape is a teardrop. To make sure the colours are not the same ones.
will not be seen. To make the blanks, soften the make this kind of shape, first make a domed
scrap clay by either rolling it in your hands or cabochon and then press on either side with 6. Roll the stack to flatten it a bit and then
using a pasta machine. When the clay is soft and your fingers until it forms a nice teardrop shape. poke something like a pen or pencil or acrylic
malleable, pinch off as much as you need for the rod into it. It doesn’t really matter what
cabochon size you want. Roll the clay into a ball Abalone paua shell effect you use.
and press it into a domed shape. I use my doming
block to make cabochons as it’s got a wide range 3. Condition four different colours of polymer 7. Roll the sheet flat again and repeat Step 6.
of dome sizes. Use clingfilm between the clay clay. Roll them into sheets on the thickest setting You are trying to achieve a mix of layers.
and the doming block so you can get the piece of a pasta machine (about 2–3mm). Cut as many
out easily. If you don’t have a doming block, just 25mm squares as you can from each sheet with 8. Keep going until the foil has become mixed
press the shape against a flat surface and use the cutter. into the clay and the layers are broken up. Roll
your fingers to make it a nice domed shape. the sheet until it’s about 3mm thick.
4. Place the clay squares in a random pattern
2. As soon as you have the shapes you desire, on to a gold-coloured foil sheet and press them 9. Take a tissue blade and cut a sliver from the
▼
bake them following the manufacturer’s down so the foil sticks. middle of the sheet to check the effect.

TIPS & TECHNIQUES
10 11 12
13 14 15
16 17 18
10. If you are happy with the effect that the shell effect. Hold the roller at the end and use 16. To make flat-sided shapes, roll out sheets of
sheet is producing, then continue to cut slivers it to burnish over the sheet until the surface clay on the thickest setting of a pasta machine.
and place them on a non-stick sheet. If you don’t looks smooth. Cut and stack the sheets until you have a block
like the effect yet, keep rolling to combine the at the thickness you want. Place a sheet of
layers more. Cut as many slivers as you can from 13. Choose the cabochon blank you want to use Abalone effect on top and cut out your design.
the sheet. Keep spare pieces around to patch bits and make sure your sheet of faux abalone fits Here I’ve used a flexible tissue blade and cut out
and use on the sides of flat sided shapes. over the whole cab. Cover the domed side of the a long teardrop.
cab in a layer of liquid clay and place the sheet
11. Roll out another sheet of polymer clay at over the top. 17. If making fl at-sided shapes it’s nice to put a
setting No.3 or 4 (1.5mm) on a pasta machine layer of the same effect on the sides as they will
using one colour. The colour isn’t really going 14. Gently push the sheet against the shape show. For this you just need a few slivers (Step
to show much, but do choose a colour that until it’s covered the whole domed side. Check 10). Attach the slivers before you bake the piece.
matches. Lay the slivers from Step 10 onto this there are no air bubbles and cut off the excess
sheet, covering the whole sheet. with the tissue blade. 18. Though not essential, I like to bake polymer
clay on a bed of bicarbonate of soda in an old
12. Using baking paper and your roller, roll 15. Using an acrylic rod smooth over the foil food tray. I cover this tray with a sheet of tin
over the whole sheet to make the slivers stick. cabochon so the finish is as uniform as you can foil so the bicarbonate doesn’t blow around in
Do this gently as you want the clay to stick get it. Doing this now will mean you have to do the fan oven and it stops any smells of cooking
▼
together but you don’t want to stretch out the less sanding work on the piece after baking. polymer too!

TIPS & TECHNIQUES

TIPS & TECHNIQUES
19 20 21
22 23 24
25 26
Agate effect I rolled down to setting No.3 (about 1.5mm) and 25. This image shows the difference between
cut off half the sheet to make the cabochon on a cabochon made with the thicker agate effect
19. To start an agate effect, cover a cabochon the left in the Step 25 image. The other half of sheet (left) that’s rolled on the thickest setting
blank in a thin sheet of pearl clay. If your blanks the sheet I rolled down to setting No.7 (about and the one rolled on setting No.7 (right).
are made with a pale clay you can skip this step. 0.5mm). This is the agate effect and stretches the
coloured clay into striations. 26. Bake and sand the polymer cabachons as you
20. Chop up two different coloured clays into would normally. To create a satin sheen you need
tiny pieces using a tissue blade. This effect works 23. Rolling a sheet this thin makes it harder to sand using a very fine grit (like 800) and then
best if one clay is metallic. Here I’ve used gold to handle, but also makes a really nice effect. rub vigorously on a piece of old denim.
with red. To cover a cabochon blank (coat the blank
with liquid clay first), place the sheet over the
21. Roll out a sheet of translucent clay on the cabochon while it’s sitting on the work surface,
thickest setting on a pasta machine (about as it’s less likely to tear if you don’t handle it too
2mm). Scatter the chopped coloured clay pieces much. Press down the sides with an acrylic rod
over the sheet. to smooth it and get rid of any air bubbles.
22. Roll the sheet through the pasta machine 24. When you have pressed it down you can
at the same setting to bed the coloured clay then pick the cab up and make sure the sides are RESOURCES
in. Here’s where you can make a choice and smooth. The thin sheet can pucker up so you All tools and materials are widely available from
continue to make the sheet thinner if you wish. may need to press it down with the roller. advertisers in this magazine

1 2
Cabochon inspiration
1. Square, matt finish with a rounded pyramid dome

Translucent clay with mica powder and chopped old pearl clay cane
2. Round, layered Abalone effect, matt finish

Layer of plain clay sheet with Abalone sheet laid over with a flat top
and slanted edge
3. Long teardrops
Abalone effect with gold foil edge added before baking. Surface polished
to a satin sheen with a denim cloth
4. Domed teardrop
Agate effect using translucent clay with red and gold clays polished with
an electric mop to a high shine
5. Flat round pendant with cutout

Abalone effect top, cutout shape is a teardrop cutter, twisted at the points
using a pair of round nose pliers
4 5 79

SHOPPING
Making Jewellery
TOP 8
TROPICAL FLAVOUR
This month’s
must-have items
13 x 26mm Fuchsia AB Sparkly Resin Marquise for your jewellery kit. Wood Flower Beads, £2 per pack of 50
Flatback Cabochon, £1.79 per pack of 10
beadsdirect.co.uk
By Sue Mason-Burns she-beadz.com
Fimo Soft Tropical Green 28mm Antique Gold Bird 8mm Round Cat’s Eye Glass Beads,
56g Polymer Clay Block, £1.79 Perch Charm, 15p each £5.50 per 40cm strand
cooksongold.com bigbeadlittlebead.com beadhouse.co.uk
Shibori Silk Ribbon Tropical Czechmates 2-Hole Tile, Neon Shimla Bracelet Kit,
Pink Borealis, £2.08 per 10cm Electric Blue, £4.24 per 9g tube £12.95
i-beads.co.uk potomacbeads.com spellboundbead.co.uk
MJ108_P81_Top 8 SHLGSD.indd 81 30/05/2017 12:47

PRODUCT TEST
EFCOLOR
COLD ENAMEL KIT
This month, Sue Mason-Burns tests a very clever
and simple way to add enamel to your designs.
THE PRODUCT WHAT ELSE YOU WILL NEED? option of firing the pieces in your oven if you
The Efcolor Cold Enamel – Complete Starter Set There is nothing else you will need in order to have a lot of pieces to fire. You just need to be
from Metal Clay Ltd provides everything you use the kit. aware that if you have a fan oven, this won’t
need to apply enamel to your jewellery pieces. work because it will blow the enamel powder
The powders can be fired in a normal oven at CAN IT BE ADDED TO? away. All in all, it really couldn’t be simpler.
just 150°C, but also included with this kit is There is a vast array of other products to
a brilliant little stove that is heated by three complement this set, including copper blanks OVERALL SCORE
tealights, which does the job to perfection. and a dizzying array of enamel powders. As well I couldn’t really fault this kit. The little stove
as a huge range of colours, Efcolor also produce is brilliant and made the whole process very
WHAT IS INCLUDED? powders that give different effects. My favourite simple. Applying the powders couldn’t be
This very generous kit includes an Efcolor are the textures and there are also glitter easier and you can keep applying more powder
stove, three tealights, a firing plate, a firing powders available. to achieve different effects or even if you’re
stand, a pair of tweezers, two U-shaped bars not happy with the original result. If you’re
(holds your piece while sifting the powder on); IS IT VALUE FOR MONEY? looking for a way to add unique effects to your
an Efcolor extra tool set with a large and small This kit is extremely generous, giving you jewellery pieces, then you can’t really go wrong
U-strip, firing stand and a spatula; at least five everything you need to make many pieces of with this kit.
copper blanks, five 10ml enamel colours and jewellery – you will find yourself looking for
five small sieve tops. things to apply enamel to. Each piece only SCORE
uses a small amount of the powder, so a 10ml
HOW GOOD ARE THE bottle is plenty. You can also save on wastage ★★★★★★★★★★
INSTRUCTIONS? by making sure to return any unused enamel
As well as the comprehensive full-colour powder to the bottles for use in other projects. COST
illustrated instructions that come with the £34.50
Efcolor stove set, Metal Clay Ltd have a very HOW EASY IS IT TO USE?
helpful video tutorial on their website to help It’s actually quite astounding just how easy
you get started. The printed instructions also this kit is to use. The little stove does a brilliant
include hints and tips to help you get the best job of heating the pieces up to the right RESOURCES
out your designs as well as ideas for how you temperature to achieve a smooth, enamelled metalclay.co.uk
can progress with other products in the range finish. In fact, I was surprised at how much [email protected]
once you have mastered the basic skills. heat the tealights provide. You also have the 01929 554771
MJ108_P82-83_Product Test SHLGSD.indd 82 25/05/2017 11:23

PRODUCT TEST
1 2 3
4 5 6
7 8 9
10 11 12
1. The Efcolor Starter Set 2. The full kit 3. Heating up the tealight stove 4. Preparing a blank
5. Adding a sieve top 6. Sprinkling the enamel powder 7. Preparing to fire 8. Checking the progress
9.The fired piece 10. Removing from the stove 11. Cleaning up 12. Adding effects
MJ108_P82-83_Product Test SHLGSD.indd 83 25/05/2017 11:23

PROJECT
GOLDEN
EARRINGS SIAN HAMILTON
U
se your free Preciosa seed beads to
make these really quick and easy
earrings. You just need a few supplies
and about 30 minutes to complete them.
MJ108_P84-85_Preciosa.indd 84 30/05/2017 15:04

PROJECT
1 2 3
PHOTOGRAPHS: SIAN HAMILTON
4 5 6
HOW TO MAKE
MATERIALS & TOOLS 1. Cut a 30cm length of nylon-coated wire, this 4. You can manipulate the two loops as long as
● Preciosa Free beads will give you a good amount of wire to play you are careful not to kink the nylon-coated
● Gold-coloured nylon-coated wire with. Thread on as many beads as you wish, I wire. When you are ready add a calotte with the
● 2 x gold-coloured crimp beads used 18 on the smaller loop. Feed on a crimp crimp bead sitting inside the calotte cup. Press
● 2 x 50mm gold-coloured headpins bead and bring the opposite end of the wire the calotte closed over the crimp.
● 2 x gold-coloured calottes through the crimp bead from the other side.
● 2 x gold-coloured jumprings 5. Make two earwires using the 50mm
● Crimping pliers 2. Thread more beads onto one of the wire headpins. Hold the headpin in the very tip of
● Flat nose or chain nose and round nose pliers ends. For the larger loop I used 25 but you can round nose pliers, right up against the flat end
● Side cutters use as many as you want. When you have an of the pin. Wrap the wire around the plier jaw
many beads on the wire as you desire feed the until the flat piece meets the pin. Then make
wire through the crimp bead again from the the whole wire into a U shape. This can be done
opposite side again so you make a second loop. with bailmaking pliers or by wrapping the pin
around a pen.
3. Play around with the size of the loops until
you are happy with how they look. One should 6. Pick up a jumpring and attach the loop on
sit inside the other. When you have them where the calotte and the earwire. Close the jumpring
you want them to sit, hold onto the wires at one to finish. Make a second earring in the same
side of the crimp and with the crimping pliers way keeping an eye on the wire loops to make
carefully crimp the bead in place. sure it’s a matching pair.
MJ108_P84-85_Preciosa.indd 85 31/05/2017 13:00

PRODUCT REVIEW
ESSENTIAL TOOLS
This month we bring you a roundup of those essential
tools you need to get the job done. By Sue Mason-Burns
n-Burns
STORE IT
Beadalon are at the forefront of products that help you
organise your workspace. The Beading Station has two
wooden dowels to give easy access and storage for all
of your beading tools, hooks allow you to store strung
beads, or play around with different colour combinations,
another wooden dowel in the bottom provides space
to store and dispense spooled materials, two trays hold
supplies, findings or even projects in progress. This space-
saving wonder will cost you around £37. For beading on
the go, or just a convenient place to keep your bead stash,
this tough poly-nylon case contains five storage boxes with
moveable dividers, which helps keep beading materials
organised. Zips along the top and down the front make
for easy access to the boxes. Extra pockets on each side
and at the back allow for storage of tools, spools and other
equipment and supplies. A detachable, adjustable carrying
strap makes travel easy, all for around £30. These handy
eight compartment storage rings make storing beads or
findings a breeze. Keep all the colours together, use it as
a colour wheel, or keep all your jumprings together – the
possibilities are endless. Each compartment features a
sturdy lid and the storage rings stack easily, snapping into
place. A single storage ring costs around £3.
beadalon.com
HAMMER IT
The array of hammers available from Cooksongold is quite dizzying,
they have a hammer for every job you can think of. Here are just a few.
The rawhide mallet comes in a range of sizes and weights, depending
on the job at hand. It is perfect for those jobs where you really don’t
want any tool marks. Prices start at around £11 for the range of rawhide
mallets. The trusty ball-pein hammer is a versatile tool that covers a
wide range of jewellery making tasks. It is a workshop must have. This
hammer is made by Vintaj and sells for just under £6. For a smooth and
flawless finish, you need the services of a planishing hammer. This heavy
planishing hammer is from the value range and costs £19.80.
cooksongold.com
MJ108_P86-87_Product Review SHLGSD.indd 86 30/05/2017 12:47

PRODUCT REVIEW
LEARN IT
Established over 14 years ago, Flux ’n’ Flame Jewellery school
has evolved to become the thriving, exciting and wonderfully
creative centre for jewellery learning it is now. Owners Jesa
and Al Marshall are professional, award-winning jewellery
designers and with their expert team of tutors deliver fun,
relaxed and informative classes and courses throughout the
year. Jesa and Al are truly passionate about jewellery and
design and inspire others with their enthusiasm. Whether
you’re a beginner or more experienced you’ll find their
courses will help you along with your jewellery making
skills and inspire you with new ideas and exciting new
directions. At Flux ’n’ Flame you can find one, two and
CUT IT three-day weekend courses as well as their ever-popular
If you’re looking for a stylish but practical pair of scissors for all your six-day annual Summer School in July and regular
thread-based crafts, then look no further than these Pink Fleur weekly classes running throughout the year. Course
embroidery scissors. The superfine tip makes them ideal for intricate and prices range from £115. If you’d like to see some
detailed work. They give a clean and precise cut every time, making it of the results of these great courses, check out
easy for you to thread your needle or finish your designs professionally. their website or for the latest pieces follow Flux
The scissors come in a protective sleeve for safe storage and are priced ’n’ Flame Jewellery School on Facebook.
at £4.79. The Beadalon snipper tool is designed to give your pieces of fluxnflame.co.uk
jewellery that professional look. The tool is perfect for precision work
and is easy to use. It is ideal for using when restringing pearls and other
beads. The curved scissors are also great for cutting threads when doing
seed beadwork. The tool features a protective cap to the cover the blade
when it is not being used. This nifty tool is a snip at £2.48. The Beadalon
Wildfire cord cutter is a battery operated tool to help you finish cord
ends. Simply press the button on the tool to heat up the end and then
touch this to the end of your cord to trim, burn or melt your cord with
one touch. By doing this it reduces the risk of your thread fraying and
makes for a stunning professional finish too. This tool is priced at £9.97.
beadsdirect.co.uk
STICK IT
Each jewellery making job needs a specific type of glue and Bead
House stock a very broad range of glues for every job you can think of.
The E6000 is an industrial strength, multipurpose adhesive, great for
adhering metals, glass, rubber and plastics, which makes it ideal for most
jewellery making tasks. It can also be used to secure leather cord into
cord ends. It dries clear and is waterproof and flexible. A 29.5ml tube
costs £4.65. If you’re not quite sure which adhesive is best for the job at
hand, why not try out this sampler multipack? It contains four tubes
of different adhesives including Amazing Goop, Quickhold, E6000 and
Amazing Goop Craft. Each tube contains 5.3ml of adhesive and costs
£5. Also available from Bead House is G-S Hypo Cement, a very popular
and versatile adhesive. This clear cement comes in a tube with a very fi ne
applicator, allowing precise application. This is the cement most beaders
use to secure end knots inside knot covers, to fasten half-drilled gems
and pearls onto pincups and up-eyes, and to just generally stick small
things to each other. A 9ml tube costs £5.
beadhouse.co.uk
MJ108_P86-87_Product Review SHLGSD.indd 87 30/05/2017 12:47

DISCOVER A WHOLE RANGE OF JEWELLERY MAKING SUPPLIES
BEADHOUSE.CO.UK
G E T 2 5 % O F F YO U R F I R S T O R D E R
USE PROMO CODE
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BEADHOUSEUK
W: www.beadhouse.co.uk E: [email protected] T: +44(0)1484 485111
Bead House, Quarmby Mills, Tanyard Road, Oakes, Huddersfield, West Yorkshire, England HD3 4YP
088_MAJ_108.indd 88 5/25/17 9:41 AM

NEXT
MONTH 70
PROJECTS
& IDEAS
IN THIS ISSUE...
Wirework, beading,
polymer clay, metal clay, ON SALE
and much more 20 JULY
MJ108_P89_Next Month SH.indd 89 25/05/2017 11:25

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BLOG
IT’S A
JEWELLER’S
LIFE
18-carat rose and yellow gold
We share life behind the scenes with blogger Anna Mcloughlin, who is
a gold and silversmith with a passion for using environmentally friendly
and ethically sourced materials in her designs.
T
his month’s blog is inspired by a between the other metals so I thought I would there’s a third type of gold that I’m going to
question I often get asked at wedding at least try to use this month’s blog to explain talk about too. Rose (or red) gold seems, at the
fairs and events: ‘Why has my white gold things a little bit... In the UK, any gold that you moment anyway, to be just as popular, if not
gone yellow?’ buy is an alloy of gold and a selection of other more, than white gold. It’s funny how fashions
The answer is usually that it hasn’t actually metals. This is because pure gold is far too soft change, as 100 years ago, it would have to be
gone yellow, just its natural creamy white for jewellery making, so it has to be mixed with yellow, then white became popular, and at the
colour. The reason for this is because most things like copper and silver. The 375 mark moment rose gold seems to be the colour that
white gold that is sold by the big name high on 9-carat gold tells you that only 37.5% of the everyone wants! Maybe this is down to how
street jewellers has been plated in another metal that you call gold is actually pure gold. popular anything vintage has become. I’m not
metal called rhodium. In 18-carat, there is 75% pure gold, hence the quite sure why, but rose gold does really seem to
There may be a couple of reasons why 750 mark. Copper and silver, on their own are fit with the romance of the theme.
jewellers do this. The first, I think, is a bit of a harder metals than pure gold, so, the more gold, Rose gold also has the advantage of being a
naughty one (but for some reason, one that is the softer (and more expensive) the metal. little tougher than yellow gold due to the high
strangely allowed) in that sometimes, jewellers That’s the case for yellow gold anyway. amount of copper in the alloy, as this is what
will rhodium-plate standard yellow gold, and White gold is where it all gets a bit confusing gives it the pink colour. It does come with a
sell it as white! I guess this is down to cost, and the ‘toughness’ is reversed! White gold is disadvantage though, and that is the fact that
as yellow gold is a tiny bit cheaper than white usually a mixture of pure yellow gold, silver and if you suffer with metal allergy, you might find
anyway, but it would likely be much cheaper to depending on the particular alloy, palladium that anything with a high copper content might
cast thousands of an item in just the one type or platinum. 9-carat white gold will have a lot irritate your skin.
of metal, then rhodium-plate the ones they more silver in the mix, whereas 18-carat will So, there’s another couple of metals to go,
want to sell as white gold. use the much more expensive palladium or that I’ve already mentioned and that often get
The second is the fact that in my experience, platinum. As these are much harder metals confused as the same one – platinum
at least, lots of people think that all ‘white’ than silver, an 18-carat alloy will usually have and palladium.
metals are the same colour, so maybe jewellers a higher melting point and be a fair bit harder Platinum is the hardest metal and is regarded
plate their white gold to avoid confusion over than 9-carat. Because 9 and 18-carat white gold as the most precious because it’s the rarest.
all the different colours and carats. Personally, are essentially two completely different alloys, This also makes it the most expensive. Lots of
I love the fact that all of the metals are slightly the colour is quite different too, with 9-carat more traditional stone set rings have a good
different colours as it gives so many more having a kind if milky colour and 18-carat band, or shank, with just the stones set in
design possibilities! being a darker grey that is closer to platinum. platinum. Its colour is similar to 18-carat white
I also often get asked about the difference Now, if that hasn’t confused you enough, gold in that it’s naturally a dark grey, although
MJ108_P92-93 Blog SHLGSD.indd 92 25/05/2017 11:27

BLOG
METAL ADVANTAGES DISADVANTAGES

Sterling silver (925) Extremely malleable and the Easily discolours (oxidises), can
Cost: £ cheapest precious metal, good for cause an allergic reaction in some
Toughness: •• learning silversmithing. people.
Fine silver (999) Can be too soft, very prone to dents
Extremely malleable, less likely to
Cost: ££ and scratches, more expensive than
cause allergies than Sterling.
Toughness: - Sterling silver.
9ct Yellow Gold (375) Light yellow, can be associated with
The cheapest type of gold,
Cost: £££ cheaper gold jewellery, feels less
hardwearing, but still malleable.
Toughness:••••• ‘precious’ than 18ct.
18ct Yellow Gold (750)

Darker, more expensive looking Expensive, prone to marks and
Cost: £££££
colour, easy to work with. scratches.
Toughness: ••••
9ct Rose Gold

Malleable and a little more
Cost: £££ Not hypo-allergenic.
hardwearing than yellow gold.
Toughness: ••••••
18ct Rose Gold
Still quite malleable and a little more
Cost: £££££ Expensive, not hypo-allergenic.
hardwearing than 18ct gold.
Toughness: •••••
9ct White Gold Some expect the colour to be
Very malleable and easy to work
Cost: ££££ ‘whiter’, fairly soft and prone to
with, much cheaper than 18ct.
Toughness: ••• marks and scratches.
18ct White Gold Harder than 9ct white gold, feels
Expensive, can be a little more
Cost: ££££££ more ‘precious’, lovely darker grey
difficult to work with than 9ct white.
Toughness: ••••• colour.
Palladium Hypo-allergenic, hardwearing,
More difficult to manipulate and
Cost: £££££ much cheaper than platinum and
work with.
Toughness: ••••••• difficult to tell the difference.
Platinum The rarest precious metal so the Very expensive and more difficult to
Cost: £££££££ most valuable, very tough and work than gold or silver.
Toughness: •••••••• hardwearing, hypo-allergenic.
like white gold, sometimes jewellers will

rhodium plate it.
Palladium is the newest of all the precious
metals and has actually only been classified
as one for about the last 100 years. To be
honest, it’s pretty difficult to tell the difference
between palladium and platinum. It’s from
the same family of metals and behaves in a
very similar way, with one big advantage –
cost! Palladium currently slots into to price
ladder somewhere just behind 18-carat gold. I
read somewhere recently that both platinum
and palladium are difficult to resize and will
almost always leave a mark when soldered.
Well, I’m really glad I didn’t know this when I
made my fi rst palladium engagement ring, or
I may have told that particular client that it
wasn’t possible to make it! Yes, they are both a
little more difficult to manipulate than a soft
metal like silver, but to be honest, I’ve resized
and soldered loads of rings now without
leaving any signs. You can’t always believe
what you read online!
So, to sum up, because just writing this has
left my brain feeling about frazzled, I’ve made a
little table that will hopefully be helpful to you
the next time you’re buying precious metal to
make a piece of jewellery. From top: 9-carat white gold; 22-carat yellow
Find out more about Anna’s jewellery at and platinum (unfinished); Palladium; Sterling
Metal colours
annafinejewellery.co.uk silver and 9-carat gold ring
MJ108_P92-93 Blog SHLGSD.indd 93 25/05/2017 11:27

TIPS & TECHNIQUES
BASIC TECHNIQUES
HOW TO MAKE A WRAPPED LOOP
1. Thread a bead onto a head or 2. Bend the wire above the plier 3. Move the plier jaws to sit at the 4. With your thumb push the wire
eye pin. Grip the wire with round jaw to a right angle. You will need top of the bend. back around the pliers, keeping it
nose pliers next to the bead. about 2mm of wire above the bead tight to the jaw.
before the bend.
5. Keep pushing the wire around 6. Move the pliers around the 7. If attaching the loop to a chain 8. Wrap the wire around the neck
the jaw until you meet the bead. loop and continue to bend the this is the stage to do that. Use a of the loop until it meets the bead.
wire around until it is facing out pair of chain nose pliers to hold Snip off any excess wire and push
at a right angle and you have a across the loop firmly. the end against the coil to finish.
complete loop.
MAKING A SIMPLE LOOP
PHOTOGRAPHS: SIAN HAMILTON
1. Thread the bead onto a head or 2. Using round nose pliers, grasp 3. Roll the wire around to meet 4. Use chain nose pliers to tighten
eye pin and cut the pin about 1cm the wire at the very end and curl it the bead. If it does sit centrally the loop by twisting it from side
above the bead. Bend the wire to a around the plier jaws. move the plier jaws around the to side. Do not pull it outwards as
right angle above the bead. loop to sit by the bead away from that will distort the shape.
the open end. Bend the loop back
to sit directly above the bead.
MJ108_P94-95 Basic Techs SH.indd 94 25/05/2017 11:27

TIPS & TECHNIQUES
USING JUMPRINGS CRIMPING A BEAD ADDING A COVER MAKING AN EYE PIN

Always make sure you follow this To show this process clearly it is Crimp covers make your finished Make your own eye pins using
guide and don’t pull jumprings being shown without using thread; jewellery look more professional 0.8mm (or 0.7mm) wire. You can
apart as they can easily distort. the thread or wire should be inside and clean. use 1mm if you need strong pins.
the bead.
Take a jumpring in two pairs of Hold the crimp bead in the pliers Take a crimp cover and place it Take the very end of the wire in
pliers with the opening centred at with the bead sat in the hole that over the crimped bead, making round nose pliers. If the wire is
the top. has a round side opposite sure the bead is completely inside quite hard it may slip out of the
a ‘W’ shape. the cover. pliers, so start the loop about 2mm
in and snip off the straight piece as
you make the first curve.
Hold the jumpring either as shown Before closing the pliers, check Take a pair of chain or flat nose The shape you want to create is a
in the step above or this step. that the bead is sat straight. When pliers and carefully grasp the cover. P. The advantage to making your
you close the pliers the thread Gently press the cover closed. own eyepins is that you can make
should fall either side of the bend. the loop any size you need.
Whichever way you hold the Move the ‘U’ shape crimp to The finished bead should be closed To finish the pin so the loop sits
jumpring, the opening motion is the other hole with two round into a perfect bead shape. Nylon centrally on the wire, take the
the same. Twist one hand towards sides. Turn the crimp so the ‘U’ nose pliers do this job very well as round nose pliers and place them
you and the other hand away; faces sideways, press the pliers they won’t mark the cover. where the round P shape meets the
never pull apart. Reverse the closed tightly. wire. Press the wire back against
action to close. the pliers until the loop is centred.
MJ108_P94-95 Basic Techs SH.indd 95 25/05/2017 11:27

TIPS & TECHNIQUES
BASIC TOOLS
TYPES OF PLIERS
ROUND NOSE CHAIN NOSE (SNIPE) FLAT NOSE

These are a must-have for a basic kit. When Also called half round, these are the most Similar to chain nose, these pliers have a wider
making jewellery, being able to create loops and versatile. They are used for many jewellery jaw that is completely flat. Good for holding
rings is essential. applications, so are another must-have for the jumprings/findings as the wide jaw grasps a
basic kit. large area.
NYLON NOSE BENT NOSE BAIL MAKING

Another similar style to flat nose, these pliers Used for getting into small tricky spaces where These pliers have fixed sized jaws, with each
have jaws that are covered in nylon to stop a straight nose pair cannot reach. jaw being a different size, usually with a 2mm
them marking the metal. difference (such as 3mm and 5mm). They come
in a wide variety of sizes and are great if making
a lot of the same size jumprings or coils.
CRIMPING CUTTERS/SNIPS MEMORY CUTTERS

These pliers are used with crimp beads. If you These pliers are also called side cutters. They Used exclusively for cutting memory wire. If you
want to have a nice finish to your crimping come in a vast range of prices and styles. Be are going to use memory wire you must invest in
then these pliers are a good investment. careful what you cut as they can blunt easily if these; the wire will damage standard cutters.
used with hard or large dimension wire.
MJ108_P96 Basic Techs SH.indd 96 25/05/2017 11:32

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OBC_MAJ_108.indd 1 6/1/17 2:55 PM

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Jewellery MAKING FREE BEADS!

MAKING JEWELLERY • SUMMER 2017 • ISSUE 108

The UK's best jewellery magazine

Silver clay, £5.99

MJ108 Cover 03 SH.indd 1 31/05/2017 15:20

Views and comments expressed

MJ108_P01_Ed's Letter SH.SD.indd 1 30/05/2017 12:13

20 COLOUR & STYLE

92 IT’S A JEWELLER’S LIFE

74 POLYMER CLAY CABOCHONS

MJ108_P02-03_Contents SH.indd 2 25/05/2017 14:40

28 BRICK STITCH BEADS

45 TROPICAL COLOUR SPIRALS

52 CRYSTAL PEACOCK BROOCH

MJ108_P02-03_Contents SH.indd 3 30/05/2017 12:15

Jewelry Display Boxes

John Bead Cor poration

004_MAJ_108.indd 4 5/25/17 9:36 AM

JEWELLERY TALK News, reviews and all the gossip

MARKS & SPENCER PRESENTS

JUNE AUGUST OCTOBER NOVEMBER DECEMBER

MJ108_P05-07_News SHLGSD.indd 5 25/05/2017 10:34

JULY AUGUST SEPTEMBER

25 JULY – WEST SUSSEX 6 AUGUST – SCOTLAND 9-10 SEPTEMBER – COTSWOLDS

18-20 AUGUST – SCOTLAND

MJ108_P05-07_News SHLGSD.indd 6 25/05/2017 10:35

MASTER METAL CLAY ONLINE

Your Essential Jewellery WORKSHOPS WITH METAL CLAY LTD IN

MAKE YOUR OWN FINE SILVER TWIG RING

MJ108_P05-07_News SHLGSD.indd 7 30/05/2017 12:23

MATERIALS & TOOLS

MJ108_P08-11_Paradise Suite.indd 8 25/05/2017 10:36

MJ108_P08-11_Paradise Suite.indd 9 25/05/2017 10:36

MJ108_P08-11_Paradise Suite.indd 10 30/05/2017 12:29

MATERIALS & TOOLS

MJ108_P12-17_Vice Weave SHLGSD.indd 12 25/05/2017 14:42

MJ108_P12-17_Vice Weave SHLGSD.indd 13 25/05/2017 14:42

MJ108_P12-17_Vice Weave SHLGSD.indd 14 25/05/2017 14:42

MJ108_P12-17_Vice Weave SHLGSD.indd 15 25/05/2017 14:43

MJ108_P12-17_Vice Weave SHLGSD.indd 16 25/05/2017 14:43

YOU CAN MAKE IT, 2017

satisfying to make. next year; would Metal Clay do this again?

MJ108_P20-21_Tropical C&S SHLGSD.indd 21 25/05/2017 10:41

NATURE INSPIRED DEBBIE KERSHAW

MJ108_P23-26_Paradise SHLGSD.indd 23 25/05/2017 14:44

Hummingbird brooch are some very good décopatch varnishes that

MJ108_P23-26_Paradise SHLGSD.indd 24 30/05/2017 12:31

MJ108_P23-26_Paradise SHLGSD.indd 25 25/05/2017 14:45

in the butterﬂy with permanent paint markers.

14 15 Wire butterﬂy ring

13. Use the steps from the butterﬂy necklace

MJ108_P23-26_Paradise SHLGSD.indd 26 25/05/2017 14:45

MATERIALS & TOOLS

MJ108_P28-32_Brick stitch SHLGSH.indd 28 31/05/2017 12:55

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

1. Wrap 0.8mm wire four times around a

2. Slide the wire oﬀ the former and cut oﬀ two

3. Bend the very tip of the wire so it’s nearly a

4. Now bend the other end of the coil using

5. Cut a 100cm length of Fireline and tie one