Custom Pendant Design Update

Hello Jewelry Aficionados!

Here are some photos showing the process I used to create the pendant I designed in the last post.

This first one shows the pattern cut out of paper and laid on the silver sheet. I then used a fine point Sharpie Marker to transfer the design. Then, so the design wouldn't be lost with finger smudges, I took an awl and scored along the line, making a permanent mark in the sterling.

I then carefully cut out the shape using a jeweler's saw. I'm always surprised by how quickly this process actually takes. One would think that it would take lots of time and several saw blades, not to mention sore hands, but since sterling is relatively soft, it cuts right through.

The piece as soon as it is free. You can see where I started each of the cuts. Try to keep these to a minimum, as you can see there is extra metal that now has to be filed away (and wasted) at each of those points (the bottom especially).

After using my handpiece with green stones and white rubber wheels along with a variety of different files, here is the smoothed piece, ready to be knocked around a bit with my hammer. Right now it is very 2-D, and the design calls for a more 3-D shape, so I need to not only hammer in the texture, but I need to form it into a rather complicated curve.

I say complicated curve because each one of the arms is curved and domed, as is the piece as a whole. I ended up hammering on my former models as well as an old 2x4, working to end up with the *PERFECT* shape.

The next step involved soldering on all the settings for the stones. I used premade settings. There are three sizes of bezel cups, and 3 snap settings for 4mm CZ's. The trick was to set them successfully without melting the cups. Since the pendant base is large and relatively thick, it acts as a pretty significan heat sink, so it has to be heated thoroughly before any flame is directed onto the settings, or they will melt in no time.


After a couple of hours in the pickle pot, the oxidation from the soldering process is gone, leaving a matte finish . It's now ready to set the stones.

The onyx cabochons are set in their cups waiting to be set. The edges of the bezel cups had to be shortened somewhat so that there wouldn't be a lot of metal showing. Also, since I used high-domed cabochons, they were pretty steep, which would have made it difficult to bend/fold over that much metal without it creasing on itself and looking unsightly.

After a nervewracking afternoon of cutting, setting, and a whole lot of polishing (I heard somewhere that the amount of time spent on polishing usually ends up being equal to the amount of time spend on everything else. I agree.), the pendant ended up a success. Next step? The earrings.

Stay tuned.

Peace! Pastel Guy

Jewelry Tutorial Part II

In the last Jewelry Tutorial, the materials, cutting, bending ("forming"), and hammering ("planishing") were covered in detail. This time, we'll finish those bad boys and get them posted (by the way, they're already sold - they sold within 24 hours of being posted on Etsy, and are on their way to New Jersey!).

Here you can see how I use my acetylene torch to gently warm the metal from the earring side, since the jump rings are made from 18 gauge silver wire, and heat up much faster. Goodness knows I've melted many a jumpring trying to solder them on! Once the flux has finish bubbling, and had become the gooey mass that I use to hold the two silver pieces together, I use my titanium pick to pick up a piece of medium wire solder, which I then lay at the joint. If you do it right, the solder should melt right into place within about a second of you putting it down.


Once the soldering is finished, the earrings look like a terrible mess - all black and raggedy. So, they then go in the pickle pot - a cheap crock pot filled with pickling solution, which is actually an acid, I believe. If the solution is hot enough, then the fire scale and tarnishing comes right off. I took this picture as soon as I dropped them in, and they are already back to their silver color. Using copper tongs, I take them out and rinse them well in the sink. Next step is polishing.


However, before I started polishing, I notice that there's an unsightly corner sticking out where the ring is soldered to the body of the earring. Using my handpiece and a white rubber wheel, I take off the offending silver in no time. I find this to be faster and more efficient than a file, even though I think you're supposed to use a file. My years as a dental technician (where I was wedded to the darn handpiece!) made me prefer it over the more traditional tools.

OK, my handpiece is my tool of choice unless I'm polishing. Once I started silversmithing more frequently, I investing in this polishing lathe which I LOVE! It make polishing a snap, and was worth every penny. I use the black/fine final polishing compound so that I don't take off the hammering marks. It makes my fingers black, and it sprays up onto my face and head, but that's OK.



Once the polishing is completed, the earrings are looking like a finished product! All that's left now is a bath in ammonia, which dissolves the polishing compound. I swirl them around in there, fish 'em out with an old toothbrush, and give them a scrub. They're now sparkly clean!

The last step before they are wearable is to attach the earwire. Remember to open them sideways, keeping the shape of the circle intact. Otherwise, the loop will be (or could be) messed up when you close them. I use premade earwires, simply because it's easier. If I'm taking this much time to make a pair of earrings which I then sell for a wing and a prayer, then this is the corner I'm choosing to cut.


And there you have it. A unique pair of earrings that actually made that meeting worthwhile!

I hope you have enjoyed this little look into my studio, and into the steps that go into making the jewelry for sale in Studio 206. Please let me know of any comments, questions, or requests for future installments.

Remember, most of my work is one-of-a-kind, and so I love to do custom pieces. Contact me if you're having a wedding or big occasion soon!


Thanks,

Pastel (and whatever) Guy
http://www.matthewweld.com/ - pastels
http://www.studio206.etsy.com/ - jewelry for sale

Jewelry Tutorial Part I

I am asked all the time how I come up with the designs for my jewelry. Then there are tons of questions on how it's actually made. Therefore, today and Tuesday will be dedicated to showing you how I do it.

It all starts with a concept drawing. This particular idea came from doodles I made during a meeting at work (sorry Doug!)


These are all the tools and materials I anticipate using for this project. I've never made these before, so as I'm photographing, you'll see that not all are used, and the end product ends up looking slightly different than the original design. The square is used to measure the wire (14 guage sterling). Starting from the bottom left, there's the ring former pliers (one side is curved, the other flat to help curve wire evenly), chain nose pliers to make the bends, wire cutters, parallel pliers, forming hammer and steel block, the coil of wire, and needle nose pliers and another set of junker wire cutters that I don't mind cutting larger gauge wire with since they are already messed up.

Next, I measure the wire into 3-inch (7.2 cm) lengths, and cut them with the junker wire cutters. 14 gauge wire is right there on the border of being too thick for nice wire cutters - you don't want the blades to get nicked (like the ones on these cutters!).

Then, I start bending the wire, using the drawing as a pattern. I bend the top with my chain nose pliers, and the main curve at the bottom around a Sharpie marker. I have found that all curves should be bent around something to make sure they are smooth. I've used nails, drill bits, pieces of wooden dowel, welding rods, and whatever else is lying around my garage.

Once the shape is set, and they both match each other to the best of my ability, then it's time to hammer out the curves. I make sure to hammer the mirror images, so that the indentations from the hammer will be seen on the correct side. Just like with calligraphy, the widest part of the curve will be flattened to make it wider. This hammer has two heads. I use the flatter, metal forming head to do the initial shaping. Starting on the outside of the curve, I hammer, working toward the bottom of the curve, making sure to bring the follow through of the stroke in the direction of what will be the widest part. Once the shape has been established, then I use the rounded side of the hammer to create the texture that gives the final product a sort of sparkle, similar to faceted gemstones. Be sure to hold the shape with your other hand, because curves have a tendency to widen as they are hammered. And as metal is formed, it will harden. All this means that you can't rebend a curve once you've finished hammering.

The next step is soldering. This photo shows the earrings with the jump rings lying on my soldering pad. If you look closely, there is a blob of flux at the junction. Using my titanium soldering probe and acetylene torch, I will slowly warm the metal from the earring side, since that is the thickest metal, and will absorb the heat the slowest. Once the flux melts, it will act as a sort of glue, holding the two pieces together.

In the next blog (day after tomorrow), I will show you the soldering photos along with the polishing pictures and the final product. Once you make it through the soldering, the rest is just standard procedure - in other words, nothing will go wrong (although I have bent stuff during polishing with the lathe...!)

Until tomorrow,

Pastel (and whatever) Guy

www.matthewweld.com - pastel paintings

www.studio206.etsy.com - jewelry like this for sale