Ja 1107

JEWELRY SOLDERING with COPPER: ADD COLOR, SAVE MONEY!
SINCE
1947
amazing
alabaster
carve it yourself
see a masterpiece
How to Pattern
metals
design a mokum snake
MORE fabulous gems!
make more
bracelets
best mandrels for cufs
set stones in hinged panels
create contrasting
metal clay links
facet an exceptional
sunstone
PAGE
52
PAGE
80
learn to evaluate
Holly blue agate rough
JULY 2011
jewelryartistmagazine.com
easy
inlay
wire cuf
PAGE 28
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CONTENTS
July 2011
Volume 65, Number 3

4 My Turn from the Editor
Up Next: Copper
6 Your Turn Design Challenge & Letters
8 Their Turn A Gallery of This Issues Contributors
12 Net Prots: Optimize Your Online Shop
by Cathleen McCarthy
more at jewelrymakingdaily.com/netprofts
BRACELETS/BLUE CHALCEDONY
14 Cool Tools & Hip Tips:
Bracelet, Ring, and Favorite Mandrels
by Helen I. Driggs
18 Hinged Blue Chalcedony Bracelet
lapidary/jewelry project/supplies
by Betsy Lehndorff
24 Holly Blue Agate
lapidary supplies
by Jim Landon
BRACELETS/COPPER
28 Copper Wire Cu with Silver
Wire Inlay
jewelry project by Tom Werkheiser
32 How to Solder Jewelry
Part 6 of 10: Soldering the
Copper Metals
technique by Lexi Erickson
38 Flat Faceted Sunstone
facet design by Jerry Bartlemay
ANIMAL DESIGNS/COPPER
42 Trends: Animal Forms
by Annie Osburn
44 Mokum Gan Snake Pendant
jewelry project by Roger Halas
48 Copper and Silver Clay Linked Bracelet
jewelry project by Arlene Mornick
more at jewelrymakingdaily.com/
copper-clay-success
ALABASTER/CARVING
52 Smokin Stones: Alabaster
by Sharon Elaine Thompson
54 Alabaster Bowls
lapidary demo by Hans Durstling
60 Ask the Experts
by Tom & Kay Benham
62 Facets News & Product Innovations
66 Events
Tucson, Vegas and Denver at
jewelryshowguide.com
80 The Lapidary Journal
Jewelry Artist Doers
Prole: Paul Hawkins and
Susan Zalkind
ADVERTISING SECTIONS
71 Advertisers Index
74 Classieds
75 Gem & Jewelry Shops
76 Jewelry Classes
32
14
80
18
60
8
38
ABOUT OUR COVER:
Mokum Gan Snake Pendant
by Roger Halas, page 44.
PHOTO: JIM LAWSON
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3 December 2010
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MWhite@Interweave.com
Up Next: Copper
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Printed in USA
THEY JUST KEEP GOING UP mostly. This spring, plati-
num went above $1800 an ounce, gold hit an all-time high as
it lobbed its way past $1500, and silver insinuated itself into
the upper $40s, though shortly after that many commodities
took a dramatic dip.
Silver itself was reported to be plunging as it sank into the
lower $40s and then into the mid $30s. Plunging if youre
an investor, maybe, but if youre a jeweler who remembers
buying silver at $5 an ounce a decade ago, then any of the
double digits still look pretty steep, and no ones suggesting well see $5 silver
again soon.
And yet, relatively high silver prices arent all bad news. Predictably, when
gold moved toward and then beyond the $1000 mark and platinum fled
many lips altogether, consumers began taking another look at silver as a rea-
sonably priced alternative for even very special occasion jewelry. The fact that
silvers cost likewise had gone up didnt hurt its newfound respect, either.
Looks to me like silvers place at the ball is assured for a while, but as for oh,
say the karaoke bar and other casual venues, now silver has its own inexpen-
sive rival. Still under $5 a pound in early May, copper has been steadily moving
upmarket in step with silvers escalating prices, occasionally dancing in the
limelight as the recession came slamming in.
The mixed metals so in vogue today, for example, often pair not just gold
with silver but silver with copper. Ready-made copper findings as well as cop-
per beads are gaining new converts all the time. Shibuichi and shakudo, two
of the most popular alloys in that exotic laminate, mokum gan, are mostly
copper. Even coppers best-known alloys, the brasses, are getting into the act.
With all that and more, going for extensive copper coverage in this issue was
an easy decision. From the heavy gauge copper wire bracelet with silver wire
inlay (page 28) to the mokum snake pendant (page 44) and the bracelet
with links made from copper and silver clays (page 48), youll find innovative
designs and techniques for using copper in your jewelry. The sixth installment
of our 10-part series on soldering (page 32) tells you what you need to know
about how the copper metals behave under the flame. Even the faceting angle
flirts with copper: the distinctive cut (page 38) was designed to take advantage
of a particular piece of sunstone, which owes its distinctive coloring to copper.
So heres a copper challenge for you: design a setting for this stone that uses
copper or any copper alloy (sure, sterling, too!). Then send your sketches to
Sunstone Design Challenge, Lapidary Journal Jewelry Artist, 300 Chesterfield
Parkway, Suite 100, Malvern, PA 19355, or email them to me at mwhite@in-
terweave.com, and well share some of them in an upcoming issue.
Deadline: July 30.
MY TURN
from the editor
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Jewelry manufacturing arts
programs and courses include:
' , _ _ '
' ' '
' ' ', '
Let GIAs Jewelry Manufacturing Arts curriculum take
you from idea to reality, as you learn under the watchful
eyes of master craftsmen who share their passion and
expertise. Working in state-of-the-art classrooms at your
own fully equipped workbench, youll learn time-tested
techniques and the newest technology and earn a
professional credential thats recognized worldwide.
Enroll in a program or just a single class to meet your
specifc needs and interests.
Get started today, or learn more
by vi si ti ng www. gi a. edu, or call
us at 800. 421. 7250, ext 4001.

LJ2011
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Learn from the Worlds Foremost

Authority in Gemology
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05232011113359
YOUR TURN
reader comments & sketches
!
Jill Mullan
Petaluma, California
Shevvy Baker
Louisville, Kentucky
Design Challenge
SHOWN: ECLIPSE
We asked you to show us the inuence
of one thing on another.
take your turn
Next Design Challenge: GRAVID
Show us what expectation looks like
DEADLINE: JULY 30
E-mail digital scans at 300 DPI or
send photocopies of no more than
three sketches with your name, city,
and state. Sketches will not be returned;
some may be published in print or online
at jewelrymakingdaily.com.
Write to Us
Tell us what you think about
Lapidary Journal Jewelry Artist
Send your sketches
and comments to
KRosenbusch@
Interweave.com;
610-232-5756 (fax)
or Lapidary Journal
Jewelry Artist, 300
Chestereld Parkway,
Suite 100, Malvern, PA
19355. Please indicate
Design Challenge or
Letters as appropriate
on the subject line or
envelope
April Russell
Kalispell, Montana
Nathaniel Gilham
Kalispell, Montana
Jessica Kuchynka
Kalispell, Montana
Sally Franko
Mississauga, Ontario
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06-07_YOUR TURN.indd 6 5/19/11 3:56 PM
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7 July 2011
LETTERS
RE: How to Solder Jewelry:
Torches, April, 2011
I thoroughly enjoyed Lexi Ericksons
article on soldering. Shes done a
great job of making a much-misun-
derstood subject accessible.
For the record, Id like to add a
few minor corrections and clari-
cations, based on over 40 years
working in the industrial combustion
business.
First, the most commonly ac-
cepted denition for LPG is Liqui-
ed Petroleum Gas. Although LPG
usually means propane in North
America, elsewhere it could apply to
butane or propane-butane mixtures.
The mixture could also include a
couple of similar gases, propylene
(propene) and butylene (butene),
which belong to the same family
of compounds as acetylene. Like
acetylene, they easily decompose
when heated, generating soot. Any-
one who has lled the space around
their as acetylene. Like acetylene, they
easily decompose when heated, gen-
erating soot. Anyone who has lled
the space around their bench with
bats from a misadjusted acetylene
torch will know what I mean. In
North America, this is rarely a concern,
because industry specs limit the
amount in LPG.
Because natural and LP gases
have no odor of their own, tiny
amounts of incredibly stinky com-
pounds known as mercaptans are
added to warn people of leaks.
One of the
most prevalent
misconcep-
tions circulat-
ing about torch
adjustments
is that oxidiz-
ing ames are
hotter. Theyre
not an oxi-
dizing ame,
just like a fuel-
rich reducing
ame, is cooler
than a properly
adjusted neu-
tral ame. This
aggravates
the generation of re scale not only
does the ame supply the oxygen to
oxidize the metal, its lower temper-
ature forces you to keep the torch on
your work longer than necessary.
Dick Bennett
ROCKFORD, ILLINOIS
RE: Torch Lite, August, 2010
I am sorry that Laura Coplin [in Your
Turn, April, 2011] couldn't just accept
what I wrote [in Your Turn, Decem-
ber, 2010]. Of course I'm sure she, and
other readers also, could have learned
things from the article, but if she
keeps magazines for future reference,
I wonder how easy it would be for
her to go back some months later for
clarication of a single point that she
didn't exactly remember.
My criticism was not of a lack
of information, which for some
unknown reason Laura suggested
I should research elsewhere, but
merely about the need for some re-
organization of what was presented.
In addition, I was confused at some
points because terminology was not
consistent or dened, as with the
word "canister." I also added a bit
about going beyond the subject of
the title not that it was bad, but it
would be helpful later when looking
through titles in tables of contents,
for example, to know that torches
other than the ones mentioned in
the title were also covered in that
article.
At no point did I criticize the
author for lack of "scientic" infor-
mation, even though I did add a
few bits of what might have been
regarded as "science" that could
have helped beginning readers
understand some of the diferences
between the various torch fuels
that jewel-
ers use, such
as between
butane and
propane, and
why their con-
tainers and
the means of
handling them
are so dif-
ferent. I also
added a brief
comment on
MAPP vs. pro-
pane, which I
thought might
be helpful,
since both
are avail-
able in similar containers with the
same threaded tops that look like
they might be used with all related
torches. In a review of what turned
out to be a wide variety of torches, I
thought those would have been use-
ful additions.
Milford Brown
EL CERRITO, CALIFORNIA
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A
LL PH
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S: LEXI ERIC
KSO
N
Respect
and knowledge
will bring you the
confidence to use one
how to
solder jewelry
4th ina10 part series
torches
BY LEXI ERICKSON
Weve explored solder, flux, and tools; now its time to get down to
the meat of soldering. As Ive said earlier, the star of the show is: . .
. ta-da . . . The Torch. Its also why many people never venture into
soldering. I hear it all the time: Imreally scared of the torch.
Thats OK. Were all scared of things we dont understand. But
dont let fear keep you fromsoldering. With common sense and
understanding of how torches and tanks work, you are not going
to blow up your house. Respect the torch, but know that if it was
truly as scary as you now think it is, there would be no welding
supply shops around. Having the knowledge of how tanks and
gasses work will help you conquer your fear.
31 April 2011 31
technique
FUELS
Most jewelers use propane or acetylene, and
some addoxygenfor their soldering. Some use
natural gas, especially jewelry labs inlarger cities.
There are a fewwho use water torches, or even
more sophisticatedset ups, but as a whole, most
of us use the Big 3. Because we are dealing
with soldering, we wont be using much inthe
way of oxygeninthis chapter, but I will mention
oxy/acetylene andoxy/propane later. The
introductionof oxygento a fuel makes a general
solder flame much too hot for a beginner.
Using city/natural gas, supplied to your home,
is one way you can set up a soldering station in
your home studio. However, the initial cost can
be relatively high, and dont do this yourself! You
MUSThave a licensed plumber make the gas
line connections. Not using a professional will
put your entire home and family in jeopardy.
Personally, I really disagree with using city gas
because the impurities in the gas may cause
popping, and metals and soldering processes can
be compromised. Some people swear by it, but it
has many drawbacks for a home studio.
PROPANE
Propane is probably most familiar toyou. We use
propane inour gas grills, RVs, andcamping grills,
andI wouldguess that a majority of youhave used
propane at one time or another. Whenusedin
OPPOSITE PAGE:
Smiths silversmith torch
can be fitted with 6
different tips, ranging in
size from 00 to 4, and can
handle very fine work to
melting metal for casting.
THIS PAGE:
TOP LEFT
A neutral flame has a sharp
point, a medium blue color,
and a soft hiss.
TOP RIGHT
The Smith Little torch can
be purchased in a kit: 2
regulators, propane and
oxygen tanks, torch and
hoses. Some kits also
include a secure caddy for
the system.
BOTTOM LEFT
There are several tank
stem options for the B
acetylene tank. This one has
a gas handle instead of a
bare stem, eliminating the
need for a key.
BOTTOM RIGHT
Not enough air! This flame
is all fuel and too weak to
do anything but oxidize
your piece.
A
LL PH
O
TO
S: LEXI ERIC
KSO
N
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ADVANTAGES OF SMALL
The average crafter is intimidated by acety-
lene, says New Mexico chain-maker Scott
David Plumlee. The big handpieces, the big
tanks, the tubes. You have to light it just right
and calibrate the oxygen to the acetylene. It
makes a big flame, it pops. Its very intimidat-
ing for the average student.
NO FUSS. The most obvious benefit of a
small, so-called micro torch is that it doesnt
require large compressors or tanks. You dont
need a striker to start the flame, so there isnt
any rapid heartbeat as you wonder whether
or not there will be an explosion. Just turn the
knob and, like a lighter, you have flame.
SMALL. Jewelry maker KimSt. Jean in
North Carolina describes micro torches as
being about the size of an aerosol hairspray
canister. I wont say that makes themcute
because anything that puts out 1400 F to
3000 F of heat is a bit too fierce to be cute.
But they are easy to use and definitely less
threatening than a traditional jewelry torch
setup. My students . . . think of it as a crme
brle torch, says St. Jean.
CONVENIENT. Self-igniting micro torches
are all about time management, says Missouri
bead and jewelry maker Cassie Donlen. Busy
jewelers often leave their torches burning
because theyre constantly reaching for them.
But if your work requires a torch for only
moments at a time, a micro torch is less trouble
than a traditional jewelers torch setup.
Using the Smith Little Torch is not fast,
says Donlen. I have to turn it on and wait. I
solder a bezel, then shut it off. Then if I add a
jump ring for a bail, I have to start it up again.
Its a nuisance. But with the micro torch, I hit
a button and it turns on. In the time it takes
to start up the Little Torch, you could almost
have the soldering job done. Its worth noting
that the Little Torch can be used with several
Torch
Simpler setups and smaller flames
appeal to new jewelry makers
and some old hands
No one denies that a jewelers torch, at least at the beginning, can
be scary. Super hot flame, explosive gases in large tanks, regulators,
hoses . . . it makes one really appreciate cold connections.
However, on the market now are a bunch of different small
torch setups that use small, refillable or disposable propane
or butane canisters. These torches have long been used by
plumbers and mechanics, but theyve been discovered by
jewelry makers who want to learn techniques that require
flames but are less certain about the source of the fire. We
talked to some fans of these small torches to find out what you
should know if youre thinking about turning up the heat.
BY SHARON ELAINE THOMPSON
48 49 August 2010 49
fuels including acetylene, hydrogen, propane,
propylene, MAPP, or natural gas with oxygen.
AVAILABLE. Micro torches are readily
available. You can get the torches online or
even at the local hardware store. You can even
find butane fuel at a cigar store (really!).
I use a butane micro torch for metalsmith-
ing and soldering, says Donlen. I also have
and sometimes use three other torches, but
the small butane torch is my first choice when
Imnot making lampworked beads. I love it!
St. Jean is also enthusiastic about the micro
torches. In her classes where we do some
fold forming and serious annealing, I have
people soldering bezels and everything with
it. Its easy and simple.
MICROS ON THE MARKET
The BLAZER BUTANE MICROTORCH GB2001
is a big favorite among jewelers whove
gone the micro route. The MicroTorch is a
workhorse, says Tucson, Arizona,
jewelry maker Anne Mitchell. I
have had it over 10 years and it has
never failed me.
Donlen began by using a Blazer
torch, but now prefers a MICRO-
FLAME torch so much that she sells
themon her website. The flame is
a bit finer than the Blazer, and you
can adjust it better.
St. Jean loves the BERNZOMATIC
POWERCELL, made primarily for
builders, plumbers, and DIYers. In
fact, its so much her favorite
that when she heard they
were going to be dis-
continued, she bought
up everyone she could
find for use in her
classes. Ive cleaned
out three states, she says.
Lite
technique
PH
O
TO
: JIM
LAW
SO
N
06-07_YOUR TURN.indd 7 5/19/11 3:57 PM
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JERRY BARTLEMAYS
Amethyst
SRB Eye 1.5 Round, designed and cut by Jerry
Bartlemay in amethyst. This design was a modification
of the Standard Round Brilliant. 6.6 mm, 1.1 ct.
Learn more from this artist in Flat Faceted
Sunstone, page 38
WANT TO CONTRIBUTE?
Share your expertise with other readers
in a project, demo, or article and youll
be invited to show an example of your
work here. Contributors guidelines at www.
jewelryartistmagazine.com/guidelines or request
them by e-mailing MWhite@Interweave.com, subject
line: LJJA Guidelines.
?
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a gallery of this issues contributors
THEIR
TURN
TOM WERKHEISERS
Edge of Eden Collection
Sterling silver and copper. Fold forming
to exhibit volume, warmth, and life.
Learn more from this artist in
Copper Wire Cuff with Silver
Wire Inlay, page 28
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BETSY LEHNDORFFS
Silver Horse
Sterling silver cast from toy.
Learn more from this artist in Hinged Blue
Chalcedony Bracelet, page 18
ROGER HALASS
Carcharodontosaurus Tooth
Mounted in hand-fabricated sterling silver bezel
and cage setting. Appoximately 2.
Learn more from this artist in Mokum
Gan Snake Pendant, page 44
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08-09_THEIR TURN.indd 8 5/19/11 3:19 PM
05232011113430
9 July 2011
LEXI ERICKSONS
Afternoon on Ipanema
Mookaite, lemon quartz, green drusy,
petrified turtle shell.
Learn more from this artist in
Soldering the Copper Metals,
page 32
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ROGER HALASS
Carcharodontosaurus Tooth
Mounted in hand-fabricated sterling silver bezel
and cage setting. Appoximately 2.
Learn more from this artist in Mokum
Gan Snake Pendant, page 44
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HELEN DRIGGSS
Hamsa Pendant
Hand fabricated and fused Argentium sterling
with bezel set malachite.
Learn more from this artist in Cool Tools
& Hip Tips, page 14
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TOM BENHAMS
Japanese Carp Netsuke
Sterling silver, wax carving, cast, hollow. 2 x 1 x 1.
Learn more from this artist in Ask the
Experts, page 60
ARLENE MORNICKS
Surprise
Copper and silver metal clay, pearls.
Learn more from this artist in Copper and Silver
Clay Linked Bracelet, page 48
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08-09_THEIR TURN.indd 9 5/19/11 3:19 PM
05232011113430
COLD
The Hottest Trend is
Metal Style
20 Jewelry Designs
with Cold Join Techniques
Karen Dougherty
128 pages, 20 projects
Top jewelry designers such as Thomas Mann, Tracey Stanley,
Robert Dancik, Lisa Niven Kelly, Kate Richbourg and more
oer signature designs, all constructed using cold
techniques. They also oer expert tips and tricks
for variations and customization.
10-11_MISC ADs.indd 10 5/16/11 3:24 PM
05232011113545
11 July 2011
TM
www.ImpressArt.com
Includes 49mm (1-7/8) dapping block and
24 punches, 2.3mm to 25mm in diameter.
The depressions on the block range in
diameter from 3.8mm to 40mm. Provided
with wood stand. Item #190-242
Dapping Cube & Punch Set
$
49
00
contenti.com
800-343-3364
10-11_MISC ADs.indd 11 5/16/11 3:24 PM
05232011113546
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NET PROFITS
By Cathleen McCarthy
Applying a little search engine opti-
mization (SEO) to anything you post
on the webwhether a blog or splash
page can attract traffic. But SEO
can make a crucial difference if youre
selling products online.
If anyone knows how to apply SEO
magic to selling handmade goods,
its Tony Ford, co-founder and COO
of the online marketplace Artfire.
An MBA holder and self-professed
techie, Tony is responsible for online
development at Artfire and oversees a
team of SEO specialists. I asked him
to tell us what jewelry sellers really
need to know about SEO.
Lapidary Journal Jewelry Artist:
How can sellers set up their listings
on marketplaces like Artfire in order
to maximize SEO?
Tony Ford: If I were to write the
perfect item page, the first thing
I would do is come up with a title
optimize your
online shop
how SEO will bring you more sales
that makes sense for what people
are searching for online. If I have a
necklace made of sterling silver, blue
topaz, and pearl and Ive named it
Artistic Summer Storm, no one will
search for that. If I call it Sterling
Silver Blue Topaz Necklace, I stand a
much better chance of being found.
If Im smart, Ill do keyword research,
too. Doing that on Google Adwords
is free. Research what people are
searching for. My product title
keeping it to 65 characters would
focus on those keywords used by
actual shoppers.
LJJA: I notice if I put the word
handmade into a search, it brings
Etsy and Artfire listings to the top
instead of Amazon and the other big
retailers. Is it worth putting that into
product titles?
TF: To be fair, those retailers are your
competitors as well. If someone is
looking for the best deal on a certain
type of jewelry, theyre probably doing
general searches. My feeling is a lot of
people will buy handmade who have
absolutely no concern for handmade.
If they love the product, theyll spend
more for it if they dont see it available
from a mass-produced source.
LJJA: Tagging an item can help
people find it once theyre on your
site. How important are tags in
search engine optimization?
TF: Tags are barely used by the search
engines anymore, maybe some of the
smaller ones. They are a last-ditch
sorting effort. Back in the early days
of the Internet, people used to iden-
tify their pages with meta keywords
that didnt show up in the actual text
but the spider could see them when
it was crawling. People learned to
keyword stuff that wasnt what the
page was about so they would get more
traffic. So the search engines said,
We cant look at this because people
are abusing it.
On Artfire and many other sites,
the first 10 tags are keyword data. In
a pinch or tie-breaker situation, even
Google will still use these, but theyre
given a very small weight now.
LJJA: On your perfectly optimized
product page, what comes after the
title?
TF: I would write a full description of
500 words or more, explaining what
the item is and repeating those key-
words in the first paragraph. The first I
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12-13_Net Profits.indd 12 5/19/11 2:08 PM
05232011113546
13 July 2011
paragraph gets crawled fastest. Make
your description potentially useful.
Flesh it out. Make sure the first 10 tags
contain the same keywords that are in
the title and first paragraph, and maybe
your username and/or brand name, and
a few other associated elegant phrases.
If I really want to rank well, Ill go to a
couple blogs I have, or forum or site,
and link back to that product page.
Thats the text Ill use to drop into the
link, anchor text backlinks. Drop a
couple of those. The Google spider will
crawl one of those blogs and see the
words sterling blue topaz necklace.
Spiders follow links. So it will follow
the link and find a page with that title,
then the same phrase repeated in H1
text, then again in the description and
in the tags, and figure: This page must
really be about this key phrase because
its repeated that five or six times. This I
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must be a pretty good page for people
looking for these keywords. So it will
rank your page higher.
LJJA: If I mention my necklace on
Facebook and Twitter and include a
link to the listing, will spiders take
that into account?
TF: Those sites move faster, but they
have a shorter lifespan. So if I were
really trying to own the marketplace for
that keyword, Id drop my links in one
or two places off-site, preferably ones
that get a lot of traffic such as an inter-
national blog or YouTube channel feed.
With six or seven backlinks, youre
highly optimized.
Facebook and Twitter can help but
dont tend to have staying power.
They are better for being crawled and
indexed. The greatest link benefit
comes from relevant trusted blogs and
websites.
Sites like Artfire get crawled fast. We
focus on making it as easy as possible
for search engines to crawl our listings.
Youll be in the top three, four, or five
of a long-tail search. You wont win
sterling silver necklace. There are too
many listings for that. But the person
who types in blue topaz sterling
necklace will find you.
CATHLEEN McCARTHY is a freelance
writer whose stories on design, travel and
business have appeared in AmericanStyle,
Art & Antiques, Town & Country, Washington
Post, and her own site, TheJewelryLoupe.com.
f nd more online
Learn more at JewelryMakingDaily.
com/netprots in Mastering SEO:
Keep It Real.
The first thing I would do is come up with a title that
makes sense for what people are searching for online.
12-13_Net Profits.indd 13 5/19/11 2:09 PM
05232011113601
COOL TOOLS
& HIP TIPS
BY HELEN I. DRIGGS | OPENING PHOTO: JIM LAWSON
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14
Step bracelet mandrel,
courtesy Contenti Tools.
14-17_COOL TOOLs.indd 14 5/19/11 3:05 PM
05232011113646
15 July 2011
Bracelet Mandrels
There are two shape options for bracelet mandrels: oval and round. Usu-
ally, oval mandrels are for cufs, and round mandrels are for bangles. Both
shapes come stepped or tapered, and both are available in wood, steel,
and/or plastic.
Some bracelet mandrels include a tang, or metal tab, to secure them in
a vise while youre hammering. I prefer a mandrel with a tang because it
leaves both my hands free when I am forming.
Stepped mandrels are accurate for sizing, and you dont have to ip your
work to prevent an unintentional taper in the piece. The consistent size of
each step guarantees that the metal will be perpendicular to the open-
ing for the wrist. This is helpful if you are adding stone settings. For a
very wide cuf or gauntlet, choose a tapered oval mandrel because
your arm is tapered from wrist to elbow, a
wide cuf will be more comfortable to
wear if it tapers.
One of my favorite no-frills
bracelet mandrels is a
wood baseball bat
sawn into a 10"-
12" section. Have
a woodworker
friend make one
of these for you out of a
garage sale bat or one that was
broken in play.
After youve mastered your basic bench tools, the hunt for
a mandrel is usually the next order of business. There is a
simple reason for this: arms, necks, ankles, fingers even
toes! are round, and sheet or other metal stock isnt.
When you want to take flat stock or sheet to a 3D jewelry
form, you need something to shape it against. Enter metal
forming. Enter the mandrel.
Metal forming is fundamental jewelry-making skill, and us-
ing a mandrel is the easiest of the metal forming processes.
You will be amazed at how far you can move a piece of well-
annealed metal against a mandrel. Ive sized a heavy mans
ring up two full sizes with nothing more than determination,
a round mandrel, and a rawhide mallet. Thats a lot of move-
ment with a simple pair of tools. If you need a primer on metal
forming, see Forming 101 on page 16.
An easy way to get around to metal forming
Bracelet, Ring,
and Favorite Mandrels
Bracelet mandrel
with tang
Plastic
mallet
Steel bracelet
mandrel
Wood
bracelet mandrel
05232011113647
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COOL TOOLS & HIP TIPS
Ring Mandrels
There are several types of ring mandrels:
tapered, grooved, at sided, rounded
square, and stepped. Many of them come
with incised calibration lines for accurate
sizing. Most people start with a plain, round
tapered mandrel because most people start
making plain round band rings.
Things get interesting when stones are
involved. Thats where a grooved mandrel
comes in. The groove prevents the culet
of a stone or a stone setting from bot-
toming out during sizing or rounding. The
at sided mandrel serves the same purpose, but it is
designed for at-backed, big, or bezel settings.
The rounded square mandrel is a recent introduc-
tion to the ring mandrel family, due to the popularity of
the Eurostyle ring band a more comfortable and
contemporary setting that is gaining favor in the U.S.
Shaped more like an actual nger, this band wont spin
around as much as a round band might, either.
My personal favorite mandrel is the stepped mandrel
there is an untapered, tubular section for each ring
size, so you dont have to remove the ring band during
forming, turn it around, and put it back on the mandrel
to hammer again. The design is perfect for avoiding
unintentional tapers in wide bands, and it is much
easier to get a true size on a stepped mandrel.
Other ring mandrel options include wood mandrels,
and large size mandrels for big man hands. Whatever
mandrel you decide upon, try not to strike it with a steel
hammer, which will dent or atten your mandrel and
make it dif cult to get a good, smooth, round band.
Metal forming is movement. There are two main
ways to move metal: you can stretch or compress it
by deformation, or you can move it without de-
forming it.
Deforming means you change the shape of metal
with a tool, stretching it thinner or compressing it
thicker in the process. You dont remove any mass
you just push it or pull it somewhere else with a tool.
Depending on your strength, skill, and tenacity,
you can do anything to metal with any combina-
tion of tools. There are ways to achieve any form by
using the right combination of metal softness and
tool and stake hardness, and keeping the following
metal truths in mind.
Metal will generally take the shape of whatever the
harder surface is. Not always, but most of the time.
Put annealed jewelry metal on a at wood block and
strike it with a steel hammer, and that metal will typi-
cally curl up away from the wood toward the hammer.
If you do the opposite, and put a curled piece of
annealed jewelry metal on a at steel block and
strike it with a hide, wood, or plastic mallet, the
curled metal will atten down to the steel.
If you strike a at piece of annealed jewelry metal
with a steel hammer on a at steel block, the metal
will thin and move somewhat predictably away from
the hammer without much curling up, depending on
the shape of the hammer face. The force of the strike
and the shape of the hammer face determine how
far the metal moves and how thin it gets.
You can gently rene a curve or cupped form in
jewelry metal without stretching it by using a at
wood or plastic block and a curved wood or plastic
hammer on the inside of the curve or cup.
forming 101
Unmarked
steel ring mandrel
Steel ring
mandrel with sizes
Grooved
ring mandrel,
available from Rio Grande
Wood
ring mandrel
Stepped ring mandrel,
courtesy Contenti Tools
05232011113647
17 July 2011
*
and another thing
Follow Helen Driggs at: twitter.com/fabricationista
Read her blog: materialsmithing.wordpress.com
Other Handy Mandrels

It is always a good idea to have an assortment of mandrels in
the shop. Here are some of my favorites.
Hoop earring mandrel: A nice, tapered cone mandrel is great
for all kinds of forms, not just hoop earrings. You can create cones,
funnels, hoops, bands, and Mobius strips with this handy mandrel.
Bezel mandrels: I keep an assortment of these in several
shapes: oval, round, triangle, and square. My absolute favorite is
the tiny, tapered round bezel mandrel from Italy. I can make per-
fect 5mm bezels with it, and I love it.
Jump ring mandrels: These are basic, round, hardened tool rod
steel in a variety of sizes. I keep these around the shop not only
for coiling jump rings, but also for supporting metal tubing as I
rivet, drill, or otherwise manipulate it. You can nd tool rod in many
shapes and metals at the hardware store.
Hammer and Mandrel Combos
While mandrels are usually wood, plastic, or metal, the
hammers or other striking tools you use with them
also vary in material and may be metal, wood, hide, or
plastic. Usually the mandrel metal is steel, but there are
aluminum ring mandrels, too. If you are forming a ring
and not just sizing, stick to steel. Aluminum is very soft,
and you can dent it with a misplaced hammer strike.
Figuring out which combination of hammer and
mandrel to use to get the result you want is easy, if
you remember these guidelines: steel + steel = quickly
stretch or compress metal; steel + wood, plastic, or
hide = slowly stretch or compress metal.
HAVE A TOOL, MODIFICATION, OR BENCH TRICK TO SHARE?
E-mail us at HDriggs@Interweave.com, subject line Cool Tools,
or write to Lapidary Journal Jewelry Artist, Attn.: Cool Tools, 300
Chestereld Parkway, Suite 100, Malvern, PA 19355. Please include
your complete contact information with all submissions.
coming next time Bench Pins
Hoop earrings mandrel,
available from Otto Frei
Aluminum bezel mandrels,
available from bezelform.com
Bamboo mallet,
available from Allcraft Tools
Jump ring mandrels
05232011113647
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Seven panels of sterling and scrumptious blue
BY BETSY LEHNDORFF WITH DAVE HARVEY
Hinged Blue
Chalcedony
Bracelet
SKILLS
Advanced fabrication
with sheet and wire
Stick soldering
Hinge making
TIME IT TOOK
40-100 hours
JEWELRY PROJECT
AN
EASIER
WAY
Use ready-made Southwest-style
components and stamps
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Pronounce i t: kal - SED- uh- nee
18-22_Blue Chalcedony Bracelet.indd 18 5/23/11 11:39 AM
05242011135049
19 July 2011
Hinged Blue
Chalcedony
Bracelet
Photo 1 Place brass template over 26ga
sheet silver and scribe the leaves, includ-
ing practice leaves. Flip the template and
scribe more leaves, so you have forms
that curl left and right. Cut them out with
a 5/0 blade in a jewelers saw. Flatten
with your ngers.
Photo 2 Cut 24ga sterling silver wire
into 1-1/2 lengths. Hold one end of the
wire with pliers. Use your ngernails to
smooth out the segment and make it
curve.
Photo 3 Place a leaf on the soldering brick
and center the wire over the silver until
it meets top and bottom. Bend more if
necessary. Paint ux into the seam where
the wire and sheet meet.
Photo 4 Place a leaf on the soldering brick
and center the wire over the silver until
it meets top and bottom. Bend more if
necessary. Paint ux into the seam where
the wire and sheet meet.
TIP: Dave works slowly. The soldering
takes him seven minutes, dabbing the
tiny ame on the leaf to coax the ow.
Quench, pickle, and rinse. Trim excess
wire from the leaf tip. At the stem end,
trim to 1/8.Use round nose pliers to shape
the tail and tuck it into a snag-free curl.
2 1
3 4
DESPITE THE RARITY OF COLORADO BLUE CHALCEDONY,
Dave Harvey, a 58-year-old cattle rancher in Hartsel, has a steady supply. He
can pick up a piece of the blue stuf from his claim, called the Blue Moon,
and cut it into cabs at his home. Inside a steel storage pod nearby, he can
set those cabs into silver jewelry, which he sells at no-middleman prices at
his wifes cofee shop right next door.
This complex southwest-style project may be beyond the time constraints
of most silversmiths. Dave spent over 100 hours perfecting a six-panel
sterling silver bracelet, stamping all surfaces with homemade tools and
cutting away the sheet silver from the hinges with diamond drill bits.
However, his project ofers lessons in key techniquessuch as making
hinges, stick soldering, and creating 3D embellishments from scratch.
Before you make one, determine the length of the nal bracelet, and draw
out your design on graph paper. Allow 2mm for each hinge. Dave works
freehand and uses squares of sheet silver from to 1 1/4 inches wide.
With the same starting blank many variations are possible: textured or
smooth, raised high or low, and varying surface contours. Each choice
forms a new shape from the same starting point. The craftsperson brings
something new to the design by changing the working process and adding
his or her own creativity.
Tktktk tktk tk tkk t ktk tk
tktk kt ktktk
MAT ERI AL S
Seven blue chalcedony
cabochons, about /" across
or larger
24 gauge sterling silver sheet
about 3" x 6"
Sawtooth, plain, and scalloped
bezel wire
Hard, medium, easy, and extra
easy wire solder
26 gauge sterling sheet, 1" x 6"
24 gauge dead-soft sterling
silver wire, 12"
Scrap sterling silver
2.5 mm seamless sterling silver
tubing, 12"
14 gauge sterling silver wire
(make sure it ts through the
tubing), 12"
TOOL S
LAYOUT: Graph paper and pencil
HAND: Mallet, hallmark stamp,
steel bench block, bench pin,
jewelers saw and 5/0 blades,
right-angle square, sharp scribe,
brass template for leaves (see
cutout to make your own),
wire cutters, round-nose pliers,
plastic straight edge marked
in centimeters, veining tools,
wood or metal doming blocks
and dap, small pocket knife,
stepped bracelet mandrel, bezel
burnisher
FINISHING: Assortment of
jewelers les, round 7/32 chain
saw le
SOLDERING: soldering brick,
torch (Harvey uses an air/
acetylene Smith Torch with #00
tip), Grif th self-pickling liquid
ux, quench, pickle pot, copper
tongs, three T-pins, heat-proof
tweezers, small artists brush
for ux
FINISHING: #00 steel wool,
bench polisher or ex-shaft,
bufs and polishes, including
black rouge
S OURCES
Most items can be purchased
from a jewelers tool and
lapidary supply company, many
of whom can be found in the
Advertisers' Index on page 71.
The veining tool can be shaped
from hardened steel rod, using
round and at les. Thunderbird
Supply and Indian Jewelers
Supply are outlets that sell
Southwest-style components
and stamps.
Make the Leaves Template
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5 6
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9
8
10
learn more
how to evaluate blue
chalcedony rough
PAGE
24
You never get everything perfect the frst time. If you
fnd solder has fowed where you dont want it, pick up
a fle. A fle will correct so many mistakes, it is unreal.
Photo 5 Heat the sheet with the torch until
hot, avoiding the thin wire. Steadying
your hand on the bench, touch hard wire
solder to the rib, using the ame to pull
the solder along the center. Occasionally,
trim the charred tip from the wire solder.
circle along diameter line from edges into
circle. This can be done with jewelers
saw or tin snips.
Photo 6 Make your own veining stamp
using round and at les to cut crescents
in hardened steel rod, or look for a com-
mercially made veining stamp in metal
stamping catalogs.
Photo 7 Place the soldered leaf on a steel
bench block. Using a mallet and the
veining tool, tap lightly to cut a series of
parallel lines into each side of the leaf.
You will occasionally need to atten the
leaf with the mallet.
When nished, place the leaf rib-side
down in the large bowl of a doming block
and gently strike it with a large dapping
punch. Use a small dapping punch in the
same bowl, and gently tap along each
side of the wire rib to add more dimen-
sion. When done, the leaf should bow
out and the edges should curl enough to
make good soldering contact between
the leaf and backing sheet.
Shape and Solder the Bezels
Measure, cut, le, and solder bezels for each
stone, using plain, sawtooth, and scalloped
bezel wire for variety. Quench, pickle, and
rinse. Recheck t for each stone.
Make Other Embellishments
Melt scraps of sterling silver into decora-
tive spheres. Form wire into coiled discs,
triangles, or other shapes.
Create the Panels
Photo 8 Use medium wire solder placed
inside the cup to attach the bezel to the
sheet silver blank. Repeat for all other
Colorado
and Beyond
Dave Harvey parks his
truck by the side of a road
as the wind blows wisps of
dust across the dried earth.
Tugging his knit cap rmly
over his thinning hair, he
steps out into the cold and
soon is picking through
chunks of blue lace agate
from his claim. Pretty as this
gemstone is, he is hunting
for something even better
a glassy blue crypto-
crystalline quartz called
chalcedony.
From his overalls, he pulls
out one of his best nds to
date: a piece with a bubbly
looking surface.
If you hold the stone and
look at it sideways, its blue
lace agate, he says, pointing
to the layers laid down over
eons by silica-rich waters.
But if you look at it from the
top, its chalcedony.
A site 20 miles away also
produces this material,
known as Columbine blue.
But quantities at both locales
are small compared to mega
sites around the world. Since
ancient times, thousands of
tons of this prized gemstone
have been mined in Turkey
and Africa, with the nest
blue-violet varieties coming
from Namibia and Malawi.
In the United States, it is
found in California, Nevada,
Montana, South Dakota,
Nebraska, and Washington,
with a lavender variety
mined near Holley Mountain
in Oregon.
05242011135049
21 July 2011
11
12
bezels and blanks.
Photo 9 Measure 24-gauge twisted wire
around the bezel cup (make your own),
mark the t with a pocket knife. Cut, le,
and solder a twisted wire ring closed
with hard wire solder. Fit ush around the
bezel. Use a paint brush to apply ux to
places where solder is to ow. Use medi-
um solder sparingly so that it doesnt ll
or obscure wire details. Solder half-round
bead, full bead, or round wire around the
other bezel cups.
Photo 10 With decorative bezels in place,
check compositions side-by-side. You
will be adding your handmade embellish-
ments and leaves to each piece to make
them diferent.
Photo 11 On soldering brick, arrange
leaves, spheres, and other ndings
around a decorative bezel cup until you
like the composition. Keep hinge areas
clear. Apply ux only to places where you
want solder to ow.
Photo 12 Use the torch ame to dry
the ux. Using easy wire solder, attach
components, heating the edges of the
sheet rst and working inward. On this
panel, Dave spent 15 minutes heating and
dabbing wire solder sparingly so details
would remain crisp. Occasionally, clean
of the charred end of the wire solder.
Quench, pickle, rinse, and reheat the
panel to do touchups.
Dave says: This is what I call my cleanup
run. You never get everything perfect the
rst time, he says. If you nd solder has
owed where you dont want it, pick up a
le. A le will correct so many mistakes, it
is unreal.
Make the Hinges
As each panel is completed, place them
side-by-side with 2mm of space between
them. Check the bracelet length. Using
your ngers, bend each panel slightly
around a stepped bracelet mandrel for
additional shape. Recheck the t of the
cabochons.
Photo 13 Use a straight edge marked in
centimeters to determine the length of
hinges you will make.
You never get everything perfect the frst time. If you
fnd solder has fowed where you dont want it, pick up
a fle. A fle will correct so many mistakes, it is unreal.
13
Chalcedony
Around the World
The following images
represent some, but not
all, of the blue chalcedony
mined around the world:
Columbine blue chalcedony
from the South Park area of
Colorado, cut by Bob Johannes.
Desert Gems, Lakewood, CO.
About $100.
Hartsel chalcedony mined and
cut by Dave Harvey.
Namibian chalcedony is prized
by internatinal lapidaries and
jewelers, because it comes in
massive chunks and quantities.
However, the best material is now
so deep underground it is almost
out of reach of miners, sources say.
This sample was cut from a st-sized
piece purchased at the 2011
Tucson gem shows for $145.
Malawi Friendly Blue is
named because of the co-
operation in 1999 of a local
tribal chief who allowed the
mineral to be mined. The
mine is near the border of
Mozambique. This example
is a botryoidal formation of
large mounds.
Possibly Mohave blue from
Nevada or California, with
botryoidal surface of small
mounds, $45. Blue varieties
are so similar in appearance
that it can be dif cult to
determine origin.
Thin, pale blue botryoidal
chalcedony from Turkey.
About $12 from the Tucson
gem shows.
05242011135050
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BETSY LEHNDORFF is a sales associate at Desert
Gems, Lakewood, Colorado, and has been a
silversmith for three years. Her work can be seen at
made-by-angels.com.
DAVE HARVEY sells his jewelry at Bayou Salado in
Hartsel, Colorado, rockymountaingiftsandrocks.com.
Chalcedony
Quick
Facts
Named after the
ancient seaport of
Chalcedon, Turkey,
near Istanbul. Available
in numerous colors,
the stone has been
used since prehistoric
times for arrow points,
vessels, adornment
and religious art.
Bloodstone, sard, moss
agate, and onyx are
among its many other
varieties besides blue
chalcedony.
Translucent, crypto-
crystalline quartz.
Like all quartz, it is
composed of silicon
dioxide.
Hardness: 6-1/2- 7 on
the Mohs scale.
Blue chalcedony
fluorescences blue-white.
16
17
15
Photo 14 Dave does not use a tube vise.
Instead, he places the plastic ruler on his
bench pin, along with the tubing, and
uses a jewelers saw and 5/0 blade to cut
a 1 cm section and two 7 mm sections for
each hinge. File the tube ends true.
14
make more
bracelets
28
48
Copper Wire Cu with
Silver Wire "Inlay"
Copper and Silver Clay
Linked Bracelet
Photo 15 Use a 7/32 chain saw le to cut a
lengthwise curve into the edges of each
panel where the hinges will be soldered.
Photo 16 Anchor each panel to the solder-
ing brick with T-pins that mark where
each knuckle is to be placed. Paint ux
into the seams and stick solder with easy.
Quench, pickle, and rinse.
Photo 17 To create hinge pins, melt 10
equal lengths of wire into balls. Cut 14
gauge round sterling silver wire into ve
lengths slightly longer than the width of
the hinge. File the ends at. Solder one
ball onto each length, forming a pin.
05242011135050
23 July 2011
12130 Cyrus Way, Mukilteo, WA 98275
Phone: (425) 493-1600 Fax: (425) 493-9494
email: equipment@lortone.com www.Lortone.com
Tumblers Arbors Saws Abrasives polishes
LORTONE, inc
Compact Trim Saws Oscillating Laps
Jewelry Buffers
Manufacturing Lapidary Equipment locally for over 50 years!
Tumbler Kits
23_MISC ADs.indd 23 5/17/11 3:57 PM
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H lly
Blue
Agate
A LAPIDARY FAVORITE for many years, Holly blue agate
comes from the Sweet Home area in Oregon. Prior to 1997, rockhounds had ready access to the
locality on Holley Mountain, but things have changed since then. Ownership of the digging area
was transferred and then the site bulldozed to fill in all of the old prospect holes and planted
in trees. Access is now strictly forbidden, and the private timber company that owns the land
prosecutes and fines anyone caught trespassing.
The resulting price increase for rough and finished Holly agate has been nothing short of mete-
oric. Rough that used to sell for a few dollars a pound is now selling for over $100 a poundwhen
top grade material can be found, that is. When I first started buying rough from Oregon dealers in
the mid 1990s, it was sold in quart-jar lots, each a mixed bag in terms of quality, but most of only
marginal use for lapidary purposes. Now, rough is bought and sold mostly by the piece at a fixed
price per pound or even per gram, and its more important than ever to choose rough carefully.
what to look for
in a classic
cabbing material
BY JIM LANDON
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24-27_Rough Holly Blue Agate.indd 24 5/19/11 1:33 PM
05232011113805
25 July 2011
A LAPIDARY FAVORITE for many years, Holly blue agate
comes from the Sweet Home area in Oregon. Prior to 1997, rockhounds had ready access to the
locality on Holley Mountain, but things have changed since then. Ownership of the digging area
was transferred and then the site bulldozed to fill in all of the old prospect holes and planted
in trees. Access is now strictly forbidden, and the private timber company that owns the land
prosecutes and fines anyone caught trespassing.
The resulting price increase for rough and finished Holly agate has been nothing short of mete-
oric. Rough that used to sell for a few dollars a pound is now selling for over $100 a poundwhen
top grade material can be found, that is. When I first started buying rough from Oregon dealers in
the mid 1990s, it was sold in quart-jar lots, each a mixed bag in terms of quality, but most of only
marginal use for lapidary purposes. Now, rough is bought and sold mostly by the piece at a fixed
price per pound or even per gram, and its more important than ever to choose rough carefully.
materials
FIGURE 1
learn &
try more
discover Nevadas
blue chalcedony and
see how an old pro
uses it in a silver
bracelet.
PAGE
18
HAVE A BETTER
HOLLY TIP?
Im sure there are many
lapidaries out there who
have cut a lot more Holly
agate than I have, but I
hope these tips will give
you enough information
to avoid the pitfalls I
have encountered. If you
have tips of your own
youd like to share with
other Lapidary Journal
Jewelry Artist readers,
please send them along
via jewelrymakingdaily.
com/asktheexperts. You
can also email the editor
directly at mwhite@
interweave.com.
FIGURE 1
The color range for holly
agate runs from nearly
white through shades of
violet to gray violet. This
set of freeform cabs was
cut with the grain of the
seam and thus have more
uniform color.
FIGURE 2
This set of cabs was cut across
the grain of the seam and
thus are more elongated and
have more pattern showing.

FIGURE 3
Tumbled rough yield
specimens like these that
reveal color, inclusions,
and fractures at depth that
would otherwise be hidden.
Tumbling rough allows for
quick evaluation of lapidary
potential.
FIGURE 2 FIGURE 3
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LOVE THAT VIOLET!
Like most people who have made this gem
so popular, I was drawn to its vivid lavender
colorand Ive always wondered why its
called holly blue when most of it is some
shade of violet to purple, but there you are.
Whatever its shade, Holly agate is found as
seams in basalt, deposited by mineral-laden
hydrothermal solutions. The width of the
seams varies considerably with the width of
the fractures in the host rock.
Think of the seams like sheets. Variations in
the makeup of those circulating hot-water solu-
tions produced banded patterns in the agate
as the seams were deposited, with the wider
portions ending up with centers of crystallized
quartz. Then, after deposition, the geologic
uplift that formed the Oregon Cascade range,
to which Holley Mountain belongs, fractured
these agate seams, leading to one of the main
downfalls of this material.
Along with this fracturing, other things to
consider in selecting rough are color, inclu-
sions, pattern, and thickness of individual
pieces. Most Holly agate is included, color
zoned, externally pitted, and internally banded,
making the cutting of clean stones of any size
rather problematic.
ASSESS YOUR ROUGH
So, how do you pick out the best material from
a pile of rough at a rock show? And once you
get it home, where do you start? Here are my
recommendations.
Wet it. First, check for color and inclusions
by wetting each piece and viewing it under a
strong light source.
Eyeball for fractures. Next, look for visible
fracturesyoure trying to get an idea of your
potential yield, gem material versus waste.
Because you cant see inside a thicker piece, I
try and stay away from large, thick pieces.
Pieces that are 10 to 20 millmeters thick are
often less risky to invest in.
Tumble your purchase. Very often, I
process most of my new rough in a conven-
tional tumbler using a standard grit series
through polish. First, this allows me to sort the
finished rough quickly by how clean it is and
how good the color is. Then I can concentrate
on further processing only those pieces with
the most merit.
Test polish. If a piece of rough shows good
color and few drawbacks, I polish one surface
on a flat lap first. This gives me a window to
check for internal fractures.
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
spelled Holly at least
as often as Holley?
Our conclusion? Its
both!
spelled Holly at least spelled Holly at least
as often as Holley?
Our conclusion? Its
Mountain in Oregon,
was named for the
as often as Holley?
Our conclusion? Its
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
as often as Holley?
Our conclusion? Its
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
both!
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
as often as Holley?
Our conclusion? Its
both!
Holly or
Holley?
Found near Holley
Mountain in Oregon,
this classic agate
was named for the
mountain but is
Holly or
Holley?
FIGURE 4
This piece of rough has
been cut cross grain and
polished to highlight
internal color and pattern.
The seam face will next be
lapped to reveal hidden
fractures so that the
lapidary potential can be
determined.

FIGURE 5
This photo shows a piece of
rough that has been split.
Internal fractures have then
been highlighted with a
pointed aluminum scribe.
The next step in processing
is to use a trim saw the
separate the pieces along
the fracture lines. The piece
at the top will be treated in
the same manner.
FIGURE 6
This piece of rough showed
a lot of potential before
it was split. After cutting
it was found to be full
of fractures. These have
been highlighted with the
aluminum scribe. This is a
classic example of why I
shy away from purchasing
large thick pieces of
rough. Generally speaking,
they are full of flaws that
severely limit their lapidary
potential.
FIGURE 7
This pile of holly agate
was purchased in 1998 for
$25.00 per quart jar-full,
shortly after the collecting
site was closed.
FIGURE 8
This one pound lot of holly
was purchased in 2004 for
$40.00.
FIGURE 9
This 1.5 pound parcel
was purchased in 2010
for $150.00. With the
prices for this agate
increasing so dramatically,
a discriminating collector
needs to be selective when
purchasing rough.
FIGURE 4 FIGURE 5
FIGURE 6
FIGURE 8 FIGURE 9
FIGURE 7
05232011113820
27 July 2011
Standard
Tumbling
Grits
An easy way to sort
a parcel of purchased
agate rough is putting it
in a rock tumbler. Start
with coarse, 60/90, 400
for medium grit, and
nish with Tripoli for a
polish.
Isolate potential cabochons. Next, I may
cut along the fracture lines, leaving me with
sections that I can cab individually. If a piece
of quality rough is thick enough, I might first
split it down the middle with the hope that it
will yield two pieces that I can cab. Most of the
cabs I work up are freeform rather than cali-
brated, as this allows for unique shapes with a
minimum of waste. I also recommend cutting
cabs with as high a dome as possible so that the
finished stones have the greatest color depth.
JIM LANDON is a long-time high school science
teacher, rockhound, and budding jewelry artist who
lives in the foothills of the Cascade Mountains in
Washington State.
Most of the cabs I work up are freeform rather
than calibrated, as this allows for unique
shapes with a minimum of waste.
Orient the rough. Whether you cut with
or across the grain is a matter of personal
preference. For Holly agate, cutting with the
grain means that the stone is cut parallel to the
way it was deposited in the seam. Cutting with
the grain is apt to yield a larger stone with more
uniform color and fewer visible inclusions.
ASSESS YOUR ROUGH
So, how do you pick out the best material from
a pile of rough at a rock show? And once you
get it home, where do you start? Here are my
recommendations.
Wet it. First, check for color and inclusions
by wetting each piece and viewing it under a
strong light source.
Eyeball for fractures. Next, look for visible
fracturesyoure trying to get an idea of your
potential yield, gem material versus waste.
Because you cant see inside a thicker piece, I
try and stay away from large, thick pieces.
Pieces that are 10 to 20 millmeters thick are
often less risky to invest in.
Tumble your purchase. Very often, I
process most of my new rough in a conven-
tional tumbler using a standard grit series
through polish. First, this allows me to sort the
finished rough quickly by how clean it is and
how good the color is. Then I can concentrate
on further processing only those pieces with
the most merit.
Test polish. If a piece of rough shows good
color and few drawbacks, I polish one surface
on a flat lap first. This gives me a window to
check for internal fractures.
FIGURE 10
These two pieces of rough
are from my 2010 purchase.
I will cut the piece on
the left with the grain.
Both seam edges will be
removed first and then the
remaining core will be split.
The second piece showed
good color without any
internal banding so it will
be cut cross grain.

FIGURE 11
The first piece of rough that
was cut cross grain yielded
four cutable stones.
FIGURE 12
The second piece of rough
that was cut with the
grain also yielded four
stones once the slabs
were separated along one
internal fracture that was
found.
FIGURE 13
This figure shows the finished
cabs for the pieces that
were cut with the grain.
FIGURE 14
These are the finished
cabs for the pieces that
were cut across the grain.
Giving them a high dome
enhances the color of each
stone.
FIGURE 5
FIGURE 9
FIGURE 10 FIGURE 11
FIGURE 12 FIGURE 13
FIGURE 14
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Use a rolling mill to get the look of inlaid metal
in a clean, delicate, contemporary bracelet
BY TOM WERKHEISER
Copper Wire
Cu with
Silver Wire
Inlay
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SKILLS
Soldering
Metalwork
Fabrication
TIME IT TOOK
About 1-1/ hours
of hand work
JEWELRY PROJECT
AN
EASIER
WAY
see page 30 for alternatives to
using a bench grinder and a cu
mandrel
28-31_Copper Wire Cuff.indd 28 5/18/11 1:45 PM
05232011113851
29
July 2011
Preparation
Cut two 12ga copper wires and one ster-
ling silver 16ga wire to 5" lengths (overall
length and width will expand as the proj-
ect goes through the rolling mill). Clean
and prep the wires for soldering. Us-
ing a bench block, I gently tapped each
dead soft wire with a rawhide mallet to
straighten it. Then, I lightly sanded each
wire with 400 grit sandpaper.
I also precut my solder sheet into thin
strips. A strip allows me to easily hold
and clean any oxidation built up on
the solder two swipes with 400-grit
sandpaper works well. Ill then cut only
the amount of snippets needed for that
project.
Photo 1 Wrap the two copper wires
together with binding wire. I use bind-
ing wire to ensure that any gaps in the
wire are held together. Place the uxed
wrapped wires on top of two at T
pins on the soldering pad. I like to keep
projects slightly elevated of my solder-
ing pad to help reect the heat to the
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project. Solder the wires with medium,
using a " ame.
TIP: I prefer to use more solder as opposed
to just enough. Note the positioning of the
snippets. I try to put snippets in between
each wrap of binding wire. The solder must
completely ll between the wires this is
a critical step. When rolling with the silver
wire for the inlaid look, the solder will push
through any gaps in the copper wires.
Quench, pickle, rinse, and dry. Always
be sure to remove your steel binding wire
before pickling to avoid contaminating
your pickle pot.
Photo 2 Choose one side of the soldered
wires and surface clean with 400-grit
sandpaper. I also use a small, clean 400-
grit sandpaper folded in half to sand the
groove between the two wires. This will al-
low you to verify that there has been com-
plete solder ow, and it will also prepare
the surface for adding the sterling wire.
1
DESIGNING JEWELRY, I often nd, is a process of
evolution rather than one of developing detailed concept drawings and
working with a self-imposed set of guidelines. I like to sketch a few items
that I want to incorporate into a piece and then see where it takes me. I
also jot down dated notes about materials used, measurements, certain
techniques, and possible options on my ever-present sketchpad.
Originally, this design was just two soldered copper wires, and I planned
to lightly hammer them out to see where that would take me. But as
I noticed a remnant of sterling wire in my in-process tray, the piece
underwent a design evolution, and this cuf jumped into my head.
HOUR BY HOUR
Actual hand manufacturing
time is about 1 hours. I do
not include pickle or tumbling
time, as I consider these batch
processes, and I can work on
another piece of jewelry while
waiting for batch processes to
nish.
MAT ERI AL S
12ga copper wire, two 5" inch
lengths
16ga sterling silver wire, 5"
Flux
Medium and easy solder
Binding wire
Rio Grande Super Sunsheen
Burnishing Compound
Renaissance Wax
TOOL S
HAND: Wire cutters, rawhide
mallet, rolling mill, jewelers saw,
2/0 blade, bench block, solder
snips, small at nishing le,
Sharpie marker
SOLDERING: Soldering block,
acetylene torch, medium tip,
striker, binding wire, quenching
water, pickle pot, rinse water,
T pins
FINISHING: Bench disc
sander with 320 grit paper
disk, 220-320-400 wet/dry
sandpaper, cuf mandrel,
tumbler with mixed steel shot
and burnishing compound,
protective wax
S OURCES :
Most of the tools and materials
for this project will be available
from well-stocked jewelry
supply vendors, many of whom
can be found in our Advertisers'
Index, page 71.
Craftsman 4x6 inch Belt and
Disc Sander combo, Compact
Rolling Mill is from MRB.
Tumbler is Lortone model 45C.
Flux is Dandix. Rio Grande
Super Sunsheen Burnishing
Compound. Joyce Chen kitchen
shears for cutting solder sheet
and snippets.
2
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3 4
5 6

If you dont have
a bench grinder, you
might use a 300-grit
grinding cylinder with a ex
shaft, or use a #2 half round
le to shape the cuf ends
for comfort.

If you dont have a cuf
mandrel you could also
use the horn of an anvil
and a pair concave/convex
forming pliers for shaping
and sizing.

3M Bristle Discs may also
be used for cleanup and
nishing.
Photo 3 On a bench block, gently tap
the paired copper wires with a rawhide
mallet. When they are straight, bind the
sterling silver wire between the cleaned
copper wires. Again, make sure the
binding wire is tight. Flux and set onto
T pins. Carefully place slightly smaller
snippets of easy solder on either side
of the sterling wire between each wrap.
Place the snippets parallel to the wires
in the grooves to reduce cleanup time if
any solder ows over the copper. Solder,
quench, remove binding wire and pickle,
then rinse.
Photo 4 Run the wires through the rolling
mill in 4 small passes, or until you sense
you are at the hardening limits for the cuf.
TIP: I start rolling with the silver wire up
in order to steady the cuf through the
mill.
After about 4 passes, the silver should
be just short of inlaid, but note that the
number of rolling mill passes can vary de-
pending on how aggressive you want to
be before annealing.
Anneal, quench, pickle, and rinse.
Photo 5 Straighten out the cuf wire with
gentle taps, on the top and both sides,
with your rawhide mallet and bench
block.
Photo 6 Make 2 small rolling mill passes
to achieve a /" width and a ush inlaid
look and feel.
Photo 7 The nal rolling passes accomplish
two things. It completes the project
dimensions and appearance while work-
hardening the cuf. Notice the wires have
elongated to about 6". At this point, I
use a rawhide mallet and bench block to
gently straighten the cuf wires. Anneal-
ing is not necessary after only two small
passes through the rolling mill.
learn more
about soldering copper
PAGE
32
AN
EASIER
WAY
7
05232011113851
31
July 2011
alternate
fnishes
You may consider lightly
hammering only the copper
edges of the cuf (while
straight and at) to create
a light catching efect.
Another option might
be to just leave a soft satin
appearance on the cuf
after youve nished nal
sanding.
8 9
Photo 8 Trim the ends of your cuf with
your jewelers saw to desired length. I
have found 6" creates a medium size cuf.
Round the ends with a bench grinder or a
#2 rough le.
Photo 9 While the cuf wires are still at,
you can nish smoothing both edges
with a ne at nishing le. Then sand
the entire cuf starting with 220-grit,
320-grit, and 400-grit papers.
TIP: While coarse sanding, look for any
solder bleed over onto the copper and
be sure remove it.
After this, stamp the inside of the cuf
with your logo or name if desired.
Photo 10 I select the second smallest
increment on the stepped cuf mandrel
and use a rawhide mallet to gently per-
suade the cuf into the nal form.
TIP: Before committing the cuf onto
the mandrel, I protect the inside of the
cuf by applying blue painters tape to
the mandrel. The painters masking tape
bufers the gentle strikes from my mal-
let. Painters tape is easier to remove
from the mandrel, and one or two layers
should be suf cient. Forming the cuf
also provides the bulk of the work hard-
ening to the nal product.
Finishing
I nish the project by tumbling in mixed
steel shot, submerged in 1" of water, and
a capful of Rio Grande Super Sunsheen
Burnishing Compound, for about two
hours. This imparts a great nal shine,
and contributes to the nal work hard-
ening of the project. After rinsing and
drying, I then apply a small amount of
Renaissance Wax as a protective coating.
Before committing the cu onto the
mandrel, I protect the inside of the cu
by applying blue painters tape.
10
TOM WERKHEISER has been
designing and making jewelry
at his home studio in Schnecks-
ville, Pennsylvania, for seven
years. He attended the Baum
School in Allentown and is a
member of the Pennsylvania
Society of Goldsmiths. His work
has been exhibited in Wired
and Monsoon Galleries in
Bethlehem, and he is presently
doing home shows at his resi-
dence and for clients. See TIE
Designs on Facebook to view
more work.
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technique
how to
solder jewelry
6th in a 10 part series
special considerations for
copper, brass, and bronze
BY LEXI ERICKSON
soldering
the copper
metals
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32-37_Soldering6.indd 32 5/19/11 12:08 PM
05232011113921
33 July 2011
technique
My passion is making jewelry, but I have to
temper that passion with some reason now.
Realizing that most of my customers at the fine
craft shows dont realize or understand todays
metal prices, I have to be prepared to explain
why my jewelry has jumped so dramatically in
price. I also need some lower priced pieces that
customers may be more comfortable purchas-
ing. For that, I turn to what are my favorite
metals, copper, brass, and bronze.
Being a retired archeologist, I love copper
and its alloys, and I especially love bronze
a magical word I continue to use though
technically erroneous, because the bronze of
the ancients was copper and tin, whereas most
jewelry bronzes today are some form of brass,
alloys of copper and zinc. I love red brass (one
of the bronzes) for its ability to take a patina.
Red brass pieces can look like an artifact that
was dug up yesterday, or they can shine like 18K
gold. What versatility! I find yellow brass a bit,
shall we say, brassy for my taste, but its still a
wonderful metal to work with.
Copper is cheaper than silver and a jewelers
dream as far as hammering, forming, rolling,
and taking a patina. Brasses are a bit tougher to
bend and are rather obstinate when accepting
a nice liver-of-sulfur patina. In most aspects,
copper alloys will cut, file, and polish pretty
much just like sterling. You dont need a sepa-
rate set of tools to work with them, though you
may find your file clogs a bit more. However,
it is when you go to solder that you notice the
difference a pretty big difference if you are
not ready for it.
SOLDERING COPPER ALLOYS
When soldering copper, brass or bronze,
its perfectly fine to use the same torch you use
for sterling. If you are using a micro torch, you
will probably need a bit more heat than they can
provide. The techniques needed for soldering
these metals calls for a rapid heat, so you may
need to practice a bit before starting on an
actual piece of jewelry. You would also use the
same pickle that you use for soldering silver,
and its perfectly fine to put silver and copper
alloy pieces in the same pickle pot together.
Some advanced jewelers and sculptors like a
muriatic acid pickle for copper and brass, but I
find the regular pickle works just fine.
One of the main problems of soldering the
yellow metals is a noticeable line left where
the solder flows. To help with this problem,
there are several special solders available from
your local jewelry supply store. One of the best
known is called Easy Flow, also known as an
extra easy solder for silver, and it will melt at
about 1125F. This solder will leave a grayish-
yellow line of solder, and usually, you will see
it. It contains cadmium, which helps with the
flow of the alloys in the solder. However, the
International Agency for Research on Cancer
has declared that cadmium is probably a
carcinogen (eco-usa.net/toxics/chemicals/
cadmium.shtml).
Another popular copper/brass solder is
Sil-Fos 15 (silfos.com/htmdocs/product_
support/alloy_selection_guide.htmla). This
is an industrial copper solder, developed by
Handy and Harman over three quarters of a
SILVER IS HOVERING AROUND $45 an ounce, as I write this, but
I remember $45 worth of silver as a lot more than that. Back in the
1980s for my first jewelry making class assignment, I bought a chunk of
16-gauge silver that measured about 3 x 6 and I paid what was then an
astounding $45 for all that.
Even a decade ago, the price of silver was nothing like it is today. What
were you doing in April of 2002? You should have been buying silver,
because it was running around $4 an ounce then. And lets not even talk
about gold! According to Kitco, a precious metals brokerage company,
during this same period, gold has gone from $260 an ounce to a high of
$1495, and the volatility continues. How could we have known?

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PHOTO: JIM LAWSON
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fnd more
Delve into the details
of copper, brass, and
bronze in Copper:
Standard Again by
Sharon Elaine Thompson.
MARCH
Lapidary Journal
Jewelry Artist
interweavestore.com
RIGHT
Use a heavier soldering
flame for copper and
brass than for sterling.
The torch used here is a
Smith Silversmith torch,
also known as a Handy
Heet. The torch head is
a #1, which will give you
adequate heating for
copper and brass.
FAR RIGHT
An unusual soldering flame.
century ago, and is used primarily in heating
and refrigeration. It comes as a 20-gauge
wire solder, with a melting temperature of
1300-1400F+ (about the same as medium
silver solder) and it is 92.7% copper and 7.2%
phosphorus. Again, it leaves a light colored
join. So, if you look closely at any of your
soldered joins on copper or brass, you may see
a lighter colored line. Their website says no
flux is needed when using Sil-Fox and copper,
only for brass, but for jewelry, I like the added
protection of flux.
Copper and brass, for all their beauty, are
nasty metals. They oxidize rapidly. Really
rapidly. And of course, so does their solder.
This may seem unorthodox, but I teach my
students to use their regular silver solder for
these metals because it is so much easier, and
if you are careful, you will have a very neat
seam. So using your choice of either silver or
copper/brass solder, lets start soldering.
PREP FOR SOLDERING
First, you must make sure the copper or
brasses are free of any oxidation. Even if you
just pickled or sanded your piece yesterday
and left it on your bench overnight, Id still
recommend cleaning it again before you
solder. These metals oxidize rapidly, especially
if you live in a humid area of the country. After
you have sanded the piece well along the seams
to be soldered, throw it into the pickle for a few
minutes, rinse in water, and then scrub with a
brass brush and a bit of Dawn detergent, and
rinse in clean water. Be sure not to touch the
seam to be soldered.
Its smart to clean your solder right before
using it, too. Whether you use sheet or
wire, make sure it has been cleaned either
by sanding with sandpaper or with a green
kitchen Scrubbie. Cut small pieces of solder
(pallions) and set them aside on the fire brick
or soldering area. Cut three or four more than
you think you will need.
This is a good time to check the solder pick
and make sure its sharp, and has no extra old
solder clinging to the tip that could flow onto
the copper or brass and leave a blobby mess. If
you see any old solder, file it off with an old file
or use a grinder. Have a small open container
of white paste flux handyit may be useful
later on.
T-JOINS, BEZELS, SEAMED JOINS
Make sure all the seams fit well. Fit, sand,
and refit, if necessary. This is especially
important when setting a bezel. Use silver
bezel wire. Copper bezel oxidizes rapidly, like
the solder. A fine silver bezel will solder easier
and you can handle the color difference later.
Remember, the rule says: Solder wont fill gaps.
Next, flux liberally. Use Prips Flux, which
is probably the best flux for copper and
brasses. Its a non-fluoride spray flux, and is
available from large supply houses. With sharp
tweezers, quickly place the pallions on the
seam to be soldered, if a seamed join, or right
alongside of the two metals to be soldered.
They should be right up against the T-join,
or lying on the back plate right up against the
bezel. If using silver solder, use a bit less than
usual. Let the Prips Flux dry and it will help
hold the solder chips. You should have a few
extra solder chips left over. Leave them for now,
you may need them later.
Fire up the torch! You will be going in hot
and heavy, so if you are shy about a flame, and
only have a small gentle flame, you will be here
for a long time and will be creating only oxida-
tion and more problems. While not wanting
an oxidizing flame, which will hiss loudly, you
do want a good strong flame. On my Smith
acetylene/ambient air torch, I use the #1 head
with a good 6-8 flame and lots of heat.
Since copper is the best conductor of heat
among metals (silver is the second best),
heat along the outside of the piece, moving
the flame rapidly all along the outside. Every
now and then, cross over the seam, and then
continue heating around the piece. The object
Copper is cheaper than silver and a jewelers dream as far
as hammering, forming, rolling, and taking a patina.
05232011113922
35 July 2011
FAR LEFT, TOP
Prips FluxI think this is
the best flux for soldering
copper and brass. It may
be transferred to a spray
bottle and sprayed on a
slightly warmed piece.
ABOVE
Copper back plate,
sterling silver bezel and
solder, just removed
from a pickle in which a
piece of coathanger has
been placed. This will
copperplate your entire
piece. The silver may then
be polished if you want a
bit of silver bezel, but the
solder will remain copper
plated.
BOTTOM LEFT
Silver bezel on copper back
plate before copperplating.
An example of too
much flux being used.
Just the right
amount of flux.
is to keep the metal from over-oxidizing, while
keeping it hot enough to make the solder flow.
Its tricky. Remember the hottest part of your
flame is about a quarter inch from the inner
blue cone, so go in close.
Because the Prips flux has dried, there
should be little or no popping off of solder
chips. If a chip does pop off, dip the very
tip of your solder pick into that container of
white paste flux and use it to pick up a chip
and place it on the seam while still moving the
flame around the piece. (Yes, its like rubbing
your tummy, singing the national anthem, and
dancing the bossa nova at the same time . . . it
takes practice.)
The heat from the large, hotter flame will be
conducted quickly around the piece. You need
to work fastnow is not the time for sweet
and gentle. Watch for the flux to smooth out,
then move to the join and quickly run the flame
up and down next to the seam, but still run the
flame over the whole piece periodically. Try not
to heat directly on the seam.
You will see the solder melt, then flow. Move
to the seam directly and rapidly pull the solder
with the flame. Watch closely, make sure there
are no gaps, and when done, remove the torch.
To keep the torch on the join will make the
solder flow onto the piece itself, and you will
have more clean up to do. Let the piece air
cool for a few minutes before quenching and
pickling. You should have a very narrow, clean
join of solder fitting right into the seam.
As an option: If you are doing an overlay,
sweat solder some silver solder on the back of
the top piece. Then quench, pickle, and rinse.
If you can move the piece before soldering
without displacing anything, first, heat a small
section of the soldering brick to cherry red, and
then, using tweezers, place the piece on the hot
circle and continue heating rapidly from above.
This technique works especially well with
bezels. Again, as with all yellow metals, let them
air cool for a few minutes before quenching in
water and then in warm pickle.
OVERLAY JOINS WITH SILVER
Soldering silver in combination with copper
and brass is frustrating. In fact, as Ive
discussed this chapter with many pros in the
business, Im shocked how many teachers say
Dont do it. Well, the bumblebee doesnt
know that its not supposed to be able to fly,
either. So like the innocent bumblebee, I
learned to solder copper and silver early in my
jewelry career before I was told not to try it (like
on my first solder assignment in college). Its
exasperating, I can promise you that.
TIP: When soldering silver or copper over-
lays, file a 45% angle along the bottom edges
of your overlay. The solder will fill this in and
you will have few or no ghosts.
When doing an overlay with copper alloys and
sterling, its easier to solder silver onto copper
or brass than the other way around. Sweat
solder some silver solder onto the back of the
top piece of silver. How much to use is just a
matter of practice and experience. Quench,
pickle, and rinse. Place the silver piece on top
of the copper back piece. Again, you go in hot
and fast and use Prips Flux, but I also put a bit
of white paste flux or even go for a spray of Cu-
prinol or Firescoff to protect the silver. I havent
found that it affects the Prips in any way.
Again, you will use silver solder. Heat the
brick first, getting a nice red center in the fire
brick, and using tweezers, move the piece to
the preheated brick. Heat around the piece,
keeping the flame off the silver. Cross over the
piece now and then, about every fourth circle
around the piece, and try to get the copper up to
the correct solder melting temperature.
$
For up-to-the-minute
pricing on precious
metals, check out
Kitco.com. The daily
spot can be loaded onto
your phone or computer.
05232011113922
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RIGHT, TOP
You can tell . . . there is no
longer an overlay, and the
piece now appears to be
one level. It can be made
into something interesting,
but thats not what we
were going for with an
overlay.
FAR RIGHT, TOP
WHOOPS! Here, the
copper has sunk into
the sterling because the
sterling was overheated,
and the copper, which has
a much higher melting
temperature, sank into the
silver. The piece can still be
salvaged but it wont be
pretty!
RIGHT, BOTTOM
See the color of this flame?
Its a very bright orange,
and the silver is shiny. It
only takes seconds to reach
this stage when soldering
copper onto silver. This
means the copper is
getting ready to sink into
the softer silver.
FAR RIGHT, BOTTOM
You can see the bright
line of silver solder that
encircles the disk. When
you see this, you piece is
down. Remove the flame
and turn off the torch.
Better watch quickly.
Watch your paste flux, and when the flux
turns clear, concentrate heat more on the silver
part, but keep the flame moving in a circular
motion. Remember, the hottest part of the flame
is about a quarter inch in front of the blue cone
on an acetylene/ambient air torch. Keep the
flame close, and watch for the bright silver line
to appear around the silver overlay. As soon as
you see it run around the overlay, remove the
torch. Let the piece air cool for a minute or two
before putting in the pickle.
If you are overlaying a copper or brass piece
onto sterling, it is a lot trickier for a couple
of reasons. When overheated, silver will have
a tendency to collapse and the copper piece
will sink into the silver. Its a cool look, but
not exactly what you are going for. Also, if you
use too much solder, you will have a pool of
overflow solder on your copper overlay, which
will be a bear to remove.
Sweat solder some silver solder onto the back
of the silver top piece. Quench, pickle and
rinse. Follow the same directions stated earlier
by putting Prips on the copper and some paste
solder on the silver. For this technique, dont
preheat the solder brick, but do heat the brick
gently around the piece. Spend a bit more time
on the copper overlay, and dont overheat the
silver. Go from the copper piece to the perim-
eter of the silver, and back and forth.
When you see the paste flux go clear, increase
your heat a bit and move onto the silver this
can happen within seconds. Heat the whole
piece at once. You must work fast. Always watch
your silver closely. If it starts to look shimmery
and shiny, remove the torch for a few seconds
and let it cool, then carefully go back in. Again,
watch for the silver line of solder around the
copper. You may want to practice soldering
some scrap pieces together first. Dont worry
if you ruin them. Later Ill teach you about a
cool Japanese alloy called shibuichi, which is a
mixture of copper and sterling. (And guess how
I learned to do that!)
Always use your paste flux as a temperature
indicator. This is one of the biggest tips in
soldering. Get used to one paste flux, stay with
it, and watch how it reacts to heat and how it
flows. There is a world of knowledge in watching
your flux.
CLEAN UP AND HARDENING
Because you have soldered faster and hotter
than usual, you probably wont see much
copper blush on a brass or bronze piece. But
if you remove a soldered brass/bronze piece
from the pickle and notice a slight copper color
on your metal, this is not unusual. This copper
blush is an oxide, and can be removed several
different ways.
One way is to use some light sandpaper. (I
like the 3M Finishing Film, 9 micron.) You can
also use white diamond polishing compound
and a felt wheel on a buffing wheel or a flex
shaft. You may also use the red 3M radial
bristle discs, and remember to put at least 3-4
on the mandrel.
You may also make some super pickle and
pickle your piece for 10-20 minutes. Super
pickle is made by putting 1 cup of hydrogen
peroxide into 3 cups of new pickle. It makes
it a stronger pickle for about an hour, then it
reverts back to regular pickle and may be used
as usual.
Now, if you have used a fine silver bezel, you
may want to oxidize it. Same goes for silver
solder on copper, if you have a noticeable silver
line where your pieces are soldered together.
After finishing the piece to your satisfaction,
mix a small amount of pickle in a glass jar.
Copper and brass oxidize rapidly. Really rapidly.
And of course, so does their solder.
Done for
the Day?
After you have nished
soldering for the day,
be sure to leave your
soldering station
closed down.

Turn the tank key
clockwise to shut of
the ow of gas to the
hose.
Open the knob on the

handle and bleed the
hose. Of course, dont
bleed the hose near
any open ame.
When the gauge reads

0, turn of the knob
on the handle. Never
leave the knob turned
on.
Then back of the

t-bar, or regulator
key, which removes
any stress on the
regulator bladder.
Clean your solder area.
Check your pickle pot

for any pieces you left
in there, and turn of
the pot.
05232011113922
37 July 2011
of the silver top piece. Quench, pickle and
rinse. Follow the same directions stated earlier
by putting Prips on the copper and some paste
solder on the silver. For this technique, dont
preheat the solder brick, but do heat the brick
gently around the piece. Spend a bit more time
on the copper overlay, and dont overheat the
silver. Go from the copper piece to the perim-
eter of the silver, and back and forth.
When you see the paste flux go clear, increase
your heat a bit and move onto the silver this
can happen within seconds. Heat the whole
piece at once. You must work fast. Always watch
your silver closely. If it starts to look shimmery
and shiny, remove the torch for a few seconds
and let it cool, then carefully go back in. Again,
watch for the silver line of solder around the
copper. You may want to practice soldering
some scrap pieces together first. Dont worry
if you ruin them. Later Ill teach you about a
cool Japanese alloy called shibuichi, which is a
mixture of copper and sterling. (And guess how
I learned to do that!)
Always use your paste flux as a temperature
indicator. This is one of the biggest tips in
soldering. Get used to one paste flux, stay with
it, and watch how it reacts to heat and how it
flows. There is a world of knowledge in watching
your flux.
CLEAN UP AND HARDENING
Because you have soldered faster and hotter
than usual, you probably wont see much
copper blush on a brass or bronze piece. But
if you remove a soldered brass/bronze piece
from the pickle and notice a slight copper color
on your metal, this is not unusual. This copper
blush is an oxide, and can be removed several
different ways.
One way is to use some light sandpaper. (I
like the 3M Finishing Film, 9 micron.) You can
also use white diamond polishing compound
and a felt wheel on a buffing wheel or a flex
shaft. You may also use the red 3M radial
bristle discs, and remember to put at least 3-4
on the mandrel.
You may also make some super pickle and
pickle your piece for 10-20 minutes. Super
pickle is made by putting 1 cup of hydrogen
peroxide into 3 cups of new pickle. It makes
it a stronger pickle for about an hour, then it
reverts back to regular pickle and may be used
as usual.
Now, if you have used a fine silver bezel, you
may want to oxidize it. Same goes for silver
solder on copper, if you have a noticeable silver
line where your pieces are soldered together.
After finishing the piece to your satisfaction,
mix a small amount of pickle in a glass jar.
Mix enough to cover the piece, and throw in
something like binding wire, some nails, or a
piece of steel coat hanger.
Place your piece in the pickle/iron solution,
and leave for about 5-10 minutes. The chemical
reaction of the pickle and iron will copperplate
your silver solder line and it will become
copper-colored, matching your metal. Dont
do this if your piece is brass. It will copperplate
your brass, and if you did have a copper blush
from the soldering flame and have removed it,
then you would have to start all over again.
Another not so pleasing by-product of
soldering copper and brass is how soft it
becomes after heating. This is because the
metal is annealed from the soldering heat.
Copper becomes very soft, and needs to be
work hardened, which can be accomplished by
hammering your piece with a rawhide mallet.
Take care, especially if you are hammering
around a bezel. Throwing it in a tumbler is also
a good way of work hardening many pieces at
the same time.
Dont get discouraged if you have some
difficulty soldering the yellow base metals. It
takes practice, just like learning to solder silver.
Remember to keep the metals clean, and go
in hotter and with a larger flame than usually
required for sterling. The results are worth all
the experimenting and practicing you will do,
and you, too will fall in love with these metals
and be ready for our New Bronze Age.
Copper and brass oxidize rapidly. Really rapidly.
And of course, so does their solder.
The Last Time
Silver Was
This High
Silver has been quickly
heading toward the
$45 mark. Its up about
$4 dollars from my last
silver purchase, about a
month ago. Adjusting for
ination, the price has
never been this high.
Between 1973 and
1979, the Hunt Brothers
of Dallas, Texas (yep,
Hunts ketchup and
tomato sauce, the same
Hunts), along with some
wealthy Saudi Arabian
friends, tried to corner
the market on silver.
They amassed over 200
million ounces of silver,
which was basically half
the worlds supply at that
time. Silver had been
at $1.95 in 1973, and by
the time the Hunts got
through with their little
shenanigans, around
1979-80, it was peaking
around $53 an ounce!
Well, the Federal
Reserve got involved
and halted the buying.
In one day, March 27,
1980, the price dropped
from $21.62 to $10.80!
Countless speculators
lost millions, and the
Hunt brothers were
convicted of conspiring
to manipulate the
market. When I got into
making jewelry back in
the 1980s, the price had
dropped even more.
Its easier to solder silver onto copper or
brass than the other way around.
LEXI ERICKSON lives in Colorado and is active in
Colorado Metalsmithing Association, and is busily get-
ting ready for the late summer and fall shows. Check
out her relevant posts on metals and techniques on
her blog, The Torch, at LexiEricksonDesigns.com.
FAR LEFT
Silver solder has been
sweated onto the back of
a copper disc.
LEFT
Piece of textured brass with
the copper blush on the
right hand side. This blush
can be removed in super
pickle or with sanding.
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A great cut for
very thin rough
VERY THIN WITH A SPOT OF COLOR
in the middlethat was the piece of Oregon sunstone
rough that led to this cut. I had to design something
special for it.
I cut the bottom rst and then cut the girdle to
match the shape of the rough. I suggest cutting and
polishing the pavilion facets and then transferring the
stone. Then cut the crown facets and use cabbing
techniques to dome nish the top. The color will
show in the edges of this stone.
FACET DESIGN
Flat
Faceted
Sunstone
BY JERRY BARTLEMAY
Oregon sunstone, designed and cut
by Jerry Bartlemay. 3.2 cts.
Photo: Jim Lawson
JERRY BARTLEMAY lives in Portland, Oregon, and
is a member of the Columbia-Willamette Faceters
Guild. His day job is providing automation product
support as an application engineer for customers in
industry. He is a lifelong rockhound and has been
faceting for over seven years. His current activities
include teaching faceting classes for the Guild, and
for the last six years, he has acted as the Editor of
FACETS, the newsletter of Columbia-Willamette
Faceters Guild, facetersguild.com.
PAVILION
FACET ANGLE INDEX COMMENTS
Bottom 0.00 Culet Cut a at back on the stone
G 90.00 06 Cut girdle facets to shape of rough
90.00 19
90.00 31
90.00 46
90.00 58
90.00 70
90.00 81
90.00 91
45.00 91 Cut to give a 3-5% facet around the base
45.00 81
45.00 70
45.00 58
45.00 46
45.00 31
45.00 19
A 45.00 06
B 35.00 90 Cut to a level girdle
35.00 77
35.00 65
35.00 50
35.00 38
35.00 26
35.00 15
35.00 05
15.00 96-01-02-03-04-05-06-07- Cab cut and polish the top of the stone to suit the rough
08-09-10-11-12-13-14-15-
16-17-18-19-20-21-22-23-
24-25-26-27-28-29-30-31-
32-33-34-35-36-37-38-39-
40-41-42-43-44-45-46-47-
48-49-50-51-52-53-54-55-
56-57-58-59-60-61-62-63-
64-65-66-67-68-69-70-71-
72-73-74-75-76-77-78-79-
80-81-82-83-84-85-86-87-
88-89-90-91-92-93-94-95
5.00 96-01-02-03-04-05-06-07-
08-09-10-11-12-13-14-15-
16-17-18-19-20-21-22-23-24-
25-26-27-28-29-30-31-32-33-
34-35-36-37-38-39-40-41-42-
43-44-45-46-47-48-49-50-51-
52-53-54-55-56-57-58-59-60-
61-62-63-64-65-66-67-68-69-
70-71-72-73-74-75-76-77-78-
79-80-81-82-83-84-85-86-87-
88-89-90-91-92-93-94-95
Top 0.00 Table
CROWN
TECHNI CAL NOTES
Angles for Refractive Index = 1.560
210 + 8 girdles = 218 facets
96-fold radial symmetry
96 index
Length/Width = 1.027
Table/Width = 0.232
u/Width = 0.232
Pavilion/Width = 0.049
Crown/Width = 0.115
Volume/Width = 0.125
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05232011113922
39 July 2011
39 July 2011
PAVILION
Bottom 0.00 Culet Cut a at back on the stone
G 90.00 06 Cut girdle facets to shape of rough
90.00 19
90.00 31
90.00 46
90.00 58
90.00 70
90.00 81
90.00 91
45.00 91 Cut to give a 3-5% facet around the base
45.00 81
45.00 70
45.00 58
45.00 46
45.00 31
45.00 19
A 45.00 06
B 35.00 90 Cut to a level girdle
35.00 77
35.00 65
35.00 50
35.00 38
35.00 26
35.00 15
35.00 05
15.00 96-01-02-03-04-05-06-07- Cab cut and polish the top of the stone to suit the rough
08-09-10-11-12-13-14-15-
16-17-18-19-20-21-22-23-
24-25-26-27-28-29-30-31-
32-33-34-35-36-37-38-39-
40-41-42-43-44-45-46-47-
48-49-50-51-52-53-54-55-
56-57-58-59-60-61-62-63-
64-65-66-67-68-69-70-71-
72-73-74-75-76-77-78-79-
80-81-82-83-84-85-86-87-
88-89-90-91-92-93-94-95
5.00 96-01-02-03-04-05-06-07-
08-09-10-11-12-13-14-15-
16-17-18-19-20-21-22-23-24-
25-26-27-28-29-30-31-32-33-
34-35-36-37-38-39-40-41-42-
43-44-45-46-47-48-49-50-51-
52-53-54-55-56-57-58-59-60-
61-62-63-64-65-66-67-68-69-
70-71-72-73-74-75-76-77-78-
79-80-81-82-83-84-85-86-87-
88-89-90-91-92-93-94-95
Top 0.00 Table
CROWN
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TRENDS
By Annie Osburn
Animal Forms
Creature creations great and small
PHOTOS: MARGOT GEIST
KRISTIN DIENER
Each object within Kristin Dieners designs porcelain rabbit,
plastic animal toy, or fur from a vintage collar or favorite alley
cat holds its own narrative. I started mixing found objects into
my work early on. I love reliquary objects, old jewelry, Baroque
pearls, and odd materials, says Diener, who shows no reserve in
showcasing animals on a grand scale or in diminutive form.
Knowing where the animal pieces come from is very important
to me, adds Diener, whose disparate objects hail from several
states and a myriad flea markets and junk shops in between. I found a
wonderful rabbit collection in a thrift store in Milwaukee with very
happy rabbits, to militaristic, demented, angry-looking rabbits,
muses Diener. Sometimes, animal designs are inspired by the toy.
But all of my pieces seem to turn into talismans that are somewhat
allegorical, whether or not they end up with little toys or animals.
$400-$8,000 kristindiener.com
TRY IT Mokum Gan Snake
44 P
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KRISTIN LORA
Its difficult not to erupt into spontaneous laughter at the
site of designer Kristin Loras refreshing jewelry. Lora is
the first to admit that, when incorporating animal forms
into jewelry design, finding the balance between cute
and her own brand of slightly off-kilter is a fine line.
I definitely have a sense of humor in my work. My main
focus is being creative with metal, found objects, modified
fiber, and toy animals, says Lora, whose undergraduate
degree in zoology fosters her affinity for animal objects.
An early interest in surgery explains her facility for using
jewelers and rotating table saws to turn toy tigers, lions,
and bears into parts. Little hoofed-legs, hind quarters, and
heads fill containers strewn about Loras studio, waiting
to be set into earrings, brooches, or cuff links. Interest in
Loras animal-inspired jewelry is growing, including a run
on giraffe earrings last holiday season. With my animal
pieces, Ive been careful about marketing and conscious
not to become, well, the dog lady!
$60-$1,500 kristinlora.com
PHOTO: KRISTIN LORA
42-43_TRENDs.indd 42 5/19/11 11:06 AM
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43 July 2011
PHOTOS: MARGOT GEIST
PHOTOS: SUSAN ELNORA FRERICHS
SARAH WILBANKS
A voracious love of reading and research inspires the portraitlike
bird motifs within Sarah Wilbankss brooches and necklaces of
polymer clay, gold leaf, pearls, quartz, even felted wool, and sterling
silver. I first included bird imagery into my work for two gallery
shows. But now I have another bird show coming up based on Anne
Lamotts book, Bird by Bird, says Wilbanks.
Look closely at the shadowy and pearly polymer sections within
Wilbankss brooches, and youll see intriguing image transfers of
mathematical formulas on chalkboard, a water-speckled spider web,
or Mark Twains handwriting within bezel-set renderings of quail,
goldfinch, and grackle. I like finding images that are meaningful,
admits Wilbanks. Research for a trip to China last year also inspired
jewelry designs, including a necklace of tiny bird cages reminiscent
of the bird and cricket market in Shanghais Old Town. My quail and
goldfinch brooches are based off of cameo-style jewelry. I thought it
would be fun to create portraits of birds, rather than of people.
$430-$1,200 sarahawilbanks@gmail.com
PHOTOS: DOUG YAPLE
SUSAN ELNORA FRERICHS
Animals can be such powerful symbols because people
connect their own experiences and stories with them.
Ravens, for example, can mean different things to different
cultures, notes designer Susan Elnora Frerichs, who favors
ravens, owls, birds, elk and caribou antlers, and the mythical
unicorn to create jewelry that evokes memories and dreams.
I love hearing peoples stories and reactions to ravens,
whether its about the spirit world or the trickster. Im
attracted to the narrative quality of jewelry making and enjoy
how pieces transform once theyre put on the body.
Frerichss necklace, Thought and Memory, for example,
was created for a Valentines Day show, Be Still My Beating
Heart, at the Albuquerque, New Mexico, Mariposa Gallery.
Frerichs turned the hearts blood vessels into floating hinged
branches with ravens inspired by a story of the Norse god,
Odin, and his two pet ravens who served as messengers to
report the worlds happenings.
$75-$700 susanelnora.blogspot.com

ANNIE OSBURN has been a frequent
contributor to Lapidary Journal Jewelry Artist
since 1995. She writes regularly for national
magazines on the arts, travel, and health.
KRISTIN LORA
Its difficult not to erupt into spontaneous laughter at the
site of designer Kristin Loras refreshing jewelry. Lora is
the first to admit that, when incorporating animal forms
into jewelry design, finding the balance between cute
and her own brand of slightly off-kilter is a fine line.
I definitely have a sense of humor in my work. My main
focus is being creative with metal, found objects, modified
fiber, and toy animals, says Lora, whose undergraduate
degree in zoology fosters her affinity for animal objects.
An early interest in surgery explains her facility for using
jewelers and rotating table saws to turn toy tigers, lions,
and bears into parts. Little hoofed-legs, hind quarters, and
heads fill containers strewn about Loras studio, waiting
to be set into earrings, brooches, or cuff links. Interest in
Loras animal-inspired jewelry is growing, including a run
on giraffe earrings last holiday season. With my animal
pieces, Ive been careful about marketing and conscious
not to become, well, the dog lady!
$60-$1,500 kristinlora.com
42-43_TRENDs.indd 43 5/19/11 11:06 AM
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How to forge with a laminate
BY ROGER HALAS
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SKILLS
Forging
Milling
Annealing
Carving
Stone setting
TIME IT TOOK
Around 4 hours
JEWELRY PROJECT
Mokum Gan
Snake Pendant
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05232011114109
45 July 2011
Prepare the Billet
Photo 1 To make this project, I suggest
using a piece of / inch X 1/ inches of
mokum stock. The easiest to obtain
is that silver/copper combination avail-
able through Rio Grande. This will weigh
roughly 25 grams and will yield a sizeable
piece.
Photo 2 As with all mokum, ux and bind
the edges with medium silver solder. This
keeps the piece from delaminating when
it is being forged or squeezed through
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the enormous pressure exerted by the
rolling mill.
Photo 3 Clean up the billet. Like any piece of
fabricated jewelry, pickle it to remove the
ux. Then grind of any excess solder to
neaten everything up otherwise this will
become part of the piece and you dont re-
ally want this. Think of the solder as dispos-
able just a temporary binding material.
Photo 4 Lightly hammer the edges of the
billet, which are the weakest part of the
laminate.
1
3
2
4
ONCE MANKIND HARNESSED FIRE,
the ability to work metal was the next logical step. Even with a limited
knowledge of chemistry, early cultures took advantage of metals and
used them to fabricate all kinds of things: tools, weapons, even currency.
Pure metals were smelted to form new materials with processes that have
outlived the civilizations that invented them.
One of these processes is mokum gan, a laminating technique that
dates back to the days of the Samurai. This is not only an exercise in jewelry
design, but also an ode to the brave and battle-hardened warriors whose
deadly blades clashed in the misted forests of Japan. In a series of precise
steps, we focus on the principles of forging, patterning, annealing, and
using a rolling mill to fabricate a metal laminate into a powerful symbol that
honors the memory of its homeland.
HOUR BY HOUR
Rolling the mokum out doesnt
take long: its all the rening
and nishing that takes most of
the time.
MAT ERI AL S
Mokum bar stock
Two small diamonds
Super glue
Radio Shack PCB etchant
solution
TOOL S
SOLDERING: Soldering setup
EQUIPMENT: Rolling mill, anvil,
vise
HAND: Metal forging hammer,
plastic hammer, small round
mandrel, mini le set, round
nose pliers, jewelers saw
FINISHING: Flex shaft, 2mm
round cutting bur, set of stone
setting burs; 3M radial bristle
brushes, blue and peach;
abrasive pins, ne sanding
cloths, rubber gloves, scrap
leather
S OURCES
Silver/copper mokum stock
available through Rio Grande.
Most of the tools and materials
for this project will be available
from well stocked jewelry
supply vendors, many of whom
can be found in our Advertisers'
Index, page 71.
see more
animal motifs are trendy!
PAGE
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6 7
9
Photo 5 To use the rolling mill properly,
adjust it so that the billet is just barely
compressed on the rst pass. It is ex-
tremely important that the piece is prop-
erly annealed. Do not force anything. You
might roll it through 3 or 4 times, then
reheat and repeat. If the piece delami-
nates anywhere, forge it down with the
hammer and melt the solder again to
patch it up. This is precisely why you use
the solder, but hopefully you wont have
to do this.
Create the Pattern
Photo 6 Use a cutting bur in the ex shaft
to start carving into the piece to gener-
ate a pattern any pattern, so long as
it looks nice. You can go with stripes,
bands, or spots like I did. Its all good.
Photo 7 Now that you can see the initial
pattern, go back to the mill. With each
pass, you will notice that the pattern will
elongate. Remember to keep annealing
the piece to keep it exible.
Photo 8 Once youre satised with the
length of the piece, use the at part of
the mill to compress it a little more. This
will give the piece a atter cross-section-
al width relative to its height.
Taper into the Tail
Photo 9 This is tricky. Using the grooved
part of the mill again, taper one side of
the billet into a tail. This is best done in
segments, tightening the rollers down
and working your way toward the outside
of the piece. In the end, the tail will look
like a long, tapered step pyramid.
Photo 10 Start ling everything smooth to
give it a natural look. If you want, you can
switch to 400-grit sandpaper and sand
the piece by hand.
Form the Head
Photo 11 To make the head, cut a section
of the billet at about / inch long, and do
not cut all the way through.
Photo 12 Bend this segment back over
the piece, and solder it. This efectively
doubles the volume of the head, and
will give you plenty of material to forge,
carve, and ultimately rene.
Photo 13 Use abrasive pins to shape the
head. Although cutting burs would cut
faster, avoid them because they tend to
snag and will create damage you will be
forced to repair.
Form the Body
Photo 14 At this point, start forging the
snake into a serpentine pattern, or S
shape. There is no failsafe method for
how to do this. Use pliers, a vise, form-
ing stakes, an anvil, or your secret tele-
try
these,
too
Copper Wire Cu with
Silver Wire "Inlay"
Copper and Silver Clay
Linked Bracelet
PAGE
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28
48
combine copper and silver
in other ways
5
8
10
05232011114109
47 July 2011
kinetic powers the point is, this will
not be easy. Pad any tools you use with
scrap leather or tape to avoid marring
your work. Bend, twist, and keep ham-
mering until it looks right. Then, curl the
tapered end up and out of the way to
start the tail.
Make the Bail
Photo 15 The simplest, most natural way
to make the bail for this piece is to use
the tail itself. Bend this around a small
mandrel or a bolt, or a large nail
using a plastic hammer to forge it into
shape, then twist into a vertical posi-
tion. Any dents you make you can just
smooth out by hand or with 400-grit
sandpaper. Or you can go over this with
the radial bristle brushes rst blue,
then peach.
Bring Out the Scales
Here, you have the option to use the
PCB etchant, which will eat into the
copper portions of the mokum. This is
not a patina, it is an etch, and will create
a nice, almost scale-like texture. This
chemical (ferric chloride) also works im-
mediately, so you can visually gauge the
amount of etching. Use rubber gloves
and neutralize the piece with cold water.
After that, patina the piece if you think
it needs it.
Set the Eyes
Photo 16 At last, a set of eyes is what this
critter really needs. With a 1.3mm stone
setting bur (suitable for a .01 carat dia-
mond), carefully drill a couple of seats for
the stones. If you know how to set these
with a bezel pusher, do it. Otherwise just
glue them into place. Double-check your
work for overall neatness, and keep mak-
ing renements until your masterpiece
comes to life.
ROGER HALAS is a self-taught lapidary, metalsmith,
and jewelry designer in Southern California. When not
making jewelry, he works as a professional photogra-
pher, martial arts instructor, and aspiring screenwriter,
and encourages others to explore their creativity.
The simplest,
most natural
way to make
the bail is to
use the tail
itself.
11 12
13
14 15
16
learn more
about soldering
copper metals
PAGE
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BY ARLENE MORNICK
Copper and
Silver Clay
Linked Bracelet
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Metal clay use
Kiln use
TIME IT TOOK
About 8 hours plus
time for two rings
JEWELRY PROJECT
AN
EASIER
WAY
see page 50 for ways to simply
this project.
see the authors tips for
Copper Clay Success on
jewelrymakingdaily.com
fnd more online
Mix up your metal while you take advantage of shrinkage
48-51_Copper Silver Clay Bracelet.indd 48 5/18/11 3:58 PM
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49 July 2011
Create the Copper Panels
Photo 1 Create 5 textured copper panels
1 mm (4 cards) thick. Each panel is 1 "
long by " wide. Open two small holes
on each of the long sides of each panel
so youll be able to connect them with
jump rings. Set two panels aside to dry.
In the third panel, cut a decorative ele-
ment no more than "at its widest part (I
used a heart clay cutter in this project).
In the third panel, cut a decorative element
no more than " at its widest part (I used a
heart clay cutter in this project). Dry this
panel and the decorative element. In the
fourth panel, cut a circular hole 3/8" in
diameter. Dry this panel and the cut-out
circle. In the fth panel, cut three " cir-
cular holes down the center of the panel,
1/8" from each edge. When the panels
are dry, sand and smooth as needed.
Photo 2 Make a copper paste with 1 gram
of copper clay in a small plastic container
and three drops of water. Break down the
clay with a small stif spatula. Add more
water as needed until the copper clay
has softened and blended to the texture
of heavy cream. Youll use this paste to
add and reinforce the copper to copper
elements.
Photo 3 Add decorative elements to solid
copper panels. Attach one of the smaller
circles cut earlier to one of the solid
copper panels using a generous amount
of paste. Apply paste to the back of the
circle. Position this side down on the
panel, and hold in place for 30 seconds.
Reinforce around the outside edge of the
circle with additional paste. If desired,
BY ARLENE MORNICK
Copper and
Silver Clay
Linked Bracelet
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repeat for the second solid panel placed
to your preference.
Create the Copper Clasp
Photo 4 Cut a 1mm thick, textured panel
1" x 1" for the clasp. Use a needle tool to
trim the two corners and curve one of the
long sides of the panel. Within the curve
and " from the edge, cut a " diameter
circle. On the other long side of the panel,
use a cocktail straw to create two small
holes for jump ring attachment. Dry the
piece over a curved surface. After drying,
sand and smooth as needed.
Tip: I use the outside of the large size
plastic ower former made for cake
decorating to help keep the shape.
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COPPER AND SILVER COMBINED
ofer interesting color and texture contrast potential in jewelry. Working with
this clay duo is not dif cult, but can be time consuming, depending on the
project. Since the two metals will not sinter together, we will use clay sizing
and shrinkage to our advantage in combining them.
First, make all the copper components of the bracelet and re them. The
already sintered copper pieces can then be adorned with soft silver clay
and rered to a silver ring schedule. Shrinkage of the silver clay during this
ring will cause it to lock the copper in place.
learn
more
expert insights into
soldering copper metals
PAGE
32
HOUR BY HOUR
It took about 3 days to make
this 9-stone pendant. The rst
day was spent making and
nishing all of the bezels with
backs.
MAT ERI AL S
50 grams Art Clay Copper
15 grams Art Clay Low Fire
Silver
5 gram silver syringe
Olive oil
25-30 4 or 5 mm jump rings;
16 gauge
TOOL S
CLAY: 1mm thickness guides (4
playing cards), 1.25 mm thickness
guides (5 playing cards), texture
plate, acrylic roller, snake roller,
straight edge cutter, various size
circle and decorative cutters, pin
tool, nonstick work surface, paint
brush, cocktail straw, small plastic
container, small metal spatula,
water dropper, large plastic
ower former or bracelet mandrel
FINISHING: emery board, small
les, at nose pliers
FIRING: Kiln
S OURCES
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Photo 5 Create the bar and jump ring at-
tachment by rolling out 5 grams of clay
1.25 mm (5 cards) thick. For the bar, cut a
strip that is 1" x ". Set this aside to dry.
For the jump ring attachment, cut a "
circle. Within this circle, cut and remove
a second " circle to create a donut ring
of clay. Use a straight edge to trim the
bottom of the donut and reshape the
remaining donut half into a horseshoe.
Allow it to dry, then sand and smooth as
needed.
Photo 6 Using a generous amount of paste,
attach the horseshoe-shaped jump ring
attachment to the bar. Dry. Reinforce with
more paste and dry again. Sand and
smooth as needed.
Photo 7 Check the sizing of the bar and
clasp. Make sure the bar with the jump
ring attachment ts easily through the
hole in the clasp. Adjust with a le as
needed for a smooth t.
Photo 8 Fire all the copper pieces (panels,
decorative elements, and clasp) in a kiln.
Lay at pieces on a kiln shelf, and sup-
port the curved toggle with a ber blan-
ket to maintain the shape. Fire according
to the manufacturers recommendations.
For Art Clay Copper, ramp full speed to
1778 F and hold for 30 minutes. Allow
the kiln to cool to 1500 F.
Use protective gloves and safety glass-
es to remove the pieces from the hot kiln
and immediately quench them in a bowl
of room-temperature water. This will
help remove some, though not all, of the
black oxidation that forms on the pieces
as they begin to cool. Well deal with the
remaining oxidation later.
Create and Attach the
Silver Components
Photo 9 Make one textured silver clay
panel 1- x wide. Make a second
panel 1- x wide. Open jump ring
holes in each of the long sides of both
panels, and create decorative elements
that are .75 mm (3 cards) thick and
wide. Allow the pieces to dry. Sand and
smooth as needed.
Photo 10 Add a red copper element
AN
EASIER
WAY
make more
bracelets
Copper Wire Cu with
Silver Wire "Inlay"
Hinged Blue Chalcedony
Bracelet
PAGE
PAGE
28
18
Buy a nished bar and/
or toggle. Though its
rewarding to form your
own bracelet from start
to nish, one of the
more dif cult connec-
tions is the bar and
jump ring attachment.
You can always
purchase a bar, a toggle,
or both from a jewelry
supplier instead.
To attach your pur-
chased clasp, connect
the nal panel to the
bar. Change the number
of jump ring holes on
one side of one of the
copper panels from two
to one, centered along
the long side. Attach a
jump ring to this single
hole, add a half-inch
length of chain, and
close the jump ring. Add
another jump ring to
other end of the chain
and attach to the bar.
05232011114140
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15 16
17
(heart) to the larger panel of unred sil-
ver clay. Use silver syringe clay to create
a bezel around the red copper element.
The syringe work must touch the silver
clay panel and encompass the outside
edges of the copper element. If desired,
smooth the syringe work with a damp
brush. Set aside to dry.
Photo 11 Roll out 2 grams of silver clay
to .75 mm thickness. Cut out a circle or
other shape in diameter. Place the sil-
ver cutout on the back of a copper panel
centered over a hole.
Photo 12 Add a generous amount of silver
syringe clay to the silver cutout on the
back of the copper panel through the hole.
Photo 13 Add the decorative silver ele-
ment to the front of the red copper
panel. With a damp brush, wet the back
of silver element (see Photo 9). Attach
the damp side to the silver syringe work.
Hold the silver component in place for 30
seconds to secure the silver connection
to the back of the cutout. Allow to dry.
Photo 14 Roll out a silver snake 1 mm thick
and 3" long. Weave the snake through the
3 holes in the red copper panel.
Photo 15 Use the silver snake to make a
spiral on both ends of the front of the
copper panel. Add red copper circles
to the silver spirals. Securely t the silver
snake around the red copper and ll the
gaps with syringe if needed.
Photo 16 If desired, add another decora-
tive silver element to the snake, con-
necting it with silver syringe clay. Dry the
silver work. Use a pick or a needle le to
gently scrape of any excess silver from
the copper panel.
Fire all silver or silver-accented panels
according to the manufacturers recom-
mendations. For Art Clay Silver, re to
1470F and hold for 10 minutes. Us-
ing heat-protective gloves and safety
glasses, immediately remove the pieces
from the hot kiln and quench them.
Pickle all the panels until all the oxida-
tion is removed. Tumble the panels to
create a bright copper penny shine.
Photo 17 Connect the panels with jump
rings. For the panel that will connect to
the bar, place and close a jump ring in
each hole. Add and close a second and
third jump ring to each of the existing
closed rings, making two small chains.
Then, connect the two chains with an-
other jump ring.
Add additional jump rings to the single
ring connection as needed for sizing: the
number of jump rings you use will deter-
mine the nal length of the bracelet. The
nal jump ring will attach to the bar.
I use the
outside of
the large size
plastic ower
former made
for cake
decorating
to help keep
the shape.
ARLENE MORNICK is a Master Instructor for Art
Clay World USA. She teaches at her home studio in
Berkeley, California, throughout the San Francisco
Bay Area, and at art shows through the country.
You can contact her at arlene@amcollection.biz.
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WHEN ROMANTIC ERA poets
extolled the beauty of alabaster skin, they were
undoubtedly referring to the stones sometimes
dazzling white tones, but theres more to it than
that. Alabaster comes in a broad range of colors,
even broader than the range of skin tones we actually
see on people, while its delicate texture and extraor-
dinary translucency give it a gleaming, lifelike quality,
especially at the hands of talented carvers.
Just ask Paul Hawkins and Susan Zalkind in
Arizona (Alabaster.net), master carvers of alabaster.
They will tell you this is no inert, inanimate stone.
It is a friend, a living essence, a colleague in their
creations.
For that reason, says Zalkind, I literally cringe when
I see the word alabaster not capitalized. Most peoples
work is not about their material its about their work.
Our work is all about the Alabaster and what we do with
it. She is the Queen of Stones, and our work is about
our mutual love afair. If we werent so passionate, we
wouldnt have been able to lift stone all these years.
[While Lapidary Journal Jewelry Artist greatly respects
the artists and their work, style dictates that we lowercase
the noun in the conventional manner.]
That tells you a lot about alabaster, a stone that
invites touching, says Zalkind. Its also a stone that
can mimic others: carnelian, marble, jade, jasper. As
for its colors, you can nd it in white, yellow, peach,
pink, orange, green, red, gray, brown, and everything in
between though I have found no reference to a blue
alabaster. Material can also be veined in a variety of
beautiful patterns.
Alabaster is highly translucent and can be carved
into bowls or candle lamps that are mesmerizing when
light passes through their thin walls. At 2 to 3 on the
Mohs hardness scale, alabaster is eminently carvable. It
can also be scratched with a ngernail and carved with
a pocket knife! Its more akin to woodworking than
stone carving, says Zalkind, who occasionally works it
wet with lapidary equipment. (Zalkind ofered technical
advice in Carving Alabaster in the January, 2000,
issue of Lapidary Journal.)
By Sharon Elaine Thompson
Alabaster
Beauty from the pages of history
Above: Paul Hawkins
Garden of Earthly
Delights alabaster
sculpture in his studio.
Right: Susan Zalkind
and Paul Hawkins
hunting for alabaster.
Opposite, top: Susan
Zalkinds Pink and
Purple Rose alabaster
sculpture.
Opposite, bottom:
Assorted alabaster
cabochons.
SMOKIN STONES
52-53_SMOKIN STONEs-Alabaster.indd 52 5/18/11 1:07 PM
05232011114140
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Alabaster
Beauty from the pages of history
How much does it cost? Its quite inex-
pensive. Alabaster rough costs $1.50 to
$4 a pound. Carved pieces are priced
according to rarity of the color, translu-
cency and/or pattern, nish, and the skill
of the carver.
How hard is it to nd? While rough is
available online, at stone yards, and
sculpture supply houses, nding cut
stones for use in jewelry may be dif cult.
It is primarily used for carving objects,
such as bowls, boxes, and sculptures.
What kind of jewelry can I put this in?
Alabaster is very soft. It scratches and
bruises easily. It should never be set in
rings, bracelets, cuf inks, or anything
else that is subject to wear. Necklaces,
brooches, and earrings are best.
How easy is it to set? In addition to being
soft, alabaster can have areas of weak-
ness, most often between color bands.
Be sure the seat ts the stone precisely,
and be careful of your pressure during
setting.
What settings are best? Bezel set for
protection. Drill or pierce and thread
onto a cord, but not onto a chain or wire,
which may eventually wear through the
soft alabaster. Make into beads and use
spacers or knots to keep the beads from
abrading each other.
Artisan/studio dos and donts: Carve
carefully and slowly. Alabaster can
bruise and bruises can be dif cult to
impossible to remove without remov-
ing far more material than you want to.
Beware of weaknesses between color
bands. Do not put into the ultrasonic,
the steamer, or pickle. Do not use abra-
sives such as rouge or Tripoli. Do not
expose to high heat.
Wearer dos and donts All the same
caveats as above. Alabaster is porous,
so it may hold the scent of perfumes;
cosmetics and oil from the skin can
eventually dirty it. If you wear alabaster
frequently against your skin, wash it
occasionally with a soft sponge in warm
water and gentle soap. Dry thoroughly.
Store in soft cloth or leather bags away
from other jewelry.
SHARON ELAINE THOMPSON has written for
Lapidary Journal Jewelry Artist since 1987.
Her book, Good Bones: the Elements and Principles
of Design for Jewelry Makers, is in the works.
You can learn more about her at sharonelaine
thompson.com.
This is no inert, inanimate stone.
It is a friend, a living essence, a
colleague in their creations.
TRY IT
carve an alabaster bowl
PAGE
54
52-53_SMOKIN STONEs-Alabaster.indd 53 5/18/11 1:07 PM
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Lapidary
Measuring
Sanding and polishing

DEMO
Alabaster
Bowls
Gem cutting on
a larger scale
54-58_ALABASTER BOWLS.indd 54 5/18/11 1:30 PM
05232011114155
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July 2010
Such a compulsion to try something new
(born of the feeling that, for now anyway,
I had made enough rings and cut enough
cabochons) led me to venture into cutting on
a larger scale outdoors, with power tools. A
suitable candidate stone was already waiting
in the form of a strikingly veined alabaster
from a small quarry (below) near my home in
New Brunswick, Canada.
A gypsum trade once flourished here,
with both underground mines and open pit
quarries. The narrow-gauge Connie-train,
named after the wife of the quarry manager
and powered by an American-built Porter
steam locomotive, hauled the stone to the
nearby wharf on the Bay of Fundy, where
the decaying concrete silos of the waterside
wallboard plant still mark the skyline. More
recently, only one small pit has been spo-
radically worked, yielding mainly anhydrite
crushed for agricultural and chemical uses.
BY HANS DURSTLING
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IF YOUR CONNECTION
to the world of lapidary and jewelry is,
like my own, more in the nature of a passion than a job (I call mine the hobby that got out of
control), you will no doubt have been favored with envious observations along the lines of
You are so lucky to be doing something you love.
Oh, really? Love is capricious. It may fade, alter, or follow new directions. Often, we get
kicked by compulsion: do something new, try something different, try new materials, new
techniques. And you pretty much have to follow.
MAT ERI AL S
Alabaster
Epoxy 330 mixed with a white
pigment or tin oxide
TOOL S
POWER: 4 " electric angle
grinder, Turbo pattern diamond
tile saw blade, Selection of
smaller diamond wheels,
Electric drill, felt pads
HAND: chisel, rawhide malle
FINISHING: 36 and 80 grit
sandpaper for preform, 120,
240, 400 grit sanding pads for
renement, 1,200 grit for nal,
tin oxide compound
LAYOUT: Grease pencil, laundry
squirt bottle, large calipers
S OURCES
DRAMATIC PATTERNS
Essentially, anhydrite is gypsum with one
molecule of water less in its chemical struc-
ture. Contact with moisture slowly alters it
to gypsum, and it expands in the process,
forming natural cracks. These give access
to water, and are naturally self-sealing.
Moreover you now have a composite material:
a groundmass of darker and bluish-grey
anhydrite shot through with a network of
white alabaster veins in a dramatic branching
patterning reminiscent of a forest or an
orchard. The anhydrite is also harder than
the alabaster, which is a term often applied
to the mineral gypsum when it is used as a
carving material.
Given the patterning already in the stone, it
seemed to me that sculpting it into complex
shapes might cause a battle for attention
between material and shape. So my aim was
not so much to transform the stone, but
rather to reveal it and bring out the beauty
already there. Large, simple surfaces seemed
to me the best approach. This consideration
led to the choice of large ornamental bowls,
the carving of which has become a new
passion.
All the lapidary stages are represented
sawing, grinding, roughing out, fine shaping,
sanding, pre-polish and polishing. But, when
a stone weighs 200 pounds, you bring the
tool to the rock and not vice versa. The tool
that does the bulk of the grunt work is a 4 "
electric angle grinder (above), fitted with a
turbo pattern diamond tile saw blade. With
this type of blade, the diamond segments are
discontinuous and offset from each other, to
better keep the blade cool.
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Doer's Prole: Paul Hawkins
and Susan Zalkind
PAGE
80
REFINE THE CONTOUR
Through grinding and looking, grinding and
looking, the outside shape develops. Now
comes the hard part: refining the contour.
Ideally, I want a surface that is not only
smooth, but also precise and uniform. Power
tool sanding would leave it slightly wavy.
Precision curvature requires hand sanding
with a hard substrate. I use long strips of that
tough, red, resin-bonded sandpaper glued to
a board say two feet or so in length. Working
the far side of the bowl, I glide the sanding
board over the surface in long, even, rocking-
motion strokes.
The first pass is with coarse paper, say 36
gritwhich cuts fast but leaves deep scratch-
es. These are removed by the next sanding
course with 80 grit. Sanding crossways to
the previous strokes helps make them visible.
By the time you get an 80 grit finish over the
entire surface, youll be wondering why you
started this project in the first place.
Now is a good time to check for hidden
cracks. A blast with a garden hose will clean
the dust out of them. After wiping the surface
dry, any cracks become evident as trails of
moisture. By rights anything that shows up
at this stage should be minorlarge defects
should have been spotted earlier.
Cracks, if present, should be marked with a
grease pencil and cleaned out further with a
laundry squirt bottle. Problem fissures can be
filled, although I do this reluctantly, wanting
to preserve as much as possible a fully natural
result. Epoxy 330 mixed with a white pigment
makes a strong permanent filler.
I had tried using the alabaster dust itself as
the coloring agent, but it dried a surprisingly
dark grey. After some experimentation, I
Sculpting it into complex shapes might cause
a battle for attention between material and
shape, so my aim was not so much to transform
the stone but rather to reveal it and bring
out the beauty already there.
ROUGH OUT
First, I rough shape the outside. With the
stone positioned in the backyard, on a
maple stump, I cut a gridwork of incisions
(below) into the areas I intend to remove.
The first time I did this, I did not realize just
how much dust would ensuewithin five
minutes all the neighbors had taken their
laundry in. I now try to pick days when the
wind is strongand a slight rain along with
that is ideal, for the alabaster does slowly
dissolve in water. Dust of course, goes much
quicker than the bulk material. With a chisel
and rawhide mallet, I knock out pieces as my
gradually diluting dust cloud drifts through
the neighborhood.
Once the bulk surface is achieved, bumps
that remain from chipping are leveled down
by grinding with the side of the same turbo
bladean equally dusty process. No matter
how you position yourself in relation to the
wind, you still end up looking like Frosty
the Snowman (below, left). An airlock or
similar transitional space would be useful for
changing out of your alabaster dusted work
clothes. Short of that, you come to terms with
frequently wiping the furniture.
05232011114156
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July 2010
REFINE THE CONTOUR
Through grinding and looking, grinding and
looking, the outside shape develops. Now
comes the hard part: refining the contour.
Ideally, I want a surface that is not only
smooth, but also precise and uniform. Power
tool sanding would leave it slightly wavy.
Precision curvature requires hand sanding
with a hard substrate. I use long strips of that
tough, red, resin-bonded sandpaper glued to
a board say two feet or so in length. Working
the far side of the bowl, I glide the sanding
board over the surface in long, even, rocking-
motion strokes.
The first pass is with coarse paper, say 36
gritwhich cuts fast but leaves deep scratch-
es. These are removed by the next sanding
course with 80 grit. Sanding crossways to
the previous strokes helps make them visible.
By the time you get an 80 grit finish over the
entire surface, youll be wondering why you
started this project in the first place.
Now is a good time to check for hidden
cracks. A blast with a garden hose will clean
the dust out of them. After wiping the surface
dry, any cracks become evident as trails of
moisture. By rights anything that shows up
at this stage should be minorlarge defects
should have been spotted earlier.
Cracks, if present, should be marked with a
grease pencil and cleaned out further with a
laundry squirt bottle. Problem fissures can be
filled, although I do this reluctantly, wanting
to preserve as much as possible a fully natural
result. Epoxy 330 mixed with a white pigment
makes a strong permanent filler.
I had tried using the alabaster dust itself as
the coloring agent, but it dried a surprisingly
dark grey. After some experimentation, I
found that the creamy off-white of tin oxide
gave an excellent color match. The epoxy
should be applied to thoroughly clean and
dry surfaces. I find the laundry squirt bottle
assures the former and a stint in the oven the
latter. Or you could use a heat lamp. Heat also
makes the epoxy more runny and penetrative.
The piece should be left to harden at least
overnight.
HOLLOW IT OUT
With the outside brought to a uniform 80
grit finish, you are ready to begin hollow-
ing out the interior, again roughing out
by cutting slits with the angle grinder and
knocking out the stone with a chisel. At
this stage, Im still judging wall thickness
entirely by eye, so my slit cutting becomes
progressively more judicious as the walls get
thinner.
As the bowl deepens, corners also get
tighter and working space more restricted.
Smaller diamond wheels are helpful if you
have them. With a bit of ingenuity and brazing
skill, you can make your own.
Once the inside is approximately roughed
out and before beginning the finer stages,
check again for and then correct any cracks.
With that done, you are at last ready to take
the bowl down to its final wall thickness
working from the inside of course, since
the exterior surface is already established and
semi-refined.
Achieving uniform thickness requires
gauging. I made myself a set of calipers
(below, left) from scrapyard brass. One leg is
the probe, the other leg is the marker. The gap
between the two is adjustable and is set at the
desired wall thickness. I started by using a red
felt pen as my marker, but found occasional
zones of porosity in the stone let the ink seep
in below the surface. Instead, markings from
a china marker/grease pencil stay on the
surface.
As you slide the probe leg along the exterior,
the marker will contact any high spots and
leave a mark. When they are located, grind
them down. Mark and grind, mark and grind,
until the bowl is at the desired thickness. This
is a lengthy and repetitive process.
Since you are working in a restricted space
and you dont want to cut any accidental slits,
its best to remove the inside material with the
angle grinder and a silicon carbide surface
disc in the 36 to 80 grit range rather than with
the side of the saw blade. These discs are a
specialty item; I get mine from the Compleat
Sculptor in New York City (sculpt.com) which,
by the way, also carries the New Brunswick
alabaster. Any sculptural supply house
should have similar sanding discs.
WORK THE SURFACE
Once the thickness is down to where you
want it, the lapidary process changes focus.
Having gotten the form, now you must con-
dition the surfaces. For this purpose I use
a variety of mostly homemade sanding pads
in an electric drill. This procedure is slightly
different for exterior and interior. On the
outside, I want to maintain the precision of
the surface. Because the stone is a compos-
ite of softer alabaster and harder anhydrite,
a flexible backed sanding disc will cut deeper
into the soft areas. To avoid this, I use a
large, 8 diameter sanding disc which is
comparatively hard, as much as is possible.
All the lapidary stages are represented --
sawing,grinding, roughing out, fne shaping,
sanding,prepolish and polishing -- but when
a stone weighs 200 pounds, you bring the
tool to the rock and not vice versa.
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Smokin' Stones: Alabaster
PAGE
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THE FINISH
A final sanding pass at 1,200 grit (always
working wet) leaves the surfaces velvet
smooth and ready to polish. For polishing,
I use felt pads held in the electric drill or
in the Foredom flex shaft (above, right)
to get into restricted areas. The felt pads
you get at the hardware store to put under
furniture legs are excellent for this purpose.
However, if it is used in a hollow, the hard
disc will cut crescent saw type marks unless
it is continually moved around. Plus, tight
corners are virtually impossible to work in
with a large, hard surface. So the inside of the
bowl is done with smaller pads, say 4" to 6",
which are soft backed with foam rubber. This
gives them enough flex to get into corners.
The actual sanding paper (wet-or-dry
type) is cut to size (below) and stuck onto the
pad with rubber cement. When it gets worn,
simply peel it off and stick on fresh paper.
Finishing starts with 120 grit, then progresses
to 240, then to 400. By about 400, the
sanding pads rapidly clog up with stone dust,
so from this point on, I work wet. The water
flushes the pad and keeps it cutting. As the
surface texture becomes finer and finer, the
anhydrite groundmass perceptibly darkens to
blue-grey, and the contrast between this and the
veining becomes progressively more dramatic.
They come in a whole variety of sizes and are
conveniently sticky-backed. Apply a slurry of
tin oxide polishing powder, and use lots of
pressureit works best when you can feel
the felt pad dry out and begin to drag.
The transformation at polishing is
profound. Surfaces gleam, become almost
transparent; it feels as though youre looking
through the surface down into the very body
of the stone. Tilting the bowl at various angles
under a bright light will reveal any areas that
are still dull and need more attention with the
polish pad.
So there we have it: a finished gleaming
bowlthe culmination of all the familiar
lapidary stages from rough shaping through
sanding to prepolish preparation and final
polishing. And, just as in cutting small size
stones, the quality of the final finish is depen-
dent on that quality of the preceding steps.
HANS DURSTLING cuts gemstones, both in ortho-
dox and designer shapes, does occasional stone res-
toration work, carves in New Brunswick alabaster,
gives lessons in gem cutting and jewelry making,
and goes out digging as often as he can. His jewelry
can be seen at the fog Forest Gallery and at the 60-
East Gallery of Fine Jewelry in Pasadena, California.
The frst time I did this, I did not realize just how
much dust would ensue -- within fve minutes all
the neighbors had taken their laundry in.
05232011114156
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completely new.
SHOP, SHOP, AND SHOP. Enjoy 280 booths brimming with
an array of supplies: basics, unique and one-of-a-kind products,
and loads of great deals.
BE A WINNER. Door prizes and drawings ofer you a chance to
win cool stuf.
BRING A FRIEND. Beginner classes presented by Michaels
Stores let you go home with a nished piece of jewelry.
AND MUCH, MUCH, MORE!
59_IWP Events AD.indd 59 5/16/11 3:37 PM
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RECONSTITUTE PASTE
SOLDER?
Q. My question relates to some silver sol-
der paste I purchased several years ago
that has dried out and is now basically in a
powder form. I was wondering if you know
of any way to reconstitute the material. I
was thinking about simply adding some
water but thought I would see whether you
have any ideas about this before I do some-
thing on my own.
Homer Schmitz
SUNSET HILLS, MISSOURI
A. Our thanks to Beth Katz of
MyUniqueSolutions.com, which special-
izes in paste, powder, and wire solders
for jewelers and metalsmiths, for pro-
viding this response.
To reconstitute dried-out paste sol-
der, dig out the hardened solder and
place it in a glass container such as a
small ramekin or small bowl, or onto a
glass plate. Use glass to prevent con-
tamination; metal containers are not
suitable as the metal could react with
the solder.
Stir one small drop of mineral oil
into the dried-out solder. Work only
one drop at a time, mix well, and con-
tinue to add oil sparingly as needed,
until thoroughly combined.To speed
up the process, warm the glass con-
tainer on a coffee cup warmer. When
using this reconstituted paste, be extra
careful as the oil may flare up much
more than what you have experienced
in soldering in the past.
I have a small jar of paste solder
made with a non-drying organic bind-
er that was manufactured in April of
2001 that I leave open my bench. It
is slightly harder to spread, but still
totally viable and workable and solders
seams just fine. It is now my mission
to see how long it will retain its work-
ability. Hardened paste solder can also
be set aside to be sent to the refiner
with your other items, if your refiner
accepts all kinds of scrap, scrapings,
and bench sweepings; just let them
know there is some old paste solder in
the batch. If your community provides
hazardous waste product recycling,
this is also a great way to dispose of
the unused dried out solder, as it may
contain cadmium.
SILVER FINAL POLISH
Q. I love your site [ jewelrymakingdaily.
com] and all the information available
there. I am new to working with metal and
have a question I hope you can answer for me.
How do you achieve a high gloss, shiny fin-
ish on silver? Is it done after soldering and
pickling? Do you set stones before or after
polishing? I can always make a rough fin-
ish on my pieces, but never a high silver
shine.
I have heard of Tripoli and other pol-
ishes, but have been told they are toxic or
hard to use. Do you use a Dremel or a buff-
ing wheel? If using a buffing wheel, how
do you get the polish on the wheel, and/or
do you use silver polish, or what? I suspect
there are other beginner artists that might
have the same questions. Thank you for
your help.
Nancy North
MISSOULA, MONTANA
A. The secret to achieving a high
polish finish on silver jewelry is
preparation. As you work through
fabrication, you must keep the silver
surface in prepolish condition.
Once we select our metal, we clean
the front and back surfaces with a
green Scrubbie to remove any minor
blemishes, leaving a consistent
pattern. If you encounter deeper
blemishes or scratches, use coarser
grit emery paper or sandpaper to
remove them. A clean metal surface
is also necessary for successful sol-
dering. Always work carefully to
avoid adding blemishes or scratches
to your metal.
Continue to maintain a prepolish
surface as you fabricate. After solder-
ing and pickling, we clean our metal
surfaces using 3M radial bristle discs
chucked in our flex shaft, working
through the various grits, coarse to
fine. These discs are one of our favor-
ite tools for cleaning the metal because
they can get into tight hard-to-access
areas.
Once the fabrication is completed
but prior to setting stones, the piece
is ready for the final polishing. You
accomplish this on a buff, charged
with polishing compound, mounted on
a polishing motor. Jewelry suppliers
often list seven or more types of pol-
ishing buffs, as well as six or more pol-
ishing compounds for polishing silver
too much information for a begin-
ner to process!
So, Nancy, we recommend what most
beginning jewelers use: a white poly-
cotton buff charged with red rouge. To
charge the buff, mount it on the pol-
ishing machine, turn it on, and hold
the red rouge bar against the bottom
surface of the spinning buff for just a
second or two.
Dont apply too much rouge, as that
can cause a residue buildup. If the
buff does become overcharged, use
By Tom & Kay Benham,
contributing editors
ASK THE EXPERTS
questions, answers, & tips
???
?
new! ask the experts via jewelry making daily
Have a technical question you need answered or a tip youd like share? Now you can send them to us via
jewelrymakingdaily.com/askthe experts, or you can still write to Lapidary Journal Jewelry Artist, Attn.:
Ask the Experts, 300 Chesterfeld Parkway, Suite 100, Malvern, PA 19355. Please include your full name
and where you live. Answers and tips will still appear in each print issue, with more available online.
60-61_ASk Experts.indd 60 5/18/11 5:18 PM
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61 July 2011
TOM & KAY BENHAM are teachers of both
metalsmithing and lapidary, are mem-
bers of The Florida Society of Goldsmiths
and The Central Florida Mineral & Gem
Society, and have been Contributing
Editors for this magazine for 7 years.
a buffing wheel rake to remove any
excess rouge. You can make a home-
made buffing wheel rake by driving a
series of nails through a scrap of wood
hold it, nail points up, against the
bottom of the buff as it spins to clean
and dress the buff.
Hold the piece securely in both
hands against the front bottom quadrant
of the buff. Keep the piece moving to
avoid developing grooves or waves in
the surface, as well as to avoid heat
buildup. Polish the back and sides of
the piece as well as the front surface.
Be careful: you dont want to hear
the dreaded thwang of your finished
piece suddenly flying across the work-
shop. We recommend that you prac-
tice on scrap pieces of metal before
you polish one of your masterpieces.
For touchups after stones have been
set, use a small cotton buff on a man-
drel in your flex shaft. Charge this
small buff with red rouge as you would
the larger buff.
As you continue to work in different
metals, you will acquire additional
types of buffs and polishing com-
pounds. Eventually you will settle
on what works best for you. Keep in
mind that each polishing compound
requires a dedicated buff. We store
our buffs and corresponding polishing
compound in separate plastic bags to
keep them clean and to prevent cross
contamination.
Tripoli and bobbing are aggressive
prepolish compounds that should only
be used if you have persistent scratch-
es that you havent removed. Be care-
ful: they remove a lot of metal quickly.
Be especially careful if the metal has
any fine detailit will disappear
before you know it. Then, final polish
with red rouge.
Hope this answers your questions on
achieving a high shiny polish on sil-
ver jewelry, Nancy. Before you plunge
in, take heed of these safety warnings,
which we cant stress enough:
Always wear safety glasses to protect
your eyes.
Always wear a dusk mask to protect
your lungs.
Always work below the center of the
spinning buff in the front bottom
quadrant.
Never wear gloves when polishing.
Away Workshop Tips
We dropped in for a quick visit at this years Florida Society of Goldsmiths Winter Workshop held every January in
Daytona Beach, Florida, where we picked up these two tips for creating your home away from home workspace at a
workshop.
Handy pliers: Susan Maxson from Palm Harbor, Florida, repurposed an old desktop file folder sorter to keep her
pliers handy when she attends workshops.
GRS mount: Arnold Lasris from Helen, Georgia, attached a GRS metal bracket holder to a scrap piece of 2 x 4 which
he C-clamps to the ever-ubiquitous workshop folding table. He then mounts his GRS bench pin and is ready for work.
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Clock Clasp
TierraCast has introduced the Clock Clasp for its line
of jewelry parts and ndings. The new toggle clasp
set consists of a round clock face and a bar represent-
ing hour and minute hands, and it is available in silver,
gold, and copper. MORE AT TIERRACAST.COM.
FACETS
news & product innovations
New Online
Resource
Stuller, Inc., recently launched a new
website of tips, tricks, deals, and more
for jewelers named benchjeweler.com.
Formerly known as stullerbench.com,
the new website is designed to appeal
to the bench jeweler and hobbyist. The
community site blends social media
with content from reference articles,
video, tips, artisan-inspired photogra-
phy, trade news, answers to questions
and more.
We wanted to create a space that
bench jewelers could relate to and
identify with, says Elizabeth Brehmer,
vice president of ndings. Benchjew-
eler.com is a place they can feel
comfortable and connected.
MORE AT BENCHJEWELER.COM
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63 July 2011
New Metal Hole Punch
Among the latest oferings from BeadSmith is a new Metal
Hole Punch made specically for cold connections in
jewelry making. The punch is available in 1.25mm, 1.5 mm,
and 1.8mm sizes. BeadSmith says that the 1.5mm plier is
the exact size of rivets used in crafting and jewelry and will
reduce the time spent making holes that are too big or too
small for the rivets. The new punch also features extra-long
jaws for extended reach and includes a special gauge guard
to ensure a hole with no dents or rough edges.
MORE AT BEADSMITH.COM.
Old Javanese Gold:
The Hunter Thompson
Collection
The Yale University Art Gallery, New Haven, Connecticut,
is presenting the exhibition Old Javanese Gold: The Hunter
Thompson Collection from now through August 14. The
exhibit includes over 200 examples of ancient Javanese
gold artifacts, including jewelry, sculptures, coins, statues,
containers, and accessories. The works range in date from
the rst century B.C.E. to the 13th century C.E. and present
diverse styles and cultural inuences. Highlights of the exhi-
bition include a spectacular full-face burial mask; a repouss
kris (dagger) handle, in the shape of a demon; a crown top
or usnisha cover, which may have been worn by a person or
af xed to a statue; and a tiger claw necklace, which would
have been worn by a young man of the upper class in the
hope that the ornament would confer on the wearer the
strength and courage of the animal.
The collection of Javanese gold objects was originally amassed in the 1980s and early 1990s by Toronto residents Valerie
and Hunter Thompson, who donated their collection to the Gallery in 2006 and 2008.
MORE AT ARTGALLERY.YALE.EDU.
FSG Workshops
at Wildacres
The Florida Society of Goldsmiths (FSG)
will ofer a Modern Masters Workshop from
October 17-23, 2011 at Wildacres, North
Carolina. The $900 fee covers tuition for
ve days of classes, six nights of lodging,
meals, and gratuities. Kit and lab fees are
due by August 15 and may include the cost
of materials required for class projects.
Workshop classes and the instructors
who will teach them include: Hydraulic
Press for Production Cutting and Forming
Dies, Chris Darway; Creative Mechanisms:
Hinges, Catches, Swivels, Gears, and More,
Tom Muir; Cloisonne Enameling for Begin-
ners and Beyond, Merry Lee Rae; Polymer
Chain Reactions (Firm and Flexible Plastics
for Jewelry), Phil Renato; and Anodizing
the Reactive Metals, by Bill Seeley.
MORE AT FSG4U.COM.
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FACETS
news & product innovations
Niche Award Winners
The annual Niche Awards were presented to artists in 38 professional
categories and 13 student categories in a ceremony held February 18, 2011,
at the Buyers Market of American Craft at the Pennsylvania Convention
Center.
Sponsored by NICHE magazine, the Niche Awards program recognizes
excellence and innovation in the U.S. and Canadian ne craft industry.
Entries were judged on the following main criteria: technical excellence,
both in surface design and form; unique, original and creative thought; and
market viability.
Professional winners in the jewelry category included Wiwat Kamolpor-
twijit of Alexandra, Virginia; Erik Stewart of Tucson, Arizona; Juan Carlos
Cabellero-Perez of Henrietta, New York; Jason Dow of Honolulu, Hawaii; Sadie
Wang of Silver Point, Tennessee; Kevin OGrady of Scottsdale, Arizona;
Genevieve Yang of Santa Rosa, California; Patricia Tschetter of Dallas, Texas;
and Etienne Perret of Camden, Maine.
MORE AT NICHEAWARDS.COM.
Erik Stewart of Tucson, Arizona
Sadie Wang of Silver Point, Tennessee
Jason Dow of Honolulu, Hawaii
Etienne Perret of Camden, Maine
Juan Carlos Cabellero-Perez of
Henrietta, New York
Kevin OGrady of Scottsdale, Arizona
62-65_FACETs.indd 64 5/18/11 2:42 PM
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65 July 2011
Collaborative Jewelry Design
Exploring Resin
Topaz
Soldering
The Bench Pin
CraftOptics Magnifying
Telescopes
Craftoptics LLC has developed a high-resolution, lightweight magnication
system that provides jewelry artists with outstanding visual acuity and a working
distance that allows comfortable neck and back positioning.
The magnifying telescopes work in combination with users' current reading or
bifocal prescriptions to double visual capability and reduce eye, back, and neck
strain. They are mounted on titanium eyeglass frames and can be ipped up so
the user can see with their own natural or corrected vision.
MORE AT CRAFTOPTICS.COM.
OOPS!
In the April 2011 issue, in Falk Burgers
Brachiopod Agate, we said that the
easiest entry point to the fossil site
in San Diego is east of the entrance to
Battleship Rock Forest Camp. It is, in
fact, to the west of the entrance. We
regret the error.
COMING IN
AUGUST FROM
The 2011 Conference of the
Colorado Metalsmithing Asso-
ciation, Edge and Flow, will
be held from July 22-24 at the
Steamplant in Salida, Colorado.
Speakers for the event include
Michael Zobel, Judith Kaufman,
Tom Muir, Hoss Haley, and Avi
Good, daughter of last years
speaker, jeweler Michael Good.
MORE AT
COLORADOMETALSMITHS.ORG.
27 April 2011
OPENING PHOTO: JEFF SCOVIL; ALL OTHER PHOTOS: FALK BURGER
AS A NOVICE ROCKHOUND, I used to explore the back roads of the
Jemez Mountains, a volcanic complex about 13 million years old that stretches along the
western edge of the Rio Grande Rift from San Ysidro to Abiquiu in north central New Mexico.
At that time, I believed eruptive tuffs and basalts to be barren of interesting minerals.
Given the state of my ignorance, you can well imagine my surprise and skepticismwhen I
heard that there was a rather famous fossil locality near Jemez Springs. Of all things geologic,
fossils ought not to be found in a volcano!
brachiopod
agate
are these amazing, or what?
BY FALK BURGER
materials
26
lapid
ary jo
urn
al )( Jew
elry artist
JEMEZ SPRINGS
Thus it was several more years before I
made the effort to visit the site, located
along the lower slopes of San Diego Canyon.
The easiest entry point and best introduc-
tory exposure of the geology is east of and
directly across NM Highway 4 from the
entrance to Battleship Rock Forest Camp,
about five miles north of the village of Jemez
Springs. The layers producing the best and
most abundant fossils are located directly
above a 20-foot high, prominent limestone
cliff; they are composed of Pennsylvanian
age shale, a part of the Madera formation,
and are capped by red beds of the Permian
Abo formation. Once oriented to this site,
its easy to follow the layers. Its also im-
mediately apparent how fossils got into the
middle of a volcanic field.
The answer, of course, is that the Jemez
River has cut through to the bottomof the
volcanic tuffs. Its possibly the heat fromthese
eruptives that provided the juices that silicified
the fossils. Although frequently visited, the site
is so rich in fossils that every summer shower
exposes fresh treasures, and the patient
collector is soon rewarded with a bag full of
the commoner brachiopods and many little
envelopes housing rarer finds, such as urchin
spines, crinoid parts, gastropods and even, for
the exceptionally lucky, a trilobite.
All fossils fromthis site appear to be
preserved as limestone, uniformly gray, with
occasional specimens showing residual nacre
surfaces. Collecting at the site over the years,
I would occasionally encounter broken speci-
mens revealing crystalline centers or stringers
of red mineral. These always made me wonder,
but never aroused my curiosity sufficiently
to systematically explore the interiors of the
fossils by sacrificing a sampling to the grinder
or rock saw. It just goes against the grain to
destroy something thats perfect, complete,
and aesthetic in the hope of finding something
undefined and possibly interesting. As a gem
cutter, nothing makes you feel more lousy and
worthless than ruining a good piece of rough.
HOLY TOLEDO!
So the piles of brachiopods, particularly
the abundant Composita subtilita, continued
to grow in my yard and lost their peculiar
charm, becoming instead Obstacula obnoxita.
Inevitably, though, there came a time when,
bored and restless, I needed to make some-
thing new and different happen. I grabbed
a hammer and started cracking Compositas.
After wrecking a few and looking at the small
pile of gray limestone chips Id created,
still not feeling guilty enough, I chipped
one more and Holy Toledo! (Ive always
wanted to say that) thats some agate!
The piece Id chipped was pink, white,
red, and orange, with some gray, comblike
structures around which the agate had
formed. All guilt immediately evaporated,
and with ruthlessness and enthusiasm, I
sliced up about a hundred Compositas on my
trimsaw. About ten were good. I called up
Frank Harlow, who literally wrote the book on
these brachiopods and conveniently resided
nearby. After listening to my description of
the structures in the sliced specimens, he told
me that complex, fragile skeletal structures
were typical of brachiopods and are also
found in the few modern species that survived
the Permian and Cretaceous extinctions.
However, he was unaware of surviving detail
in the interiors of Jemez brachiopods, and
asked if he could drop by and see them.
Expecting to be asked to bring the specimens
to him, I was flattered by his offer of a visit
(we had only met once), I really swelled up
when Frank suggested, You really must show
these to the current fossil guy [retired from
academia, Frank wasnt up on current staff] at
the Museumof Natural History. They are very
nice; Ive never seen anything like them.
As I proudly showed off my discovery to
various experts, it began to look like rain on
Falks parade week. Without Franks authori-
tative endorsement, I might have lost heart.
The ornamentation youre observing is
not significant because its obscured by the
silica replacement was one learned comment
among many ho-hums frompeople
Id considered friends.
It did bother me, this rejec-
tion. Since then, Ive received
so much enthusiastic feedback
frompaleontologists outside
of New Mexico who saw
my collection in Quartzsite
when I camped there in 2010, I
concluded it was a turf thing with the New
Mexico bigwigs.
FALK BURGER is a self-taught
goldsmith and lapidary now
residing in Tucson, AZ.
sexy?
yes.
clams?
no.
Id been
collecting
these
bivalves for
years and
always assumed
they were clams.
When people
corrected me, I
always thought,
Yeah, yeah.
Splitting hairs.
Academic! Ill keep
calling themsexy clams
(for their voluptuous shape)
and wingers (Neospirifer).
Well, howwrong I was!
Humans are more closely
related to crocodiles
than molluscs are to
lophophorates, the group
to which brachiopods
belong. Come to think of it,
have you ever
eaten a clam
with bones?
Pearls
dont
count). If
you want
to learn
more, I highly
recommend Googling
anatomy of brachiopods.
The author's earrings
feature brachiopod
cabochons.
Three polished brachiopod
agates from Jemez Springs,
New Mexico. Photo: Jeff
Scovil.
2011 COMA Conference
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EVENTS
shows, conferences, & more
2011 UNITED STATES
JULY 22-25, NEW YORK, NY
NEW YORK ANTIQUE JEWEL-
RY & WATCH SHOW. The Metro-
politan Pavilion. 800-272-SHOW,
www.newyorkantiquejewelryand-
watchshow. Open to the public.
JULY 25-26, NEW YORK, NY
JA NEW YORK SUMMER SHOW.
TThe Javits Center. Juried. 800-
650-1591, www.ja-newyork.com.
Credentials required.
AUG. 4-7, SANTA FE, NM
SOFA SANTA FE. Santa Fe
Convention Center. 800-563-7632,
www.sofaexpo.com. Open to
the public.
Aug. 19-21, King of Prussia, PA
BEAD FEST PHILADELPHIA.
Valley Forge Convention Cen-
ter. 610-232-5718, www.beadfest.
com. Open to the public.
SEPT. 7-11, TUCSON, AZ
TUCSON FALL GEM, JEWELRY,
MINERAL & FOSSIL SHOWS.
Information on Tucsons fall suite
of mineral, fossil, gem, jewelry,
and bead shows is posted and
regularly updated at www.jewel-
ryshowguide.com as it becomes
available.
SEPT. 14-19, DENVER, CO
DENVER FALL GEM, MINERAL &
FOSSIL SHOWS. Information on
Denvers fall suite of mineral, fos-
sil, gem, jewelry, and bead shows
is posted and regularly updated
at www.jewelryshowguide.com as
it becomes available.
Oct. 14-16, Miami, FL
Miami Beach Antique Jewelry &
Watch Show. Miami Beach Con-
vention Center. 800-272-SHOW,
www.miamibeachantiquejewel-
ryandwatchshow.com. Open to
the public.
2011 INTERNATIONAL
Sept. 30-Oct 30, IDAR-
OBERSTEIN, GERMANY
INTERGEM 2011. John F. Kennedy
Str. 9. Not juried. 9-6781-41015,
www.intergem-messe.de.
OCT. 7-10, KUALA LUMPUR,
MALAYSIA
17TH MALAYSIA JEWELRY
FESTIVAL 2011. Kuala Lumpur Con-
vention Center. 603-21662833, www.
jewelryshow-hka.com.
OCT. 28-30, MUNICH, GERMANY
MINERALIENTAGE MNCHEN. New
Munich Trade Fair Center. 0049-
(0)89-6134711, www.
mineralientage.de.
Nov. 24-27, Hong Kong
Hong Kong International Jewelry
Manufacturers Show. Hong Kong
Convention and Exhibition Cen-
ter. 852-2766-3002, www.jewel-
ryshows.org. Credentials required.
To attend
an event:
Some events require
advanced registration
or wholesale or other
qualications. Check
event websites for
required credentials.
Locations, dates, and
times occasionally
change after press
time, so please con-
rm before attending.
More events @
Listed events include shows and conferences of national
and international signicance for jewelry artists.
66_EVENTS.indd 66 5/18/11 11:45 AM
05232011114257
67 July 2011
&
Quality, Service Dependability Since 1955
Billanti Casting Co., Inc.
299 South 11th Street
P.O. Box 1117 Dept. LJJA
New Hyde Park, New York 11040
516.775.4800
The Leaders
in casting jewelry & small sculpture
www.billanticasting.com
Gold Silver Brass
Bronze White Bronze Pewter
Rubber & Non-Shrink Molds
BRONZclay COPPRclay
Texturing Shaping Tools
Kilns Firing Supplies
Everything you need to turn
your ideas into nished jewelry:
67-73_MISC ADs.indd 67 5/17/11 11:15 AM
05232011114343
Lexi
Erickson
Basic Fabrication
Boost your jewelry-making skills
with these essential techniques
for getting started with metal,
including how-tos in sawing,
fling, hammering, forging, and
much more!
Riveting &
Cold Connections
Discover different types of cold
connections and learn how to
use them in your own jewelry.
Master all of the essential no-heat
techniques including tube rivets,
wire rivets, moveable rivets,
tension joins, and more.
Soldering Jewelry
Take your metalsmithing skills to
the next level with an all-inclusive
introduction to soldering. Expand
your designs with soldered rings,
earrings, pendants, and more!
LEARN MORE AT
shop.jewelrymakingdaily.com/
MetalsmithEssentials
Helen
Driggs
Master
Metalsmith
Essentials
with the experts!
67-73_MISC ADs.indd 68 5/17/11 11:15 AM
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69 July 2011
Shown here with optional stand
Product Information and online ordering at
www.tormach.com
$6200
(plus shipping)
3-Axis CNC Mill
CNC Mill for Jewelers
Chris Myers primarily works
in surgical grade Stainless Steel and
Titanium to produce custom designed
wedding bands, engagements rings,
earrings and necklaces with his
Tormach PCNC
A Real CNC Machine for cutting more than wax
Titanium - Stainless Steel
Rings - Pendants - Cuffs - Bracelets
Mold Making - Die Making - Tool Making
Engraving - Rotary Machining
10000 RPM, 1 HP Spindle
Manual or CNC Operation
Works with any CAD/CAM
Optional 4th Axis
100s of other accessories
Training Workshops - Support
Online Community
Expand your Horizons - Enable your Ideas
67-73_MISC ADs.indd 69 5/17/11 11:15 AM
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70
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WORLD CLASS TOOLS
WORLD CLASS QUALITY
www.pepetools.com
Download your Free eBook now at:
jewelrymakingdaily.com/3HandcraftedJewelryProjects
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A Paragon digital kiln that
fuses glass, anneals beads,
and fires silver clay
Paragons affordable
SC-2 jewelry kiln also fires
enameling and decals.
Shown is optional bead
door and glass viewing
window. Fires rapidly up to
2000F on 120 volts. 8
wide, 7 deep, 5 high
interior. Precision 8-seg-
ment electronic controller
stores 4 programs. Ships
by UPS. Certified by TUV to
CSAand UL stand. 499. Call or email for a free catalog.
Paragon Industries, L.P. / 2011 S. Town East
Mesquite, Texas 75149
800-876-4328 / Fax 972-222-0646
info@paragonweb.com / www.paragonweb.com
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WORLD CLASS TOOLS
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www.pepetools.com
Objects and
Elements
Metals
Tools
Bezels
Resin
and more!
ObjectsandElements.com
ADVERT I S ER S I NDEX
Aelectronic Bonding Inc. ....................................................................... 72
American Jewelers Institute Inc. ........................................................ 71
Badger Sintered Tools ............................................................................ 72
Bead Riveter, The ...................................................................................... 73
BeadFX .......................................................................................................... 72
Beaducation ................................................................................................ 72
Billanti Casting Co. ...................................................................................67
CGM Inc. ................................................................................................. 40-41
Contenti Co., The ..................................................................11, 23, 66, 70
Cool Tools ..................................................................................................... 73
Craftoptics Telescopes ...........................................................................67
Diamond Pacific........................................................................................... 3
El Paso Rock Shop ...................................................................................69
Eloxite Corp .................................................................................................78
Evenheat Kiln, Inc...................................................................................... 72
Fire Mountain Gems & Beads .................................................................1
Foothills Boxes, The ................................................................................. 72
Future Designs by Lahijani ...................................................................23
Gem & Lapidary Wholesalers .............................................................. 71
Gemological Institute of America ....................................................... 5
Gilmans........................................................................................................... 71
Gold Touch Inc. .......................................................................................... 72
Halstead Bead Inc. ....................................................................................23
Hughes Associates ................................................................................... 72
Indian Jewelers Supply Co. ................................................................. 70
Interweave ......................................................................10, 59, 68, 70, 79
Joseph P. Stachura Co. Inc. .................................................................. 73
Knights ........................................................................................................... 71
Lortone Inc. ..................................................................................................23
Metalliferous Inc. .......................................................................................... 11
Micro Fasteners .......................................................................................... 73
Miniflam..........................................................................................................67
Monsterslayer Inc. .................................................................................... 66
Naja Tool and Supply Inc. ...................................................................... 71
Objects And Elements ............................................................................ 71
Otto Frei ........................................................................................................ ifc
Paragon Industries, L.P. ........................................................................... 71
Pepetools, Inc. .................................................................................... 70, 78
Pioneer Gem Corp. ................................................................................... 72
PJ Tool & Supply .......................................................................................... 11
Revere Academy of Jewelry Arts ..................................................... 72
Richard Sweetman Tools .......................................................................78
Rings & Things ............................................................................................67
Rio Grande ...................................................................................................bc
Royalwood Ltd. .......................................................................................... 72
Satincord.com ............................................................................................. 72
Southeastern Federation & Mineralogical Society ................... 73
Tormach .........................................................................................................69
Tru Square Metal Products ................................................................... 73
Wired Up Beads .......................................................................................ibc
A Paragon digital kiln that
fuses glass, anneals beads,
and fires silver clay
Paragons affordable
SC-2 jewelry kiln also fires
enameling and decals.
Shown is optional bead
door and glass viewing
window. Fires rapidly up to
2000F on 120 volts. 8
wide, 7 deep, 5 high
interior. Precision 8-seg-
ment electronic controller
stores 4 programs. Ships
by UPS. Certified by TUV to
CSAand UL stand. 499. Call or email for a free catalog.
Paragon Industries, L.P. / 2011 S. Town East
Mesquite, Texas 75149
800-876-4328 / Fax 972-222-0646
info@paragonweb.com / www.paragonweb.com
American
Jewelers
Institute
Four Month Jewelry Mfg. Course
1206 SE 11th Ave. Portland, OR 97214
(503) 255-4517 www.jewelersacademy.com
e-mail: ajiinfo@comcast.net
FREE CATALOG
THE #1 SOURCE to THE TRADE
ALL TYPES ROUGH & CUT GEMS
KNIGHT'S BOX 411 WAITSFIELD VT 05673
FAX 1 802 496 5619 TEL 1 802 496 3707
e-mail: knights@madriver.com
Lapidary
&
Jewelry Supplies
Gilman's
P.O. Box M. Hellertown, PA 18055
(610) 838-8767
www.lostcave.com
All your jewelry making supplies
3M
Euro Tool
Foredom
Fretz
Grobet
Inland
Lortone
PepeTools
Proxxon
Raytech
& many
more
Check out our
new school
metalartschool.com
888-340-6252
najatools.com
6810 N. Broadway
Denver, CO 80221
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ABI Precision Micro Welding
The Laser Alternatives
at a Fraction of the cost
From
$1,777
ABI
Mini Pulse III
Tack Spot Fusion Weld
From
$795
Aelectronics Bonding, Inc
129 Robbins Creek Trail S.W. Calhoun, GA 30701
Phone/Fax: (706) 625-3798 Toll Free: (888) 494-2663
www.abiusa.net abi1655@aol.com
Revere Academy
of Jewelry Arts
Professional Training for Everyone
Take Your Jewelry
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to the
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www.revereacademy.com
Short
Classes &
Diploma
Programs
Flexible
Schedule
From
1 day to
6 months
100% Cyanide-Free Plating!
24, 18, 14k, Rose Gold, Platinum,
Rhodium, Nickel-Free Plate,
Cleaners
Conductive Paints
Anti-Tarnish Clear Coats
And More!
Expert tech support
Same-day shipping
800-940-7874, 216-941-7400
Fax: 216-941-7472
www.goldtouchinc.com
HUGHES ASSOCIATES
QUALITY PRODUCTS FOR
OVER THIRTY YEARS
EPOXY 220 . . . . . . . . . . .amber clear bonding
EPOXY 330 . . . . . . . . . . .water clear bonding
TENAX . . . . . . . . . . . . . . . . .instant super glue
TENAX + Plus . . . . . .a thick instant adhesive
OPTICON 224 . . . . . . . . . . . . .fracture sealer
ATTACK . . . . . . . . . . . . . . . . . . .epoxy solvent
AT YOUR DEALER
18116 Mtka Blvd., Wayzata, MN 55391
Tel: 952-404-2626
Fax: 952-474-4636
FREE
Pioneer Gem Corporation
Dr. Edward J. Nowak, Jr.
PO Box 1513 LJ
Auburn, WA 98071-1513
Phone: 253.833.2760
FAX: 253.833.1418
Website: www.pioneergem.com
F FF FFor or or or or: :: ::
Gem Collectors, Hobbyist Jewelers
Wirewrappers, Retailers
Manufacturing Jewelers
64 PAGE CATALOG
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1,000s of different varieties
and sizes
TOP AAA Quality, Precision Cut
and Polished GEMSTONES
email: pioneergem@seanet.com
Irish Waxed Linen 1hread
NeckIace Kits & Patterns
Supplies for:
Beading, FiberArts,
Basketweaving & Embellishing
Royalwood Ltd.
517-ST Woodville Rd.
Mansfield, Oh. 44907
800-526-1630

www.RoyalwoodLtd.com
67-73_MISC ADs.indd 72 5/16/11 5:29 PM
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HUGHES ASSOCIATES
QUALITY PRODUCTS FOR
OVER THIRTY YEARS
EPOXY 220 . . . . . . . . . . .amber clear bonding
EPOXY 330 . . . . . . . . . . .water clear bonding
TENAX . . . . . . . . . . . . . . . . .instant super glue
TENAX + Plus . . . . . .a thick instant adhesive
OPTICON 224 . . . . . . . . . . . . .fracture sealer
ATTACK . . . . . . . . . . . . . . . . . . .epoxy solvent
AT YOUR DEALER
18116 Mtka Blvd., Wayzata, MN 55391
Tel: 952-404-2626
Fax: 952-474-4636
FREE
Pioneer Gem Corporation
Dr. Edward J. Nowak, Jr.
PO Box 1513 LJ
Auburn, WA 98071-1513
Phone: 253.833.2760
FAX: 253.833.1418
Website: www.pioneergem.com
F FF FFor or or or or: :: ::
Gem Collectors, Hobbyist Jewelers
Wirewrappers, Retailers
Manufacturing Jewelers
64 PAGE CATALOG
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1,000s of different varieties
and sizes
TOP AAA Quality, Precision Cut
and Polished GEMSTONES
email: pioneergem@seanet.com
Irish Waxed Linen 1hread
NeckIace Kits & Patterns
Supplies for:
Beading, FiberArts,
Basketweaving & Embellishing
Royalwood Ltd.
517-ST Woodville Rd.
Mansfield, Oh. 44907
800-526-1630

www.RoyalwoodLtd.com
Cold Connection
Starter Kit
Consists of a generous assortment
of both brass and stainless steel
screws, nuts, washers and rivets.
Assembly tools included.
We offer a wide
range of micro
components
and tools at fair
market prices.
To order or for more information
call, email or fax us at:
MicroFasteners
24 Cokesbury Road, Ste 2,
Lebanon, NJ 08833
Fax: (908) 236-8721
Call: 1-800-892-6917
Email: info@microfasteners.com
Order at: www.microfasteners.com
A Whole World of Fine
pearls
All Kinds of Better
Natural Stone
beads
All Sorts of Calibrated Better
gemstones
& Beading
tools
www.StachuraWholesale.com
order on-line securely
request Wholesale Catalog
view photos of new items
Direct Importers Best Prices since 1955
Joseph P. Stachura Co., Inc.
435 Quaker Highway, Rt. 146A
Uxbridge, MA 01569-1602
T: 508.278.6525 F: 508.278.9458
contactus@StachuraWholesale.com
Visit our Showrooms Wholesale Only
Useful Jewelry
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CLASSIFIEDS
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RATES AND INSTRUCTIONS:
Minimum 25 words. $1.30 per word for one-time
insertions. Six-time contract rate: $1.20 per word
per insertion. Twelve-time rate: $1.10 per word per
insertion. Bold ad with frame $12.50 extra per inser-
tion; Gold highlight extra $20 per insertion. For an
additional charge of $15.00 per month, print ads
will also appear on our website. Discounted rates
for prepayment in full: $1.15 per word for 6-11 time
ads, $1.05 per word for 12-time ads. Six & 12-time
contracts must be signed. Payment required by
closing for first-time and international advertisers.
Visa & MasterCard accepted. Call Monica Turner
at 800-272-2193 x424, or e-mail: mturner@inter-
weave.com. Closing Date: 60 days ahead of issue.
Late copy will be run in next issue unless otherwise
instructed. Visit us on the web at: www.jewelryar-
tistmagazine.com.
BEAD SHOPS
BEAD BAR
Full-Service Bead Storecentral Flori-

das favorite since 1991. Huge inventory, talented staff,
great customer service, very competitive prices. A
beaders delight. A must-see in Orlando. Online cata-
log, newsletter, retail, wholesale. 1319 Edgewater Dr.,
Orlando, FL. (407) 426-8826; www.beadbarbead.
com.
BEAD BOUTIQUE Everything you need to bead with
the largest selection in the Charlotte area. Sterling,
semiprecious, Swarovski, pearls, Czech, seed beads,
findings, solder, tools, Art Clay Distributor, wire and
wheel metal, Moretti, lampwork, classes, parties, re-
pair, custom work, and much more! Open MonSat.
1820 Windsor Square Dr., Matthews, NC 28105. (704)
845-2848; www.beadboutiquenc.com.
BIGGEST & BEST-EST. BeadFXThe beadstore with
more! Everything you need to string, bead weave,
wire wrap, whatever else you can think of. Stone,
Crystal, Glass, Pearls, all the Metals, Seed Beads
Czech and Japanese. Metal Clay and Silversmithing.
New products every week. Latest trends and all the
classics. Were seriously bead obsessed. Lampwork
studio, too. Physical store in Toronto, Canada. Online
shoppingthe world! www.beadfx.com.
FREEPORT, MAINE. The Beadin Path, vintage, col-
lectible, contemporary, we have a huge selection!
One of the countrys largest bead stores. Visit us
online 24/7 at www.beadinpath.com.
OHIOS BESTBEAD Q! Beads, metalsmith supplies,
tools, classes. Everything you need to complete your
jewelry projects. (440) 708-1771. Chagrin Falls.
www.Bead-Q.com.
BRANDYWINE JEWELRY SUPPLYbeads, beading
supplies, gemstones, cabochons, findings, wire, tools,
and settings. Quality products, great prices, secure
online ordering, prompt shipping. See our entire cata-
log online! www.BrandywineJewelrySupply.com.
WWW.VENETIANBEADSHOP.COM direct importer:
Venetian and Murano glass lampworked beads, fea-
turing 24k gold foil and 24k white-gold foil and .925
sterling silver foil beads, millefiori, and blown beads.
Online catalog and secure shopping at
www.VenetianBeadShop.com.
BEAD SHOWS IN SOUTHEAST Always adding new
dates and locations. Please check our website, www.
thedownthestreetbeadshow.com or (866) 667-3232.
Bead, PMC, and wire-wrapping classes offered at
most shows.
BOOK AND VIDEOS
How-to Book: Jewelry Weaving for Everyone by
Rita Scher, 55 patterns with instructional techniques
for Necklaces, Bracelets, and Earrings. Online secure
shopping @ www.margaritasjewelry.com
METAL CLAY BASICS & BENCH REFERENCE the
beginners guide to working with silver clay, by Linda
Stiles Smith. Available at naturescapesstudio.com +
custom tools. Art Clay Distributor. For info contact
linda@naturescapesstudio.com or (937) 433-6249.
POLYMER CLAY, SILVER CLAY, and BEADS. In-
structional DVDs. Learn from experts at home. More
details online at www.abbadabbavideo.com; abba
dabba Productions LLC; (603) 744-0002; (877) 744-
0002 (U.S.A. only).
CABOCHONS
AUSSIE GEM CABOCHONS: Collectors/Jewelers:
top quality standard and designer cabochons in
Queensland Agate, finest Marlborough Chrysoprase,
solid opal, opal doublets, and much more by award
winning lapidarist Ian Bell. www.ozrainbows.com.
DESIGNER CABOCHONS, SLABS, QUALITY BEAD
STRANDS, GEMSTONE INTARSIA, LAPIDARY SER-
VICES, CUSTOM STERLING SILVER FINDINGS. Visit
our online store www.rockstarjewelrydesign.com/
store, enter LJM at checkout for 10% off first
purchase. (619) 889-2472.
CALL FOR EXHIBITORS
6TH ANNUAL NEW MEXICO HISTORY MUSEUM
Palace of the Governors Gem and Mineral Show
September 2325.
This is the 6th year of the Gem and Mineral Show at
New Mexico History Museum Palace of the Gover-
nors. The show is held in the beautiful historic court-
yard of the Palace and centrally located on Santa Fes
downtown Plaza on Palace Avenue. The show edu-
cates, promotes, displays, and makes available quality
all natural gems and minerals of interest to artisans,
jewelers, collectors, and the general public. Visitors
will be admitted at no charge. (Donations welcome.)
Where: Historic Courtyard Palace of the Governors,
113 Lincoln Ave., Santa Fe
The event is open to the public 9 a.m.7 p.m. Friday,
September 23; 9 a.m.4:30 p.m. Saturday and Sun-
day, September 2425. For more information, please
contact Inessa Williams at (505) 476-5106;
Inessa.williams@state.nm.us.
CAMEOS
RAINFOREST DESIGN
CAMEOS.
Exotic unset shell cameos inspired by the flora and
fauna of the tropical rainforest, carved by Wounaan
Indians from Panamas Darien Province. As seen in
Lapidary Journal Jewelry Artist magazine, February
2009 issue. 100% Handmade. Sold w/Certificate of
Authenticity. Sales Reps/Distributors wanted.
E-mail: cameos@rainforestdesign.com
Web: www.rainforestdesign.com
Twitter: @rainforestdesig
CAMEOS & CABOCHONS
SPECIALIZING IN ANYTHING CARVED, MOLDED
AND PRODUCED, CUSTOM SETTINGS FOR LARGE
STONES, VINTAGE COSTUME JEWELRY RE-
STORED. Amazing Lucite cameos and cabochons.
These beautiful Lucite cameos and cabochons are
for jewelry artists looking for something unique,
opalescent, ever-changing colors. They are hand-
made and polished to a gemlike shine. They in-
corporate rare and unique pieces, 23k gold leaf,
fine silver leaf, and other treasured elements from
around the world. Visit www.divaberia.etsy.com for
more information.
COLLECTIBLES
FABULOUS PRIVATE GEMSTONE COLLECTION
now online. More than 300 spectacular loose stones
including El Corazon del Jaguar, the largest known
gem-quality red stone in the world. www.hsgems.
com.
PROFESSIONAL WAX CARVER/(model maker)
mold makingcasting. Twenty years experience.
One of a kind or small runs. Fast turnaround. Jeff
(801) 467-2644; jeff@beginzjewelry.com;
www.beginzjewelry.com.
THAILAND JEWELRY MANUFACTURER. American
owned. All designs confidential. Highest quality cast
jewelry in silver, stainless steel, gold, and brass. Con-
tact: Gary Glazer. E-mail cmgemstones@gmail.com;
www.cmgemstones.com.
WE HAVE 38 YEARS EXPERIENCE IN VOLUME
JEWELRY PRODUCTION. Our processes are of the
highest quality; we use de-oxidized sterling silver
alloy, never firescale! Our metals include de-ox silver,
de-ox 10, 14, 18k gold, de-oxidized yellow bronze,
silicon bronze, and white bronze. Our special pro-
cessing is cast and tumble only or mechanical finish
or complete hand finish, ensuring a quality product.
We are experts in mold making in silicon and latex
rubbers. We provide small runs or up to 1,000s of
pieces. Model making is also available. Please con-
tact RUIDOSO METAL WORKS through our website
www.ruidosometalworks.com or our toll-free number
(888) 552-5299.
EQUIPMENT
BUYING OLD SOFT WHEELS $15 any size or I will
resurface your wheel: 4 inch, $30; 6 inch, $40; 8 inch,
$60. Complete 6-wheel unit for $600. Add postage.
(707) 677-3474.
FACETING MACHINES
FOR SALE ATLANTA REGION. Fac-Ette GemMaster
II, used but in very good condition, including dia-
mond wheels, dop sticks, transfer block, diamond
powder, and much more. Why pay more for the top
facetting machine? Unit is mounted in a nice desk,
which comes at no additional cost. Pictures at www.
tinyurl.com/25qst8k. Were retired and have no use
for this anymore. Asking $2,500 (new at $5,196).
Buyer picks up or pays for shipping (desk pick up
only). Theo Ramakers, (770) 464-3777.
FINE GEMS:OPTIMA GEMS
WWW.OPTIMAGEM.COM We have the most accu-
rate colored stone grading in the industry. Our FREE
MONTHLY NEWSLETTERS include unenhanced color
photos of every gem we sell. We provide consistent
fine-quality calibrated gems with free color matching.
In addition, we have a huge selection of unique cuts,
unusual gem types, crystals, and bargain CLOSE-
OUTS. Have fun with our monthly gem quiz and en-
ter to win FREE GEMS. Call our USA-based customer
service team today for honest and friendly service.
(800) 543-5563 support@optimagem.com
SPINEL, Black 5mm rounds, great Diamond sub $.95
ea 800-543-5563
PEARL, SOUTH SEA 10mm select baroque rounds
$19ea (800) 543-5563
OPAL ROUGH, Mexican orange$5/100cts (800)
543-5563
2011 CALIBRATED GEM CATALOG, 100 pages
FREE online or with order. WWW.OPTIMAGEM.COM
GEMOLOGY
GEM and MINERAL ID TOOLSRefractometers,
Jewelers eye, Gem Testers, Gem Filters, Specific
Gravity Balances, Mohs Hardness Points, Diamond
and Gold Testers, UV Lamps, Geiger Counters, Soft-
ware. MINERALAB 2860 W. Live Oak Dr., J, Prescott,
AZ 86305.
GEMS, FINISHED
ALEXANDRITE, ZIRCON, EVERYTHING in between!
Gems, crystals, minerals, rare garnets, special quartz-
es, tektites, meteorites, cabochons, facet rough, ge-
odes, slabs, panafram@hotmail.com. Latest catalog
$2. Panafram, Box 358-LJ, Riviera, TX 78379-0358.
BUY ONLINE precious semiprecious gemstones, dia-
monds, pearls, necklaces, rough gemstones, jewelers
tools, handicrafts. Free catalog deeprok@vsnl.com.
Deepaks Rokjemperl products, 61/10th khetwadi,
Mumbai 400004 India. www.deepakgems.com.
CLOSEOUT. Everything Must Go. Cut And Rough
Gems. Retiring. Free Wholesale Catalog. (330) 453-
4628; jimsstones@aol.com. Jims Gemology, 1322
Harrisburg Rd. NE, Canton, OH 44705-1851.
FINEST QUALITY CABOCHONS: Amber; ammonite;
chrysocolla; chrysoprase; drusies; eilat; fire agate; un-
usual garnets; jades; jaspers: orbicular, picture; tabu;
labradorite, Montana, Mexican agates; moonstones;
opals; parrot wing; unique quartzes; spectrolite; sugi-
lite; sunstone; thulite; variscite; more! papmins@lycos.
com. Color catalog $3. PAPM, Box 905, Kingsville, TX
78364-0905.
JEWELRY MAKING SUPPLIES
WAX PATTERNS, Au-Rus Wax Pattern
Company5,500+ wax patterns online.
302 S. Main St., Kellogg, ID 83837. (208) 786-9301;
www.auruswaxpatterns.com.
WAX PATTERNS/MOLD MAKING: Great Western
Wax Patterns has been your best source of qual-
ity design since 1969. Over 10,000 styles available.
We are the original and still the best.Check us out at
www.greatwesternwaxpatterns.com or call for cata-
log (580) 566-2020.
WHOLESALE FINDINGS, chain, and wire in sterling
silver, gold-filled, and more. Free catalog. $100 mini-
mum. Wholesale only. (800) 528-0535; bead
@halsteadbead.com; www.Halsteadbead.com.
JEWELRY REPS WANTED
SPANISH COLONIAL TREASURES, a Chicago based
jewelry designer/maker, is looking for representatives
to market our unique line of coin jewelry featuring au-
thentic gold and silver Spanish Colonial and Medieval
coins. Individuals with jewelry design background are
preferred. See our product at www.spanishcolonial
treasures.com or contact Bert Sandlin at
bertsandlin@juno.com or 847-482-0606
MINERALS
STEALS and DEALS 5075% off wholesale prices!
Crystals, minerals. Contact us for current list. Whole-
sale only. Tax number required. Raiders of the Lost
Art, Gainesville, FL. (800) 527-4367; e-mail raiders@
raiderocks.com; www.raiderocks.com.
MISCELLANEOUS
WAX PATTERNS. Learn to cast stones in place. Over
10,000 wax patterns. Color CZs. CAD/CAM, mold
and casting service. Visit our website www
.waxpatterns.com Wilsons/TCD (863) 686-9738.
OPALS
OPALS at MINERS PRICES rough and cut, black,
white, boulder, koroit, and yowah specialize in inlay
crystal and fossils. E-mail salopals@aol.com; Australia
phone 617-55949760; U.S.A. phone (817) 300-6909;
www.trueblueopals.com.
VISIT ROCKAWAYOPALS. Opal gems from around
the world. Refined selection of Cut Black Opals.
Collector Stones. Opal Specimens. Unique Opal
Jewelry. Contact: Scott@rockawayopals.com;
www.rockawayopals.com.
ROCK SHOPS
www.cjpgems.com Northeastern Ohio. Finished
Gems, facet and cab rough, slabs, rough rocks, miner-
als, crystals, tektites, geodes, nodules. (330) 878-7295
check website for show schedule!
COLORADO SPRINGS. ACKLEYS carries an extensive
line of lapidary and silversmithing supplies, rough rock,
and mineral specimens. Also, jewelry findings, such as
French ear wires, beads, chains, and mountings. Order
our catalog: $1 refundable on first order. ACKLEYS,
3230 N. Stone, Colorado Springs, CO 80907.
FAIRHOPE, AL. Analece and Bayside Beads. Hand-
made jewelry, gemstones, rock shop, and full-scale
bead store. Custom orders, lapidary, classes. MonSat
105. (251) 929-3620. 395-A Fairhope Ave. www
.analecedesign.com; e-mail analecedesign@aol.com.
FIND GEM and ROCK SHOPS online at
www.jewelryartistmagazine.com/rockshops.
WWW.WORLDOFROCKS.COMCrystals, Minerals,
Fossils, Arrowheads, Meteorites, Specialties of the
Month, Beads, and Classes. Open Mon, Wed, Thu, Fri
126; Sat 106; Sun 15.. Closed Tue. (734) 481-9981.
I-94 exit 183, North. 42 N. Huron St., Ypsilanti, MI 48197.
ROUGH FOR FACETING
SAMSON GEMS OF NIGERIA African faceting rough
gemstones. http://www.samsongems.com. Sapphires,
Tourmalines, Aquamarines, and more. SAMSON GEMS
& INVESTMENT COMPANY 25A Tafawa Balewa St.,
PO Box 13029, Jos Plateau State, Nigeria.
ROUGH: NEW ERA GEMS
AA GRADE MALACHITEThese select pieces range
in size from 8 ounces to 3 pounds each. This banded
green gem rough does not get any better! 1 pound,
$22 or 5 pounds, $100, plus postage. Contact us at
(800) 752-2057; www.neweragems.com.
BLACK ONYX SLABS36mm thick top-quality black
onyx, perfect for inlay, watch faces, etc. You decide. 1
pound, $58 or 5 pounds, $240, plus postage. (800)
752-2057; www.neweragems.com.
JUMBO ROSE ALMANDITEGarnet in clean rough
from 1132 carats, ea $50 or 100 carats, $180, plus
$4.50 shipping. (800) 752-2057; www.neweragems.
com.
NEW ERA GEMS WEBSITEShop online at www.
neweragems.com. We offer our complete catalog on-
line as well as showcasing select pieces of rough and
cut gemstones, quartz and mineral specimens, lapi-
dary equipment and supplies, and carvings! Get up-
to-date information on new materials and discounts,
check out our show schedule, and even meet the staff!
Order online or contact us by phone in the U.S. and
Canada toll-free (800) 752-2057; internationally (530)
272-1334; fax (530) 272-2985; e-mail neweragems@
hotmail.com. Satisfaction or your money back. Guar-
anteed!
NEW ERA GEMS, 14923 Rattlesnake Rd., Grass Val-
ley, CA 95945. To receive our full-color catalog, please
send $5 to the address listed above. Along with our
catalog you will receive a $10 coupon off your first
purchase of $50 or more! Contact us now at (800)
752-2057; (530) 272-1334; fax (530) 272-2985; e-mail
neweragems@hotmail.com; or look us up on the Web
at www.neweragems.com! We look forward to hearing
from you!
NEW PETRIFIED CORAL SLABS. This wonderful new
material comes from Indonesia and is great for inlay,
cabochons, or what your imagination desires! This
agatized coral has wonderful patterns of honeycomb
and starbursts. This material comes in cream orange,
yellow, and red, with black and cinnamon. 50 grams,
$25; 100 grams, $40; 500 grams, $125 plus postage.
For more information please call New Era Gems at
(800) 752-2057.
NEW PURPLE CHALCEDONY is a variety of micro-
crystalline quartz and is a member of the agate fam-
ily. This material is from Indonesia and ranges in color
from a beautiful lavender rose to a vibrant purple! 1
oz, $40; 5 oz, $150; 1 lb, $320, plus postage. For more
information, please e-mail us at neweragems@aol.com
or contact us at (800) 752-2057.
SELECT RASPBERRY RHODOLITEGarnet from
59.9 carats each. 5 carats, $20; 10 carats, $35; or 50
carats, $150; $4.50 shipping. (800) 752-2057; www.
neweragems.com.
TANZANITE CABOCHON ROUGHin already-heated
pieces from 2025 grams each in size. Great for beads,
small carvings, or even inlay, too. Bright purple/ blue
color; 5 grams, $30 or 51 grams, $153, $4.50 postage.
SCHOOLS & EDUCATION
JEWELRY MAKING and REPAIR 18-month course
emphasizing fabrication, repair, and stone setting. Sep-
tember and February admissions. North Bennet Street
School, 39 N. Bennet St., Boston, MA 02113. (617) 227-
0155; www.nbss.org.
LEARN JADE CARVING from one of the worlds best
jade carvers. Intensive FIVE-day course in beautiful
British Columbia. Contact DEBORAH WILSON. (250)
542-0630; www.deborahwilson.bc.ca; evergreenjade@
hotmail.com.
74-77_JA2011-July-Class.indd 74 5/16/11 4:15 PM
05232011114430
75 July 2011
In addition, we have a huge selection of unique cuts,
unusual gem types, crystals, and bargain CLOSE-
OUTS. Have fun with our monthly gem quiz and en-
ter to win FREE GEMS. Call our USA-based customer
service team today for honest and friendly service.
(800) 543-5563 support@optimagem.com
SPINEL, Black 5mm rounds, great Diamond sub $.95
ea 800-543-5563
PEARL, SOUTH SEA 10mm select baroque rounds
$19ea (800) 543-5563
OPAL ROUGH, Mexican orange$5/100cts (800)
543-5563
2011 CALIBRATED GEM CATALOG, 100 pages
FREE online or with order. WWW.OPTIMAGEM.COM
GEMOLOGY
GEM and MINERAL ID TOOLSRefractometers,
Jewelers eye, Gem Testers, Gem Filters, Specific
Gravity Balances, Mohs Hardness Points, Diamond
and Gold Testers, UV Lamps, Geiger Counters, Soft-
ware. MINERALAB 2860 W. Live Oak Dr., J, Prescott,
AZ 86305.
GEMS, FINISHED
ALEXANDRITE, ZIRCON, EVERYTHING in between!
Gems, crystals, minerals, rare garnets, special quartz-
es, tektites, meteorites, cabochons, facet rough, ge-
odes, slabs, panafram@hotmail.com. Latest catalog
$2. Panafram, Box 358-LJ, Riviera, TX 78379-0358.
BUY ONLINE precious semiprecious gemstones, dia-
monds, pearls, necklaces, rough gemstones, jewelers
tools, handicrafts. Free catalog deeprok@vsnl.com.
Deepaks Rokjemperl products, 61/10th khetwadi,
Mumbai 400004 India. www.deepakgems.com.
CLOSEOUT. Everything Must Go. Cut And Rough
Gems. Retiring. Free Wholesale Catalog. (330) 453-
4628; jimsstones@aol.com. Jims Gemology, 1322
Harrisburg Rd. NE, Canton, OH 44705-1851.
FINEST QUALITY CABOCHONS: Amber; ammonite;
chrysocolla; chrysoprase; drusies; eilat; fire agate; un-
usual garnets; jades; jaspers: orbicular, picture; tabu;
labradorite, Montana, Mexican agates; moonstones;
opals; parrot wing; unique quartzes; spectrolite; sugi-
lite; sunstone; thulite; variscite; more! papmins@lycos.
com. Color catalog $3. PAPM, Box 905, Kingsville, TX
78364-0905.
JEWELRY MAKING SUPPLIES
WAX PATTERNS, Au-Rus Wax Pattern
Company5,500+ wax patterns online.
302 S. Main St., Kellogg, ID 83837. (208) 786-9301;
www.auruswaxpatterns.com.
WAX PATTERNS/MOLD MAKING: Great Western
Wax Patterns has been your best source of qual-
ity design since 1969. Over 10,000 styles available.
We are the original and still the best.Check us out at
www.greatwesternwaxpatterns.com or call for cata-
log (580) 566-2020.
WHOLESALE FINDINGS, chain, and wire in sterling
silver, gold-filled, and more. Free catalog. $100 mini-
mum. Wholesale only. (800) 528-0535; bead
@halsteadbead.com; www.Halsteadbead.com.
JEWELRY REPS WANTED
SPANISH COLONIAL TREASURES, a Chicago based
jewelry designer/maker, is looking for representatives
to market our unique line of coin jewelry featuring au-
thentic gold and silver Spanish Colonial and Medieval
coins. Individuals with jewelry design background are
preferred. See our product at www.spanishcolonial
treasures.com or contact Bert Sandlin at
bertsandlin@juno.com or 847-482-0606
MINERALS
STEALS and DEALS 5075% off wholesale prices!
Crystals, minerals. Contact us for current list. Whole-
sale only. Tax number required. Raiders of the Lost
Art, Gainesville, FL. (800) 527-4367; e-mail raiders@
raiderocks.com; www.raiderocks.com.
MISCELLANEOUS
WAX PATTERNS. Learn to cast stones in place. Over
10,000 wax patterns. Color CZs. CAD/CAM, mold
and casting service. Visit our website www
.waxpatterns.com Wilsons/TCD (863) 686-9738.
OPALS
OPALS at MINERS PRICES rough and cut, black,
white, boulder, koroit, and yowah specialize in inlay
crystal and fossils. E-mail salopals@aol.com; Australia
phone 617-55949760; U.S.A. phone (817) 300-6909;
www.trueblueopals.com.
VISIT ROCKAWAYOPALS. Opal gems from around
the world. Refined selection of Cut Black Opals.
Collector Stones. Opal Specimens. Unique Opal
Jewelry. Contact: Scott@rockawayopals.com;
www.rockawayopals.com.
ROCK SHOPS
www.cjpgems.com Northeastern Ohio. Finished
Gems, facet and cab rough, slabs, rough rocks, miner-
als, crystals, tektites, geodes, nodules. (330) 878-7295
check website for show schedule!
COLORADO SPRINGS. ACKLEYS carries an extensive
line of lapidary and silversmithing supplies, rough rock,
and mineral specimens. Also, jewelry findings, such as
French ear wires, beads, chains, and mountings. Order
our catalog: $1 refundable on first order. ACKLEYS,
3230 N. Stone, Colorado Springs, CO 80907.
FAIRHOPE, AL. Analece and Bayside Beads. Hand-
made jewelry, gemstones, rock shop, and full-scale
bead store. Custom orders, lapidary, classes. MonSat
105. (251) 929-3620. 395-A Fairhope Ave. www
.analecedesign.com; e-mail analecedesign@aol.com.
FIND GEM and ROCK SHOPS online at
www.jewelryartistmagazine.com/rockshops.
WWW.WORLDOFROCKS.COMCrystals, Minerals,
Fossils, Arrowheads, Meteorites, Specialties of the
Month, Beads, and Classes. Open Mon, Wed, Thu, Fri
126; Sat 106; Sun 15.. Closed Tue. (734) 481-9981.
I-94 exit 183, North. 42 N. Huron St., Ypsilanti, MI 48197.
ROUGH FOR FACETING
SAMSON GEMS OF NIGERIA African faceting rough
gemstones. http://www.samsongems.com. Sapphires,
Tourmalines, Aquamarines, and more. SAMSON GEMS
& INVESTMENT COMPANY 25A Tafawa Balewa St.,
PO Box 13029, Jos Plateau State, Nigeria.
ROUGH: NEW ERA GEMS
AA GRADE MALACHITEThese select pieces range
in size from 8 ounces to 3 pounds each. This banded
green gem rough does not get any better! 1 pound,
$22 or 5 pounds, $100, plus postage. Contact us at
BLACK ONYX SLABS36mm thick top-quality black
onyx, perfect for inlay, watch faces, etc. You decide. 1
pound, $58 or 5 pounds, $240, plus postage. (800)
752-2057; www.neweragems.com.
JUMBO ROSE ALMANDITEGarnet in clean rough
from 1132 carats, ea $50 or 100 carats, $180, plus
$4.50 shipping. (800) 752-2057; www.neweragems.
com.
NEW ERA GEMS WEBSITEShop online at www.
neweragems.com. We offer our complete catalog on-
line as well as showcasing select pieces of rough and
cut gemstones, quartz and mineral specimens, lapi-
dary equipment and supplies, and carvings! Get up-
to-date information on new materials and discounts,
check out our show schedule, and even meet the staff!
Order online or contact us by phone in the U.S. and
Canada toll-free (800) 752-2057; internationally (530)
272-1334; fax (530) 272-2985; e-mail neweragems@
hotmail.com. Satisfaction or your money back. Guar-
anteed!
NEW ERA GEMS, 14923 Rattlesnake Rd., Grass Val-
ley, CA 95945. To receive our full-color catalog, please
send $5 to the address listed above. Along with our
catalog you will receive a $10 coupon off your first
purchase of $50 or more! Contact us now at (800)
752-2057; (530) 272-1334; fax (530) 272-2985; e-mail
neweragems@hotmail.com; or look us up on the Web
at www.neweragems.com! We look forward to hearing
from you!
NEW PETRIFIED CORAL SLABS. This wonderful new
material comes from Indonesia and is great for inlay,
cabochons, or what your imagination desires! This
agatized coral has wonderful patterns of honeycomb
and starbursts. This material comes in cream orange,
yellow, and red, with black and cinnamon. 50 grams,
$25; 100 grams, $40; 500 grams, $125 plus postage.
For more information please call New Era Gems at
(800) 752-2057.
NEW PURPLE CHALCEDONY is a variety of micro-
crystalline quartz and is a member of the agate fam-
ily. This material is from Indonesia and ranges in color
from a beautiful lavender rose to a vibrant purple! 1
oz, $40; 5 oz, $150; 1 lb, $320, plus postage. For more
information, please e-mail us at neweragems@aol.com
or contact us at (800) 752-2057.
SELECT RASPBERRY RHODOLITEGarnet from
59.9 carats each. 5 carats, $20; 10 carats, $35; or 50
carats, $150; $4.50 shipping. (800) 752-2057; www.
neweragems.com.
TANZANITE CABOCHON ROUGHin already-heated
pieces from 2025 grams each in size. Great for beads,
small carvings, or even inlay, too. Bright purple/ blue
color; 5 grams, $30 or 51 grams, $153, $4.50 postage.
SCHOOLS & EDUCATION
JEWELRY MAKING and REPAIR 18-month course
emphasizing fabrication, repair, and stone setting. Sep-
tember and February admissions. North Bennet Street
School, 39 N. Bennet St., Boston, MA 02113. (617) 227-
0155; www.nbss.org.
LEARN JADE CARVING from one of the worlds best
jade carvers. Intensive FIVE-day course in beautiful
British Columbia. Contact DEBORAH WILSON. (250)
542-0630; www.deborahwilson.bc.ca; evergreenjade@
hotmail.com.
LOOK FOR MORE CLASSES online at our website
www.jewelryartistmagazine.com/jewelryclasses.
SUNNY TAOS, NM Year-round individual and small
classes. Beginningadvanced fabrication and unusual
stone-setting techniques. Taos School of Metalsmith-
ing and Lapidary Design, Marilynn Nicholson, PO Box
3005, Taos, NM 87571. (575) 758-0207; www.taos
jewelryschool.com; taosjewelryschool@msn.com.
TRAINING IN JEWELRY; Horology; Gemology; Cad/
Cam; Casting; Fabrication; Stone Setting; Repair; JA
Certification; Short Courses; Certificates; AAS Degrees.
Texas Institute of Jewelry Technology at Paris Junior
College (800) 232-5804; www.parisjc.edu; tijt@parisjc.
edu.
SERVICES
GEM CUTTING COLORED GEMSTONES, American
Cutter, 2-day turnaround, faceted gems cut from your
rough (or mine). JohnWright@GemsByJohn.com;
www.GemsByJohn.com; (859) 539-2407, brilliant and
all fancy cuts.
SUPPLIES
www.gemsnstones.comGems, Jewelry, Stones &
More! Low prices. No minimum order. FREE U.S. ship-
ping.
TURQUOISE
NATURAL ROUGH, BEADS, CABOCHONS. 1000s
of pounds, many minesrecon block, every opaque
materialcoral, malochite, turquoise. usgrc@cox.net.
Hiltary Diamond: 6060 E. Thomas Rd. Scottsdale, AZ
85251. Ph. (602) 620-3999.
WANTED TO BUY
AGATES, JASPERS, WOODS
Specimens and Fossils for wholesale business, also
Rock Shops and Estate Collections,
JAYHAWK ROCK SHOP,
PO Box 296, Hill City, KS 67642.
E-mail peggysue@ruraltel.net Ph. (785) 421-2333
WEBSITES
FREEPORT, MAINE. The Beadin Path, vintage, collect-
ible, contemporary, we have a huge selection! One of
the countrys largest bead stores. Visit us online 24/7
at www.beadinpath.com.
WHOLESALE
WHOLESALE SUPPLIER To The Trade Only. www.
ogil.com.
WIRE JEWELRY
WIRECRAFT JEWELRY SUPPLIES 14k, 14k Gold-
filled, 14k Gold Plate, Solid Sterling Silver, and Silver
Plate. Also Brass and Copper in Square, Round, and
Half-Round. Wire-craft videos and booklets showing
detailed instructions. Send for free price list. Universal
Wirecraft Company, PO Box 20206, Bradenton, FL
34204. Ph. (941) 745-1219; fax: (941) 746-3183.
Gem & Jewelry Shops
Find the nest rock shops, jewelry supplies and lap-
idary materials. Whether you need jewelry ndings,
mineral and fossil specimens, rough material, lapi-
dary equipment, gems, ndings jewelry or the per-
fect gift, you can nd it here. For information about
adding your gem and jewelry shop to the next is-
sue, please contact Monica Turner at 800-272-2193
x424 or email mturner@interweave.com. Look for
the Gem and Jewelry Shops on-line at www.jewelry-
artistmagazine.com.
ARIZONA
Hiltary Diamond
6060 E. Thomas Rd.
Scottsdale, AZ 85251
Ph. (480) 945-0700, (602) 620-3999
Fax: (480) 945-3333
E-mail: usgrc@cox.net
Southwests largest supply of silver, gold, lapidary
supplies, diamond tools. Natural Turquoise, Burmese
Jadeite, Tigereye. Tons of Recon Turquoise, Coral,
Lapis, Malachite. Mother-of-Pearl Shell, Russian Jet,
Chinese Hemimorphite, White Topaz, Malachite/Azur-
ite, Bali and Thai Silver. High-quality gem carvings, cus-
tom knives, rough and finished precious gemstones.
Thousands of bead necklaces. Stingray hides, dinosaur
bone, authentic arrowheads.
CALIFORNIA
Miners Gems and Minerals
Old Town Historic Park
2616 San Diego Ave.
San Diego, CA 92110
Ph. (619) 688-1178; Fax: (619) 583-5434
Website: www.minersgemsandminerals.com
Established 1978. Large selection of minerals, San
Diego tourmaline, faceted and cabochon gemstones,
spheres, eggs, tumbled stones, fossils, shark teeth,
ammonites, fish, carvings, custom necklaces, bracelets,
silver and gold jewelry, custom clay settings. Graduate
gemologist is on staff. Mineral panning activity for kids
of all ages. 106, closed Christmas and Thanksgiving.
The Gift Gulch, Rock Shop and Emporium
40444-D Hwy. 41
Oakhurst, CA 93644
Ph. (559) 683-4668
Website: www.giftgulch-rocks.com
In the Sierra Mountains near Yosemite, the Gift Gulch is
a lapidary, rock, and jewelry shop. Opal is our specialty.
We have a variety of gemstones, cabochons, and
handcrafted gemstone jewelry. Our collection of crys-
tals, agate slabs, petrified wood, fossils, gemstone, and
cabochon rough is extensive and unique.
COLORADO
Ackleys Rock Shop
3230 N. Stone Ave.
Colorado Springs, CO 80907
Ph. (719) 633-1153
Mineral specimens, lapidary equipment and supplies,
jewelers supplies, rough rock, slabs, tumbled stones,
cabs, faceted stones, and jewelry. 95 MonSat.
KANSAS
McMullen Jewelry Natural Stone Gallery
4717 E. Douglas Ave.
Wichita, KS 67218
Ph. (316) 684-1611
Website: www.mcmullenjewelry.net
Come and discover the wonders of nature. A wonder-
ful collection of loose gemstones, cabochons, crystals,
and mineral specimens. Unique gifts, beads, and carv-
ings. Custom jewelry work in silver, gold, and platinum.
Professional repairs done on premise. Graduate gem-
ologist on staff. The art and craft of metal and stone.
Pursuing a finer quality.
MICHIGAN
World of Rocks
42 N. Huron St.
Ypsilanti, MI 48197
Ph. (734) 481-9981
Website: www.worldofrocks.com
Fun in classes; highlighting chain mail, metal work,
wire wrapping, and other jewelry classes. We stock
rock specialties, findings, tools, and supplies. Open
Mon, Wed, Thu, Fri 126; Sat 106; Sun 15. Closed
Tuesday. Take I-94 exit 183, go north of Michigan Ave.
NEW HAMPSHIRE
Santerres Stones n Stuff
42 Water St.
Exeter, NH 03044
Ph. (603) 773-9393
Website: www.SanterresStones.com
Minerals, fossils, stone carvings, 14k jewelry, gem-
stones, wire-sculptured jewelry, faceting and cabbing
rough, beads (including gemstone, Kazuri, Swarovski,
pearls, ceramic, lampworked), and findings. Custom
faceting and cabbing work offered. Faceting and
beading classes. Work done on site. Unique hand-
shaped cabs. Gift items. Conveniently located down-
town Exeter.
TEXAS
Gems of the Hill CountryLapidaries and
Jewelers
On the square at 126 Ft. McKavitt
Mason, TX 76856
Ph. (325) 347-0475
Website: www.Texas-topaz.com
Featuring Texas topaz and other star cut gems. As
lapidaries and jewelers, we create jewelry from Texas
materials, including Mason County topaz, the state
gem, and petrified palmwood, the state stone. West
Texas agates, beads of Texas quartz, and petrified
wood. On the historic Mason Square in Mason, TX.
WASHINGTON
Rings & Things Wholesale
304 E. 2nd Ave
Spokane, WA 99202
Ph. (509) 252-2900
Website: www.rings-things.com
Visit our Spokane, WA warehouse for hands-on access
to our entire line of cataloged items (everything in our
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print catalog and online store) plus special cash-and-
carry gemstones, red-tagged sale items, African art,
and more! Reseller permit or $50 minimum purchase
required. MonFri 106 (except first Tue of each
month). First Tue of each month 126. Sat 114
CANADA
BeadFX
128 Manville Rd. #9
Scarborough, ON M1L 4J5
Canada
Ph. (416) 701-1373 (local)
Toll Free: (877) 473-2323
Website: www.beadfx.com
A must-see destination. Open 7 days a week. Breath-
taking selection, great prices and knowledgeable,
bead-obsessed staff. We are a full-service bead store
with classroom, design area, and lampworking studio.
From Art Glass to Zircon (Blue), Zoisite (Ruby), and
Zinnias (Swarovski). New stuff every week. Crystals,
Seedbeads, Stone beads, Pearls, Sterling, Copper,
Wire, Metal Clay, Tools Way too much to list! If you
want it, we have it. If we have it, you want it.
Jewelry Classes
Find the nest jewelry classes, workshops, tech-
niques and instructors at a jewelry program near
you. If you would like to list your school or jewelry
workshop, please contact Monica Turner at 800-
272-2193 x424 or email mturner@interweave.com.
CALIFORNIA
Idyllwild Arts Summer Program
PO Box 38
Idyllwild, CA 92549
Ph. (951) 659-2171, ext. 2365; Fax: (951) 659-4552
Website: www.idyllwildarts.org
E-mail: summer@idyllwildarts.org
Offering weeklong and two-day workshops. Metals
Week, featuring Surface Treatment, Harold OConnor;
Enameling, Charity Hall; Rolling Mill, Sandra Noble
Goss; Ring Techniques, Joanna Gollberg; Hinges
& Mechanisms, Fred Zweig; Stone Setting, Pauline
Warg. Also workshops in Fold Forming & Soldering,
Deb Jemmott; Metal Clay; Hopi Overlay; Inlay/Lapi-
dary. All levels of experience. Located in the moun-
tains of Southern California.
Mendocino Art Center
45200 Little Lake St.
Mendocino, CA 95460
Ph. (800) 653-3328
Website: www.MendocinoArtCenter.org
E-mail: mendoart@mcn.org
Mendocino Art Center is located in a picturesque
northern California coastal village. We offer 30 di-
verse, 25 day retreat-style jewelry and metalsmith-
ing workshops each year, taught by some of the
countrys finest instructors. Courses include etching,
stone setting, soldering, chain making, and more. Call
for a class catalog.
Precious Metal Arts
2510 Main St., Ste. C
Santa Monica, CA 90405
Ph. (310) 581-4844
Fax: (310) 581-5144
Website: www.preciousmetalarts.com
E-mail: classes@preciousmetalarts.com
A unique combination of introductory classes (8 stu-
dents), workshops, and small-group tutoring sessions
(24 students) allows customized education from
beginning to advanced. Instructor Peter Solomon
brings 25+ years of colorful and varied experience in
wax carving, production management, stone setting,
custom design, and fabrication. Visit website for cur-
rent schedule.
Revere Academy of Jewelry Arts
760 Market St., Ste. 900
San Francisco, CA 94102
Ph. (415) 391-4179
Website: www.revereacademy.com
E-mail: info@revereacademy.com
TAKE YOUR JEWELRY TO THE NEXT LEVEL! The
Revere Academy of Jewelry Arts in downtown San
Francisco offers professional instruction for students
at all levels. State-of-the-art jewelry studios feature
live close-up video camera and wide-screen TVs so
students can see every detail. Short, intensive, week-
end classes in Design, Fabrication, Argentium, Clasps,
Polishing, Wax, Casting, Setting, Diploma programs,
and more.
String Bead
2201 Pillsbury Rd., Ste. 142
Chico, CA 95926
Ph. (530) 894-2323
Website: www.stringbead.com
E-mail: cwitt@stringbead.com
Where Glass and Metal Fabrication artists meet! In
our fully equipped Fabrication Shop, we offer classes
from beginner to advanced in both metal fabrica-
tion and glass art. We are dedicated to helping you
learn the skills you need to realize your dreams, at
any budget.
COLORADO
Clear Creek Academy of Jewelry and Metal
Arts
3648 Navajo St.
Denver, CO 80221
Ph. (303) 429-1401
Fax: (303) 650-4714
E-mail: info@clearcreekacademy.com
Website: www.clearcreekacademy.com
The Clear Creek Academy offers classes, intensives,
and workshops in silversmithing, goldsmithing, lapi-
dary, forging and forming, anticlastic raising, casting
and wax carving, stone setting, PMC, dichroic glass,
enameling, jewelry marketing, and more. Quality
instruction, small class sizes, and excellent facilities
and equipment.
The Denver School of Metal Arts
6810 N. Broadway, Unit L
Denver, CO 80221
Ph. (303) 428-3162
Website: www.metalartschool.com
E-Mail: mail@metalartschool.com
The Denver School of Metal Arts offers a variety of
creative metalsmithing classes for both novice and
experienced students. Classes are taught by knowl-
edgeable jewelry artists and teachers, who provide a
stimulating environment in which small classes and
excellent facilities allow students to take their metal-
smithing to the next level. Offering year-round metal
art jewelry classes, weekend workshops, and summer
intensive courses. Some classes include silversmith-
ing (all levels), PMC, enameling, dichroic glass, and
many more. Conveniently located next to Naja Tool
and Supply Inc., to accommodate all the tools jewelry
students need.
FLORIDA
DragonWerx Jewelry
P.O. Box 276
Grant, FL 32949
Ph. (321) 506-5985
Website: www.dragonwerx.com
E-mail: classes@dragonwerx.com
Jewelry and silversmithing classes available for indi-
viduals. Classes customized for your needs: hobby-
ists, serious amateurs, professionals. Subjects include:
basic silversmithing (torch and soldering skills), basic
and advanced use of the jewelers saw (jewelry mak-
ing without a torch), advanced jewelry with torch,
advanced jewelry with filigree, torch-fired enamels.
Flexible scheduling. Private studio at my home.
Florida Society of Goldsmiths Northeast
Chapter (FSGNE)
Ph. (386) 871-9070 or (386) 801-0959
Website: www.fsgne.com
E-mail: fsgne@yahoo.com
Artisan Alley in Historic Downtown DeLand, Florida.
Come and enjoy the relaxed and friendly atmosphere
of classes in our spacious and well-equipped studio
in historic downtown DeLand. We serve beginners
and beyond with topics including soldering, stoneset-
ting, enamel, chain-making, hydraulic press, filigree,
chasing and repouss, to name just a few. Dont miss
our Open House from 69 p.m. the fourth Friday of
every monthvisit our studio and meet our mem-
bers! Florida Society of Goldsmiths is a non-profit
educational organization . . . Teaching the art of metal
. . . And so much more. Check our website and blog
for the latest information on class schedules and
open studio sessions.
Jewelry Creations Workshop
Ph. (305) 610-6560
Website: www.JewelryCreationsWorkshop.com
E-mail: info@JewelryCreationsWorkshop.com
Jewelry Creations Workshop is the place to begin
your artistic journey into the world of jewelry making.
Small classes assure the special attention you need
to explore your creative potential. We offer instruc-
tion to accommodate all levels of ability and interest.
Morning, afternoon, and evening classes available, 6
days a week.
The Down The Street Bead Shows
Ph. (866) 667-3232
Website: www.thedownthestreetbeadshow.com
E-mail: info@thedownthestreetbeadshow.com
With stops in DeLand (Orlando area), Tampa, St.
Augustine, Pompano, West Palm, Sarasota, and Ft.
Myers have ongoing classes in basic beading, seed
beading, beading with chain, PMC and art clay, wire
wrapping, cold fusion, soldering, chain mail, fused
glass, kumihimo braiding, and more.
GEORGIA
William Holland School of Lapidary Arts
PO Box 980, 230 Lapidary Ln.
Young Harris, GA 30582
Ph. (706) 379-2126
Website: www.lapidaryschool.org
E-mail: lapidary@windstream.net
We offer classes in beading, cabochons, silver, gold,
wire wrappings, glass beadmaking, chain making,
channel, faceting, gem ID, mineral ID, intarsia, glass
fusing, opals, silver clay casting, jewelry repair, and
gem trees, from AprilOctober each year. Check out
our website.
ILLINOIS
Natures Creations Ltd.
40W541 IL Rt. 64, PO Box 360
Wasco, IL 60183-0360
Ph. (630) 377-0197
Website: www.dichroic.biz
E-mail: info@dichroic.biz
Hands-on classes, flexible scheduling, personal-
ized instruction. Working glass and jewelry studio/
rock shop offering classes in silver jewelry, silver clay
(PMC), cabochons, and dichroic-glass fusing. Retail/
wholesale: designer cabochons, fused and flame-
worked beads, fusible glassBullseye, C.B.S., Dichro-
Magic, Navitar, and Moretti Rods.
MAINE
Fretz Miniature Stakes
20 Elm St.
Bucksport, ME 04416
Ph. (207) 469-2700
Fax: (207) 469-9550
E-Mail: info@fretzdesign.com
Website: www.fretzdesign.com
Learn the mysteries of Miniature Silversmithing and
Hammers with Bill Fretz, designer of Fretz Miniature
Stakes. Based on handwrought hollowware tech-
niques, but scaled for jewelry. Two-day workshop,
August 1516, 2011, in a fully equipped workshop/gal-
lery. Tour the facilities online. Special Fretz Hammers
and Stakes available. All welcome.
MICHIGAN
World of Rocks
42 N. Huron St.
Ypsilanti, MI 48197
Ph. (734) 481-9981
wire wrapping and other jewelry classes. We stock
rock specialties, findings, tools and supplies. Open
Mon, Wed, Thu, Fri 126; Sat 106; Sun 15. Closed Tue
Take I-94 exit 183, go north of Michigan Ave.
NEW MEXICO
Hazeltine School of Fine Jewelry
Santa Fe, NM
Ph. (505) 400-3274
Mr. Hazeltine brings over 40 years of professional
jewelry making and 30 years of teaching experience
to his school in Santa Fe, NM. The classes are limited
to 6 students. You will learn professional time-tested
techniques that are safe, efficient, and economically
sound. Gain the confidence you need to enjoy this
wonderful profession. Call (505) 400-3274 for more
information.
Santa Fe Jewelers Supply/ Bob Hazeltine
Instructor
3200 Mercantile Ct.
Santa Fe, NM 87507
Ph. (800) 659-3835; Instructor Ph. (505) 400-3274
Website: www.sfjs.net
Comprehensive Jewelers Journeyman Program:
training in basic and advanced techniques in Stone
Setting, Wax Carving, Casting, Soldering, and Repair.
300 classroom hours over a sixteen-week period.
Bead Making Intensive: Five days of beadmaking!
Lampwork Glass, Fusing plus Hot/Cold Metalworking
techniques. Choose 1 or all 5.
Taos School of Metalsmithing and Lapidary
Design
PO Box 3005
Taos, NM 87571
Ph. (575) 758-0207
Website: www.taosjewelryschool.com
E-mail: mndesigns@msn.com
Taos Jewelry School offers beginning through ad-
vanced classes in jewelry and lapidary design through-
out the year taught by internationally recognized
designer, Marilynn Nicholson, known for her unusual
techniques in cutting and setting stones and innova-
tive designs for catches and mechanisms. Individual
and small classes emphasize personal attention in an
artistically stimulating atmosphere.
NEW YORK
Studio Jewelers Ltd.
32 E. 31 St.,
New York, NY 10016
Ph. (212) 686-1944
Fax: (212) 689-7923
Website: www.studiojewelersltd.com
E-mail: info@studiojewelersltd.com
A jewelry trade school, licensed by the NYS Educa-
tion Dept. Day, evening, Saturday, full and part-time
courses. Basic jewelry making, repair, diamond setting,
wax modeling/casting, pearl and bead stringing, and
design. Financial aid available, VA approved. Studio
Jewelers, winner of the School of Distinction 2005
award by ACCSCT Accrediting Commission.
NORTH CAROLINA
Earthspeak Arts
1020 Coxes Creek Rd.
Burnsville, NC 28714
Ph. (828) 678-9038
Website: www.earthspeakarts.com
E-mail: wechurlik@frontier.com
Earthspeak Arts is located in Asheville, NC. We offer
classes in beginning and advanced silversmithing, lost
wax casting, enameling, argentium sterling silver, forg-
ing, tool making, marketing, and much more. Private,
focused classes are also available. Visit our website for
the current class schedule, class descriptions, and to
view the galleries.
OHIO
Zeffers Farm Studios & Retreat Center
3930 Lytle Rd.
Waynesville, OH 45068
Ph. (513) 897-2406
Website: www.ZeffersFarmStudios.com
E-Mail: zeffersstudios@earthlink.net
Trish Jeffers-Zeh Certified PMC,
Sr. Art Clay Instructor, over 25 years teaching experi-
ence. Metal Clay Basics, Intermediate, certification
offered. Home to the Ohio Metal Clay Artisans Guild.
Host to Events for Expanding Creative Energy and
Fellowship, visiting artists, retreats, jewelry, hot glass,
ceramics, textiles. Studio Shop authorized Art Clay
distributor. Wombat Art Works Gallery
www.wombatartworks.com
TENNESSEE
Arrowmont School of Arts and Crafts
556 Parkway
Gatlinburg, TN 37738
Ph. (865) 436-5860, Fax: (865) 430-4101
Website: www.arrowmont.org
E-mail: info@arrowmont.org
Arrowmont offers beginning to advanced workshops
that cover a variety of jewelry-making techniques, as
well as PMC, enameling, polymer clay, lampworking,
fused glass, and beads. One-, two-week, and weekend
sessions in the beautiful Smoky Mountains during the
spring, summer, and fall. Housing and meals available
on campus. Register online.
TEXAS
Craft Guild of Dallas
5100 Belt Line Rd.
Dallas, TX 75254
Ph. (972) 490-0303
Website: www.craftguildofdallas.com
E-mail: craftguildofdallas@yahoo.com
05232011114430
77 July 2011
tion to accommodate all levels of ability and interest.
Morning, afternoon, and evening classes available, 6
days a week.
The Down The Street Bead Shows
Ph. (866) 667-3232
Website: www.thedownthestreetbeadshow.com
E-mail: info@thedownthestreetbeadshow.com
With stops in DeLand (Orlando area), Tampa, St.
Augustine, Pompano, West Palm, Sarasota, and Ft.
Myers have ongoing classes in basic beading, seed
beading, beading with chain, PMC and art clay, wire
wrapping, cold fusion, soldering, chain mail, fused
glass, kumihimo braiding, and more.
GEORGIA
William Holland School of Lapidary Arts
PO Box 980, 230 Lapidary Ln.
Young Harris, GA 30582
Ph. (706) 379-2126
Website: www.lapidaryschool.org
E-mail: lapidary@windstream.net
We offer classes in beading, cabochons, silver, gold,
wire wrappings, glass beadmaking, chain making,
channel, faceting, gem ID, mineral ID, intarsia, glass
fusing, opals, silver clay casting, jewelry repair, and
gem trees, from AprilOctober each year. Check out
our website.
ILLINOIS
Natures Creations Ltd.
40W541 IL Rt. 64, PO Box 360
Wasco, IL 60183-0360
Ph. (630) 377-0197
Website: www.dichroic.biz
E-mail: info@dichroic.biz
Hands-on classes, flexible scheduling, personal-
ized instruction. Working glass and jewelry studio/
rock shop offering classes in silver jewelry, silver clay
(PMC), cabochons, and dichroic-glass fusing. Retail/
wholesale: designer cabochons, fused and flame-
worked beads, fusible glassBullseye, C.B.S., Dichro-
Magic, Navitar, and Moretti Rods.
MAINE
Fretz Miniature Stakes
20 Elm St.
Bucksport, ME 04416
Ph. (207) 469-2700
Fax: (207) 469-9550
E-Mail: info@fretzdesign.com
Website: www.fretzdesign.com
Learn the mysteries of Miniature Silversmithing and
Hammers with Bill Fretz, designer of Fretz Miniature
Stakes. Based on handwrought hollowware tech-
niques, but scaled for jewelry. Two-day workshop,
August 1516, 2011, in a fully equipped workshop/gal-
lery. Tour the facilities online. Special Fretz Hammers
and Stakes available. All welcome.
MICHIGAN
World of Rocks
42 N. Huron St.
Ypsilanti, MI 48197
Ph. (734) 481-9981
wire wrapping and other jewelry classes. We stock
rock specialties, findings, tools and supplies. Open
Mon, Wed, Thu, Fri 126; Sat 106; Sun 15. Closed Tue
Take I-94 exit 183, go north of Michigan Ave.
NEW MEXICO
Hazeltine School of Fine Jewelry
Santa Fe, NM
Ph. (505) 400-3274
Mr. Hazeltine brings over 40 years of professional
jewelry making and 30 years of teaching experience
to his school in Santa Fe, NM. The classes are limited
to 6 students. You will learn professional time-tested
techniques that are safe, efficient, and economically
sound. Gain the confidence you need to enjoy this
wonderful profession. Call (505) 400-3274 for more
information.
Santa Fe Jewelers Supply/ Bob Hazeltine
Instructor
3200 Mercantile Ct.
Santa Fe, NM 87507
Ph. (800) 659-3835; Instructor Ph. (505) 400-3274
Website: www.sfjs.net
Comprehensive Jewelers Journeyman Program:
training in basic and advanced techniques in Stone
Setting, Wax Carving, Casting, Soldering, and Repair.
300 classroom hours over a sixteen-week period.
Bead Making Intensive: Five days of beadmaking!
Lampwork Glass, Fusing plus Hot/Cold Metalworking
techniques. Choose 1 or all 5.
Taos School of Metalsmithing and Lapidary
Design
PO Box 3005
Taos, NM 87571
Ph. (575) 758-0207
Website: www.taosjewelryschool.com
E-mail: mndesigns@msn.com
Taos Jewelry School offers beginning through ad-
vanced classes in jewelry and lapidary design through-
out the year taught by internationally recognized
designer, Marilynn Nicholson, known for her unusual
techniques in cutting and setting stones and innova-
tive designs for catches and mechanisms. Individual
and small classes emphasize personal attention in an
artistically stimulating atmosphere.
NEW YORK
Studio Jewelers Ltd.
32 E. 31 St.,
New York, NY 10016
Ph. (212) 686-1944
Fax: (212) 689-7923
Website: www.studiojewelersltd.com
E-mail: info@studiojewelersltd.com
A jewelry trade school, licensed by the NYS Educa-
tion Dept. Day, evening, Saturday, full and part-time
courses. Basic jewelry making, repair, diamond setting,
wax modeling/casting, pearl and bead stringing, and
design. Financial aid available, VA approved. Studio
Jewelers, winner of the School of Distinction 2005
award by ACCSCT Accrediting Commission.
NORTH CAROLINA
Earthspeak Arts
1020 Coxes Creek Rd.
Burnsville, NC 28714
Ph. (828) 678-9038
Website: www.earthspeakarts.com
E-mail: wechurlik@frontier.com
Earthspeak Arts is located in Asheville, NC. We offer
classes in beginning and advanced silversmithing, lost
wax casting, enameling, argentium sterling silver, forg-
ing, tool making, marketing, and much more. Private,
focused classes are also available. Visit our website for
the current class schedule, class descriptions, and to
view the galleries.
OHIO
Zeffers Farm Studios & Retreat Center
3930 Lytle Rd.
Waynesville, OH 45068
Ph. (513) 897-2406
Website: www.ZeffersFarmStudios.com
E-Mail: zeffersstudios@earthlink.net
Trish Jeffers-Zeh Certified PMC,
Sr. Art Clay Instructor, over 25 years teaching experi-
ence. Metal Clay Basics, Intermediate, certification
offered. Home to the Ohio Metal Clay Artisans Guild.
Host to Events for Expanding Creative Energy and
Fellowship, visiting artists, retreats, jewelry, hot glass,
ceramics, textiles. Studio Shop authorized Art Clay
distributor. Wombat Art Works Gallery
www.wombatartworks.com
TENNESSEE
Arrowmont School of Arts and Crafts
556 Parkway
Gatlinburg, TN 37738
Ph. (865) 436-5860, Fax: (865) 430-4101
Website: www.arrowmont.org
E-mail: info@arrowmont.org
Arrowmont offers beginning to advanced workshops
that cover a variety of jewelry-making techniques, as
well as PMC, enameling, polymer clay, lampworking,
fused glass, and beads. One-, two-week, and weekend
sessions in the beautiful Smoky Mountains during the
spring, summer, and fall. Housing and meals available
on campus. Register online.
TEXAS
Craft Guild of Dallas
5100 Belt Line Rd.
Dallas, TX 75254
Ph. (972) 490-0303
Website: www.craftguildofdallas.com
E-mail: craftguildofdallas@yahoo.com
The Guild offers jewelry and metalsmithing courses
taught by professionals in their fields. Beginning to ad-
vanced classes in fabrication, stone setting, wax carv-
ing, and casting are held in our fully equipped studios.
Weekend workshops and master classes are offered
throughout the year.
Creative Side Jewelry Academy
628 Allen St.
Austin, TX 78702
Ph. (512) 799-0589
Website: www.creativeside.org
E-mail: courtney@creativeside.org
Advance your jewelry making skills! Creative Side
Jewelry Academy of Austin, TX, offers beginner- to
advanced-level classes. Techniques include solder-
ing, casting, enameling, precious metal clay, hydraulic
press, stone setting, forging, resin, advanced wax
working, making molds for casting multiples and much
more. Fully equipped studio available for rent. To learn
more, visit www.creativeside.org or call (512) 799.0589
Originals Beads & Gems
In Artisans Alley, 555 W. Bitters Rd., Ste. 108
San Antonio, TX 78216
Ph. (210) 490-ROCK (7625)
Website: www.originalstexas.com
San Antonios largest full-service bead and jewelry-
making store! Wide range of beads, findings, and
classes. Jewelry-making classes from basic beading to
advanced wire wrapping, metal clay, and jewelry de-
sign! Two stores to serve you: 555 W. Bitters Rd., #108;
(210) 490-ROCK (7625) and 418 Villita, Bldg. 700;
(210) 226-ROCK (7625).
WASHINGTON
Northwest Gemological Institute LLC
10801 Main St., #105
Bellevue, WA 98004
Ph. (425) 455-0985
Fax: (425) 454-3088
Website: www.nwgem.com
E-mail: registrar@nwgem.com
Learn to identify gemstones, grade diamonds, detect
substitutes and treatments with our intensive, 16-hour
hands-on courses. Seminars on opal, jade, metals,
geology, fine timepieces, antique and period jewelry
with industry experts. Teaching jewelers and the public
since 1978. Affiliated with American Gem Society ICGA
laboratory NGL.
Pouncing Rain Jewelry and Metalworking
Center
521 Kentucky St.
Bellingham, WA 98225
Ph. (360) 715-3005
Website: www.pouncingrain.com
E-mail: info@pouncingrain.com
Ongoing weekly and 3-day intensive classes in begin-
ning and intermediate jewelry making and silversmith-
ing. Workshops in enameling, soldering, etching, wire
working, Precious Metal Clay. We carry jewelry-making
tools, enameling supplies, findings, cabochons, gem-
stone beads, PMC, and PMC supplies. Studio member-
ships available. Located between Seattle and Vancou-
ver, British Columbia.
Sanger Meeks School of Metalsmithing &
Jewelry Design
48633 282nd Ave. SE
Enumclaw, WA 98022
Ph. (360) 825-6917 studio/home
Ph. (253) 569-1258 cell
Website: SangerMeeks.com
E-mail: carolmeeks@msn.com
Discover the magic of molten metal! Fabricate jewelry.
Components from clasps to focal pieces. Make custom
bezels and set your own stones. Texture and shape.
Basic metal sheet into beautiful one-of-a-kind Jewelry.
Add dimension to your work by learning anticlastic
and synclastic raising techniques. Extremely limited
class size assures each student plenty of individual
attention.
E-mail or call for schedule of current class offerings
Tacoma Metal Arts Center
711 St. Helens #102
Tacoma, WA 98402
Ph. (253) 227-1694
Website: www.TacomaMetalArts.com
E-mail: info@tacomametalarts.com
Offering jewelry and metal fabrication classes in
downtown Tacoma. We hold weekly classes and week-
end workshops catering to a variety of skill levels. Top-
ics include electro-forming, stone-setting, enameling,
repouss, casting, hollowware, small sculpture, plus
open studio time available for independent use. Visit
www.TacomaMetalArts.com for current classes and to
register online!
The Ranch Center for Arts & Craft
12825 127th Ave. SE
Snohomish, WA 98290
Ph. (360) 568-7709
Website: www.ArtatTheRanch.com
E-mail: Randi@ArtatTheRanch.com
Also on: Facebook & Crafthaus
Looking for more than a demo? Want some real
face time with your instructor? Classes at The Ranch
are always small8 max! Located on 5 secluded acres
just a few minutes north of Seattle, The Ranch of-
fers an exceptional learning experience in a variety
of media. Ongoing classes and intensives, as well as
master classes presented by some of the countrys
finest artists and craftsmen. Just scheduled: Rio Re-
wards
TM
PMC Certification Class + workshops, with
Gordon Uyehara, Hadar Jacobson, Nancy Megan Cor-
win, Michael de Meng, Patrik Kusek, Micki Lippe, Holly
Ginsberg Gage, Marlene True, Ronna Sarvas Weltman,
Nanz Aalund, Randi Harper, Kristi Zevenbergen, and
more! Historic bed and breakfast nearby for visiting
students and instructors.
WISCONSIN
Shake Rag Alley
18 Shake Rag St.
Mineral Point, WI 53565
Ph. (608) 987-3292
Website: www.shakeragalley.com
Jewelry and metalworking classes at Shake Rag Alley
in Mineral Point, a folk school in an historic southwest
Wisconsin artists community. Classes in copper, brass,
silver, and iron, as well as offbeat Tyvek, paper, fabric,
and mixed-media jewelry. Have fun and make art! Join
us to study or teach.
Fee Mining
Plan a real rock collecting adventure and nd your
own gems, minerals and fossils. You can visit these
outstanding mines and quarries for an unforget-
table experience. For more information about get-
ting your recreational mine listed here, please con-
tact Monica Turner at 800-272-2193 x424 or email
mturner@interweave.com. Look for the Fee Mining
Directory online at www.jewelryartist
magazine.com/feemining.
MAINE
Poland Mining Camps
PO Box 26
Poland, ME 04274
Ph. (207) 998-2350
Website: www.polandminingcamps.com
JuneSeptember with just 8 cabins, youre assured no
crowds. Each day a different mine. Frequent blasting
at ours and other sites, fresh rock, new potential. Three
meals and snacks are part of the package. Even your
pets are welcome. We cater to beginners and ad-
vanced collectors and micromounters.
NEW YORK
Crystal Grove Diamond Mine and
Campground
161 Cty. Hwy. 114
St. Johnsville, NY 13452
Ph. (800) KRY-DIAM
E-mail: fun@crystalgrove.com
Website: www.crystalgrove.com
Mine your own Herkimer Diamonds in beautiful up-
state New York. Three large areas, no claims. Rent our
tools or bring your own. Stay next door in our spa-
cious wooded campground sites for tent or RV, camp-
ing cabins, modern facilities. Mining daily AprilOcto-
ber, 8 a.m.dusk. Camping begins mid-April.
UTAH
U-Dig Fossils
350 E. 300 S. (Office location)
Delta, UT 84624
Ph. (435) 864-3638
Fax: (435) 864-4294
E-mail: udig@xmission.com
Website: www.u-digfossils.com
U-Dig Fossils provides you 40 acres of the best trilo-
bite collecting property in the world. This is an afford-
able experience for fossil enthusiasts and families alike.
Season April 1 thru October 31. Quarry location is 52
miles west of Delta.
05232011114430
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GOLDEN-PINK SUNSET ROSE 20 high x 13 wide x
12 deep. Alabaster carving. Bloom and bud
are single stone carvings from a discovery in
Calfornia; leaves from material from Utah. Rose,
stem extensions, and branches constructed
with brass rods and sleeves. Engineered to be
disassembled for transport and storage.
DOERS PROFILE
lapidary journal
Jewelry artist
see more work @
www.alabaster.net
DONE
Together we are resurrecting Alabaster, which
we always think of as an entity, with a capital A
a forgotten material in this country but re-
nowned and beloved in the rest of the world.
Prospecting our own rare colored and trans-
lucent stone, carving with a contemporary aes-
thetic. Invented and adapted tools to work this
stone never before used on it, creating pieces
never seen before. Because of this new tooling,
carving alabaster is now easily accessible to
people of all ages K thru Geezer!
DOING
Our artform, our exploration of and love
of gorgeous natural materials continues
to open new possibilities. Paul is creat-
ing Art Weapons, elegant combinations of
rare woods and sharpened gemstones that
would grace any mantelpiece or perfectly
rest on anyones bedside table. Susan just
finished her 20th rose in 35 professional
years. A.C.E., the Alabaster Carving Experi-
ence, is a continuing outreach program for
schoolchildren to carve their own personal
artifact from stone.
FIRST PIECE
Other than his work in art classes at
Southwestern College in San Diego, the
first piece Paul carved professionally was
a commissioned alabaster pot pipe! We
dont know where that one is, but one of
his ceremonials, for which he had become
renowned, made it into Cheech and
Chongs Next Movie! In 1976, Susan made
three nesting canisters of avocado wood
laminated with alabaster and remembers
thinking, Who would buy something like
this for $12! Well, someone did, and shes
been a professional carver ever since!
HEROES
For Paul, Whittaker Freegard, because of
his lifelong attention to the integrity of his
materials and the beauty and discipline of
his carving.
DESIGN SOURCES
The material! Alabaster is known as the
Queen of Stones because she is soft, invit-
ing to the touch, colorful, and translucent.
Every stone has its story. We call ourselves
stone carvers vs. sculptors because we see
ourselves as bringing out the beauty of the
stone rather than inflicting our idea on it.
FAVORITE PART OF DOING
Hard to say. Getting paid for it? Its really
satisfying that someone connects with and
loves our pieces enough to exchange ener-
gies in this way. Or unearthing the most
spectacular piece of rare material? Or
beginning to work it, watching its timeless
beauty emerge? Or being seized, taken by
the process of creating a piece, covered
with stone dust, barely coming up for
breath! Being intimately involved with the
entire process from finding a rare gem-
stone in the ground, working it into a thing
of beauty, and then presenting it to the
public for sale is the gestalt that makes it
all meaningful.
THE ONE THAT GOT AWAY
For Paul, its the Honey Colored Alabas-
ter with the Violet Feathers somewhere in
southeastern New Mexico. Susan didnt
buy a piece of art she fell in love with years
and years ago. It taught her the impor-
tance of listening to herself and following
her heart.
ON BENCH NOW
Pauls Garden of Earthly Delights is in
an advanced birthing stage. Susan just
finished her 20th rose and has her eye on
a gorgeous translucent grey stone in which
to carve one of her faces.
Paul Hawkins and
Susan Zalkind
80_DOERS.indd 80 5/18/11 11:50 AM
05232011114445
C3_WiredUp-AD.indd 3 5/16/11 1:40 PM
05232011114531
Call today for your free catalogs.
Sharing your passion for making jewelry.
Products. Service. Know-how.
Rolling Tahitian Pearl Bracelet by Robin Waynee1st Place Winner, Silver; 2010 Saul Bell Design Awardsaulbellaward.com
My challenge is designing functional, elegant pieces
with innovative settings, moving elements, hidden clasps, integrated
hingesthen bringing it all together.
800.545.6566 riogrande.com
Robin Waynee
Were here for you.
Reach for Rio.
An expert behind every one of our thousands
of productslet Rio help bring it all together.
C4_Rio Grande-AD.indd 4 5/16/11 2:56 PM
05232011114546

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JEWELRY SOLDERING with COPPER: ADD COLOR, SAVE MONEY!

Volume 65, Number 3

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