Bizuteria kurs Jewellery handmade jewelery jevelery kolczyki bransoletki naszyjniki koraliki(CRAFTS)_An_Insider_Look_at_Jewelry_Making_and_Beading_Chapter_1 (25).pdf

intermediate

metal clay

Serpentine Splendor

technique brings form and flexibility to this metal-clay bracelet

by Gretchen Amberg

jewelry. Unfortunately, flexibility can also invite jewelry to

slump and appear stretched out of shape. Not so with this

beautiful piece! The aventurine-adorned elements in this metal-clay

bracelet are connected by ordinary wire cables; however, the secret

to achieving formed flexibility is the addition of sterling coil. This

slinky, springlike material is hollow and, when slipped over the wire

cables, brings flexibility, comfort, and attractiveness to the piece.

Straight tubing and metal clay act in concert to form tracks on the

back of each metal-clay element, allowing the cables to slide

through and join the elements with ease.

Purchase sterling coil in custom

lengths from most large jewelry-

making supply companies.

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An innovative connection

F lexibility is a comfortable quality to give nearly any piece of

materials

■ Metal clay: 2 or 3 16g packages,

depending on size of elements

■ Metal-clay slip

■ 7 fine-silver bezels, sizes of your

choice

■ 7 stone cabochons, sized to fit bezels

■ Sterling-silver tubing: .9mm diameter

or less, about 10 in. (25.4cm)

■ Crimp beads

■ Double-strand clasp

■ Wire cable: thin, about 20 in. (50.8cm)

■ Sterling coil: hollow, .9mm diameter,

4 1 / 2 in. (11.4cm)

tools & supplies

■ Acrylic roller

■ Playing cards

■ Tef lon

■ Texture plates, or other flat, textured

items

■ Circle cutters, 2 sizes of your choice

■ Paintbrush

■ Sanding materials (sandpaper,

sanding sponges, emery boards, etc.)

■ Jeweler’s saw and blades

■ Kiln and kiln shelf

■ Stainless-steel brush

■ Tumbler with steel shot and

burnishing compound

■ Bezel pusher

■ Curved burnisher

■ Pliers: crimping or flatnose

Make a base shape. Roll a slab of metal clay

4–5 playing cards thick on your chosen

texture. Punch out a circle using a circle

cutter of your desired size. Optionally, choose

any shape. Set the base shape aside to dry.

element shrinks during firing.

[2–4] Attach the tubing. Roll a slab of clay 1

or 2 cards thick. For an added touch, texture

the slab. Cut a narrow strip from the slab,

about ¼ x ½ in. (6.5 x 13mm), depending on

the size of your element.

Paint a layer of slip on the back side of the

element. Fold the narrow strip in half around

the thin handle of a paintbrush. Use the

paintbrush to press the center of the strip

onto the back center of the element [2] . Hold

the two loose ends of the strip up, and put

the two tubing pieces in place — one on

each side of the center [3] . Arrange them so

they are parallel and centered, and space

them so they will line up with the double-

strand clasp.

Lay the loose edges of the strip over the

tubing, and press them down onto the back

of the element with the paintbrush handle

[4] . Make sure the strip hugs the tubing

closely. Brush water over the seams for

better adhesion. Let the element dry to

the bone-dry state.

Make a bezel ring. Roll another slab of clay

3 cards thick on either the same or a

complementary texture. Cut it into a smaller

version of your base shape.

Choose a circle cutter that is slightly larger

than the outer diameter of the fine-silver

bezel. Punch a hole in the middle of the

smaller shape to create a ring. Test fit the

bezel, making sure there is a small space

between the bezel and the bezel ring. The

clay will shrink up to the bezel during firing

and form a tight grip. Set the bezel ring aside

to dry to the bone-dry state. Sand it

as necessary.

resources

■ PMC3 metal clay

■ Kemper and Ateco circle cutters,

polymerclayexpress.com

■ Aventurine cabochons, sterling-silver

tubing, sterling coil: Rio Grande,

800.545.6566, riogrande.com

up!

In the step “Make a Bezel

Ring” you’re advised to leave a

small space between the fine-

silver bezel and the metal-clay bezel

ring. When the clay is fired, it will

shrink up to the bezel snugly,

creating a flat appearance. If you

prefer puckers and pleats, make the

hole in the bezel ring snug to the

bezel. When you fire the piece, the clay

will usually slightly bow or pucker as it

shrinks. This doesn’t affect the strength

of the piece at all, and it can create

quite a nice visual effect.

[1] Adhere the bezel ring to the base. Use

a heavy layer of metal-clay slip to “glue” the

bezel ring to the base shape. Paint a layer of

water on the seam around the outside of the

bezel ring to form a solid bond between the

pieces. Set this piece aside until it reaches the

bone-dry state. Sand it as necessary.

pucker

[5] Place the bezel and fire. Flip

the piece over and apply a thick

dab of slip to the inside of the

bezel ring. Place the bezel in the

ring. Let it dry to bone dry, then

fire the element according to the

metal-clay manufacturer’s

instructions. Let it cool.

Size and cut the tubing. Cut two small

lengths of sterling-silver tubing to fit on the

back of the element. Make sure to cut them

short enough that the tubing will not extend

over the edges of the element when the

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play

Polish the element. Brush the element with

a stainless-steel brush to remove the white

coloration from firing. Place the element in a

tumbler for about 30 minutes, or until a

high shine is achieved. The sterling-

silver tubing will have oxidized

during firing, and tumbling will

remove this discoloration.

[7] Assemble the bracelet. When all the

elements are completed, attach two 10-in.

(25.4cm) strands of thin wire cable to one half

of a double-strand clasp. Do this by stringing a

crimp bead onto each wire strand, looping

each wire strand around its respective clasp

loop, sliding the tail of each wire strand

through its respective crimp bead, and

flattening the crimp beads with crimping pliers

or flatnose pliers.

Once the wires are attached, align the

sterling-silver tubing of one element with the

wires, and slide the wires through the tubing.

Slide a / -in. (9.5mm) piece of hollow sterling

coil onto each wire to cover the bare wire

between elements. Slide the next element

onto the wires. Continue this pattern until

you’ve finished. Lastly, secure the wires to the

second clasp piece with crimp beads to finish

the bracelet. Z

When cutting out the base shape,

consider the orientation of the

textured pattern. Keep in mind that

you’ll be linking about seven elements

to form the bracelet, and you can

alternate the direction of the pattern

from one element to the next. Pay

especially close attention to the

orientation of the textured pattern when

adhering the tubing to the backs of the

elements. The tubing placement will

determine how the bracelet will look once

all of the elements are strung together. For

example, if your pattern is lined, you could

orient the elements so they alternate from

vertical lines to horizontal lines.

[6] Set the cabochon.

Place the cab into the bezel,

and use a bezel pusher to

“rock” the bezel sides up

to the cab. Use a clock

face as your guide to

work opposite sides of

the bezel so the cab

remains centered. The

following order works

well: 12, 6, 3, 9, 7, 1, 4, 10,

2, 8, 11, 5. Go around the

entire circumference of the

bezel with a curved

burnisher to smooth the

bezel walls to the cab.

You can also play with the placement of

the bezel-set cabochon. Think about

this while adhering the bezel ring to

the base shape in step 1. Place the

bezel ring in the center of each

element, alternate it from the top

to the bottom, or create a

curved line as you progress

from element to element.

Make six more of these

elements for a 7-in. (17.8cm)

bracelet. Since you have practiced

making one, making the other six will

be a breeze.

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pattern

Make jewelry

statement . . .

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