W

ire, as a medium, offers endless variety and invention

for jewelry makers of all skill levels. To get you started
in wireworking, here are four of our favorite projects from our
online archives projects previously unavailable in print.

wire
best of the web:

easy
projects

a supplement to Art Jewelry magazine

Jewelry

inside
Tapered Byzantine Earrings..........3
The Greek Key..................................5
Adjustable-Shank
Wire-wrapped Ring.........................8

618212

Forged Teardrop Bracelet..............12

By using four different sizes of

jump rings, you can take a simple
Byzantine pattern to elegant,
tapered lengths. These earrings are
approximately 2 in. (51 mm) long.

beginner
chain mail

PRECISELY GRADUATED

BYZANTINE CHAIN

Tapered
Byzantine
Earrings

76 jump rings

flow like liquid.
Make

by John Fetvedt

materials

Sterling silver jump rings:

22-gauge (0.6 mm), 2.4 mm inside
diameter (ID), 24
20-gauge (0.8 mm), 3 mm ID, 24
18-gauge (1.0 mm), 3.5 mm ID, 24
16-gauge (1.3 mm), 4 mm ID, 4
Pair of ear wires

tools & supplies

Pliers: 2 pairs chainnose, bentnose,

or flatnose
Scrap wire or paper clip
Pick or awl
Optivisor (optional)
Tumbler, steel shot, burnishing
compound (optional)

rtists have long used the deceptively simple and

extremely adaptable Byzantine pattern as the basis
for both whole chains (as in the featured earrings)

and individual segments of multipatterned chains.

A single segment of the Byzantine pattern consists of 14
jump rings and has an open pair of jump rings on each end.
Its these open pairs of jump rings that make the pattern so
adaptable; when youve completed one segment, you can
either continue with another identical segment to form a
strictly Byzantine chain, or you can switch to another chain
style to mix things up.
In these elegant earrings, youll use an increasingly larger
pair of jump rings for the final pair of each pattern. The
result is a graceful graduation that gives the finished chain
mail its slinky movement.

www.A r t J e w e l r y M a g . c o m

Make the first segment. Begin one

segment of the Byzantine pattern, using
twelve 2.4 mm inside diameter (ID) jump
rings (see Basic Byzantine, page 5, for
instructions) [1]. (Youll be stopping after
you add the fifth and sixth pairs.) Flip the
sixth pair of jump rings back to expose the
fifth pair. Insert a pick or awl between the
fifth pair to expose the sixth pair. Thread
one 3 mm ID jump ring through the
exposed sixth pair, and close it. Repeat
with a second 3 mm jump ring [2]. This
newly added pair of rings completes the
first segment and constitutes the first two
rings in the second segment.
TIP: A pick is a handy tool
for opening the correct path
for the next jump ring in the
chain youre making. I made

my pick by drilling a small

hole in the end of a 4-in.
(10.2 cm) wooden dowel and
using epoxy to secure the
eye end of a #22 tapestry
needle in the hole.

Make the second segment. Continue

the second segment with 10 more 3 mm
rings. Then, flip back the sixth pair of jump
rings in the second segment to expose the
fifth pair. Insert your pick or awl between
the fifth pair to expose the sixth pair.
Thread a 3.5 mm ID jump ring through the
exposed pair, then close it. Repeat with a
second 3.5 mm jump ring [3]. This newly
added pair completes the second segment
and constitutes the first pair of rings in the
third segment.

help! ive made a box chain

The Byzantine pattern always starts
with three pairs of jump rings linked in
a simple 2+2+2 chain. For the featured
earrings, the final pair of rings in the
first segment acts as the first pair of
jump rings in the second segment.
To continue the second segment,
youll first need to add two pairs of
rings (the last two pairs of the 2+2+2
sequence), working, of course, in the
new ring size [A].
If you forget and add only one pair
of rings before pushing them apart
to expose the previous pair, youll
end up with a box chain [B] instead
of a classic Byzantine. Pretty, but
not what youre going for.

Ar t Jewelr y

B es t o f the We b: W i r e J ewe lr y

Complete the earrings. Complete the

third segment of chain with 10 more
3.5 mm rings. Flip back the sixth pair
of 3.5 mm rings to expose the fifth pair,
then push the fifth pair apart to expose
the sixth pair. Insert a 4 mm ID jump
ring through the exposed pair and close
it; repeat with a second 4 mm ring [4].
These newly added rings complete the
third segment.
Remove the scrap wire or paper clip,
and attach an ear wire to the 2.4 mm jump
rings at the start of the chain [5]. Repeat
the process to make a second earring.
If desired, burnish your completed
earrings in a tumbler with steel shot and
burnishing compound.

John Fetvedt
works primarily
with silver, gold,
and titanium in
such techniques as
anticlastic forming,
casting, chain
making, etching,
foldforming, forging, and stone
setting. He teaches chain making and
chain mail classes at The Crafts
Center at North Carolina State
University, the William Holland
School of Lapidary Arts in Young
Harris, Ga., The ArtsCenter in
Carrboro, N.C., the Interweave Bead
Fest shows, and for the Southeast
Federation of Mineralogical Societies
and the Eastern Federation of
Mineralogical and Lapidary Societies.

Process photos by John Fetvedt.

basic

byzantine
Using two pairs of chainnose,
bentnose, or flatnose pliers, close
two jump rings (for tips on opening
and closing jump rings, go to
www.artjewelrymag.com/howto
)
and thread them on a piece of wire
or on a bent paper clip. This will
give you something to grasp as
you make your chain and will also
prevent you from accidentally
working on the wrong end.
Add two pairs of jump rings to the
first pair to make a 2+2+2 chain [A].
Flip back the third pair to expose the
second pair, and then insert a pick
or awl between the second pair to
expose the third pair [B].
Thread a ring through the third pair
in place of the awl, and close the
ring [C]. Repeat with a second ring.
Add a fifth and sixth pair of rings
to the chain [D]. Push apart the
sixth pair to expose the fifth pair,
then insert your awl between the
fifth pair to expose the sixth pair.
Thread a ring through the sixth pair.
Close the jump ring, and then repeat
with a second ring [E]. This completes one Byzantine segment.

beginner
wire

Brass- and copper-wire chain

The

Greek
Key

brass slide gauge

to make this modern variation

Use a

on the Greek key motif.

by Jan Matzen

xamples of the Greek key motif are everywhere in

ancient Greek architecture, textiles, and decorative
arts, like pottery. The pattern is still striking in this

modern, easy chain. As you work, use the metric system

to measure the links, keep the length of the wires uniform,

and adhere to the measurements for each bend. Use a
brass slide gauge to measure in millimeters; its easier
than finding 5 16 in. and 5 64 in. on a ruler. Youll soon

be surprised at how accurately you make the

links without measuring.

The brass-andcopper necklace

measures 23 in.
(58.4 cm).

www.A r t J e w e l r y M a g . c o m

Make copper springs. Use a piece of

10-gauge (2.6 mm) brass wire as a mandrel.
Wrap 22-gauge (0.6 mm) copper wire
around the mandrel [1]. Keep the wraps
tight and uniform. While the spring is on
the mandrel, mark it with a permanent
marker every 8 mm. Slide the spring off
the mandrel, and stretch it slightly at
the marks to make cutting easier. Cut
the spring at each mark with flush cutters
[2], and sand the clipped ends. Squeeze
the springs back together to make tight
8 mm springs [3]. Make a total of 51
copper springs.
Cut the brass wire. Cut 26 85 mm pieces
of 18-gauge (1.0 mm) brass wire. Bundle
the wires with masking tape. Place 400grit sandpaper on a smooth, level surface
and use firm figure 8 motions to rub the
ends of the bundled wires against the
sandpaper. Set 13 wires aside.


Ar t Jewelr y

Make 13 key links. Using chainnose or

flatnose pliers, grasp 3 mm of the wire
end and bend the wire 90, making an L.
For more precise corners, hold the
measured section of wire in the pliers,
and use the edge of one jaw to sharply
bend the wire. Measure 3 mm from the
first bend and make a 90 bend to form
a U [4]. Measure 6 mm from the second
bend and make a 90 bend.
Measure 6 mm from the third bend
and make a 90 bend. Slide a copper
spring on the wire [5]. Measure 9 mm
from the fourth bend and make a 90
bend. Measure 9 mm from the fifth bend
and make a 90 bend. Slide a copper
spring on the wire [6].
Finish the links. Measure 11 mm from
the sixth bend and make a 90 bend in the
opposite direction. Measure 9 mm from
the seventh bend and make a 90 bend.

B es t o f the We b: W i r e J ewe lr y

Slide a copper spring on the wire. Measure

9 mm from the eighth bend and make a
90 bend [7]. Measure 6 mm from the
ninth bend and make a 90 bend. Measure
6 mm from the 10th bend and make a 90
bend. Measure 3 mm from the 11th bend
and make a 90 bend [8]. Repeat this
pattern for the remaining 12 key links.
Use flush cutters to trim any extra wire.
To work-harden the links, use a tumbler
with steel shot and burnishing compound
(see www.artjewelrymag.com/howto ).
Make the connecting links. Measure
35 mm from each end of a brass wire and
mark the wire. Slide a copper spring on the
wire and center it between the two marks.
Grasp the wire with flatnose pliers at one
mark and make a 90 bend. On the other
side of the spring, make a 90 bend in the
opposite direction [9]. Repeat for the
remaining 12 wires.

Process photos by Jan Matzen.

10

11

materials

Copper wire:
22-gauge (0.6 mm),
round, dead-soft,
8 ft. (2.4 m)
18-gauge (1.0 mm),
round, dead-soft,
6 in. (15 cm)
Brass wire: 18-gauge
(1.0 mm), round, dead-soft,
71 4 ft. (2.2 m)

tools & supplies

12

13

Round mandrel: 10-gauge

(2.6 mm) brass wire
Permanent marker: black
Brass slide gauge
Flush cutters
Sandpaper: 400 grit
Tape: masking
Pliers: chainnose, flatnose
Tumbler, steel shot,
burnishing compound
Polishing cloth (optional)
Rubbing alcohol (optional)

suppliers

14
On each side of a wire, measure 9 mm
from the last bend and make a 90 bend in
the opposite direction [10]. Slide the copper
spring of a finished brass link on one side of
the wire [11], and then finish the bending
pattern. Repeat on the other side of the
link. Repeat with the remaining links to
complete the chain, leaving the last half of
the last link unbent.
Make a clasp. Cut 15 cm (6 in.) of
18-gauge (1.0 mm) copper wire. Leaving
a 19 mm tail, wrap the wire around the
10-gauge (2.6 mm) mandrel, leaving a
19 mm tail at the other end [12]. Bend
one tail 90 so that both tails are parallel
on the same side of the spring [13].
Measure 6 mm from the spring and
make a 90 bend in both parallel wires.
Measure 6 mm from the last bend and
make a 90 bend in both wires. Measure
3 mm from the last bend and make a 90

bend in both wires to complete the double

hook. Work-harden the hook in the
tumbler. Slide the hook onto the last
connecting link of the necklace [14] and
finish bending the last link.

Jan Matzen has

many creative
outlets,
including
pottery,
weaving, and
batik. After
taking a local
metalsmithing class, I felt that
I had found my artistic/creative muse.
Jewelry has a human link unlike other
art its chosen and worn as a
personal adornment, she says.
Contact: www.playingwithfire1.com.

Rio Grande, 800.545.6566,

www.riogrande.com
Metalliferous,
888.944.0909,
www.metalliferous.com
Indian Jewelers Supply Co,
800.545.6540,
www.ijsinc.com

wire

tips

To straighten and clean a

wire after you cut it, grasp
one end with pliers and pull it
through a polishing cloth.
If you need to correct
a mistake, use flatnose pliers
to straighten the bends.
To keep your links organized,
lay them out end-to-end as
you assemble the necklace.
To remove permanent
marker from the wires, use
rubbing alcohol.

www.A r t J e w e l r y M a g . c o m

beginner
wire

Try This on for size

Adjustable-Shank
Wire-wrapped Ring
accommodate up to four ring
sizes with this adjustable ring.

Comfortably

by Jim McIntosh

materials

You can make this ring

with a variety of wire
types and cabochons.
The face of the ring
measures 11 8 x 7 8 in.
(29 x 22 mm).

inflammation, or large knuckles make it impossible for them to

slip rings on and off. The shank of this adjustable wire ring easily

expands to slip over a large joint before returning to its original size. I used
Argentium sterling silver wire, but you can use sterling silver, gold-filled, or
another metal. Some people believe that untreated copper can bring relief
to arthritis sufferers, so copper would make a great material for this ring
(though untreated copper may react with your skin, turning it green).

tools & supplies

any people cant wear traditional rings because arthritis, joint

Ar t Jewelr y

B es t o f the We b: W i r e J ewe lr y

Cabochon: 25 x 18 mm
Wire:
22-gauge (0.6 mm), square, dead-soft,
45 in. (1.1 m)
21-gauge (0.7 mm), half-round, deadsoft, 38 in. (96.5 cm)

Painters tape
Permanent marker: fine tip
Wire cutters
Pliers: flatnose
Polishing cloth
Tape measure
Ring mandrel
Rawhide mallet
Needle file
Finishing items (optional): flex shaft,
hard felt buff, rouge

suppliers

Wire, cabochon (Rio Grande,

800.545.6566, www.riogrande.com)

4
Measure your cabochon. Cut a 4-in.
(10.2 cm) piece of painters tape, and trim
a 1 8 -in. (3 mm)-wide strip from the long
side of the tape [1]. Set the wide strip aside
to use later. Beginning at the center of
one long side of the cabochon, wrap the
narrow piece of tape around the cabochons perimeter [2]. Trim the excess tape
so that the ends meet but do not overlap.
Use a fine-tip permanent marker to
draw a line on the tape opposite where the
tape ends meet. This marks the center of
the cabochons other long side.
Make additional lines about 5 64 in.
(2 mm) to the right and left of the first
line [3]. These lines represent how wide
youll make each wire wrap.
Repeat the series of three lines at the
center of each short end of the cabochon.
I made the width of my short-end wraps
narrower than the long-side wraps.
Determine the wire length. Remove
the tape from the stone and place it stickyside down on your work surface. To find
the amount of wire you need, note the
length of the tape. Multiply the length
by 2 and add 9 in. (22.9 cm).
Prepare the wire. Cut three strands of
22-gauge (0.6 mm) square wire to the
determined length. Straighten each wire
by holding one end with your flatnose
pliers and pulling the wire through a
polishing cloth.
Hold the wires side by side, keeping
the sides square to each other. Secure the

sizing upthe situation

When youre sizing rings, you
need to keep wire gauge in
mind. As the wire gauge gets
heavier, additional millimeters
are added to a ring sizes circumference. The ring circumference in this chart is based
on a wire thickness of 1.6 mm.
Tension in the shank of the
featured ring may leave a gap
of several millimeters
between the shank end and
the ring base, making the
finished ring slightly larger
than anticipated. Since this
ring is adjustable, you may
want to make the ring slightly
smaller than your ideal size.

ring size chart

U.S.
ring
size

Circumference
of finger (mm)

Circumference for
1.6 mm material
thickness (mm)

49.0

54.0

51.5

56.5

54.0

59.1

56.5

61.6

59.1

64.1

10

61.6

66.6

wires with a piece of painters tape about

3 in. (76 mm) from the wire ends.
Starting at the taped end, run your
fingers down the wires to make sure they
dont overlap or twist. Secure the other
end with tape about 3 in. (76 mm) from
the wire ends to create a wire bundle [4].
Transfer the wrap lines. Open a tape
measure to the length of your wire bundle.
Place the marked painters tape below the
tape measure, aligning the tapes center
mark with the tape measures midpoint.
Place the wire bundle below the tape
[5]. Line up one end of the bundle with

Source: The Contenti Company.

Other sources show up to 0.5 mm variance.

the end of the tape measure. Use a fine-tip

permanent marker to transfer the marks
on the tape to the bundle. I do not transfer
the center mark of each line group.
Make the center wrap. Cut an 8-in.
(20.3 cm) piece of 21-gauge (0.7 mm)
half-round wire to use as your wrapping
wire. Using flatnose pliers, hold the
wrapping wire vertically in. (13 mm)
from the top, with its flat side facing you.
With your free hand, fold the long end
of the wrapping wire up over the pliers
and place it to the right of the short end.
Notice that it resembles a checkmark.
www.A r t J e w e l r y M a g . c o m

10

11

thats a

wrap
To make a secure bezel for your
cabochon, you need to think about
where to place your wraps. In
general, you can vary the placement of the wraps, but they should
be evenly distributed to keep the
wire bundle that makes up the bezel
wall intact. For the featured rings
bezel, I made sure to wrap on one
long side of the cabochon and at
both small ends.
Wrapping over the top of a cabochon serves two purposes: Its
decorative, and it helps secure the
cabochon in the bezel.
When designing the top wraps of
the cabochon, make sure that the
swirls cover at least two-thirds of
the cabochon to prevent the stone
from popping out of the bezel. If
your design doesnt cover twothirds of the cabochons surface,
you will need to make angled bends
in the wire on the top of the bezel
just as you did on the bottom.

Jim McIntosh has

been making jewelry for
over 6 years. He says, It
has always been my
desire to push the
envelope of wire art as
far as possible. He may be contacted
via his Web site, www.macjewels.com.

10

Ar t Jewelr y

12
Hook the short end of the wrapping
wire over the bundle at the left line of the
center marks [6]. Use flatnose pliers to
press the wrapping wire in place.
With your fingers, bring the long end
of the wrapping wire over the bundle and
place it to the right of the short end. Press
the wrapping wire down on the bundle to
secure it [7].
Continue wrapping with the long end
of the wire until you reach the right line of
the center mark. I made seven wraps on
my ring.
Make sure that the last wrap leaves the
tail of the wrapping wire on the same side
of the wire bundle as the wrap lines (the
side with the exposed wire ends will be
the inside of the bezel).
Trim the ends of the wrapping wire so
that neither end extends past the edge of
the bundle. Press each wire end again with
the pliers to set the wire.
Make the left and right end wraps.
Make the left wrap as you did the center
wrap. I wrapped the wire around the
bundle five times for my end wrap. Trim
the wires, but do not press the wire ends

B es t o f the We b: W i r e J ewe lr y

against the bundle. Repeat to make the

right wrap.
Form the bezel. Align the wire bundle
so that the center wrap is in the middle
of one long side of the cabochon [8], and
bend the wire bundle into a U shape [9].
If the end wraps arent centered on the
left and right ends of the cabochon, adjust
them now. When they are centered, use
flatnose pliers to set the loose ends by
pressing them to the bundle.
Make the cabochon supports. Hold the
wire bundle in your nondominant hand
and use flatnose pliers to grasp the bottom
wire on one side of the center wrap.
Twist the pliers to make a small bend
toward the middle of the bezel. Repeat on
the adjacent wrap [10], and then repeat
on the other side of the center wrap.
Place the cabochon in the U-shaped
frame, with the back of the cabochon
supported by the bends. Bring the two
bottom wires together so they meet at the
center of the cabochons right side, and
use flatnose pliers to bend the wires at 90
angles away from the center of the stone.

13

14

16

15

17
The two wires should be parallel [11].
Remove the cabochon, and tape the
two bottom wires together about 4 in.
(10.2 cm) from where the stone will sit [12].
Secure the top of the cabochon. Place
the cabochon in the bezel, and bend the
top wires to make a design on top of the
cabochon. See Thats a Wrap, opposite,
for tips on making a secure design.
When you are satisfied with your
design and have the stone securely in the
frame, bring the ends of the top wires to
the center of the cabochons right side
and bend them so that they align with
the bottom wires. Set the top wires to the
outside of the bottom wires, and tape all
four wires together [13].
Wrap the bezels center wires around
the cabochon, and then bend them so that
they align with the four-wire bundle. Place
the center wires to the outside of the
taped four-wire bundle, and tape all six
wires together [14]. These wires will form
the ring shank.
Wrap the ring shank. Cut approximately
30 in. (76.2 cm) of half-round wire for your

wrapping wire. Using flatnose pliers, hold

the wrapping wire vertically approximately
1 in. (25.5 mm) from its top end, with the
wires flat side facing you.
With your free hand, fold the long end
of the wrapping wire up over the pliers
and place it to the right of the short end
so that it resembles a checkmark.
Holding the shank wires so that the
back of the cabochon faces you, hook the
wrapping wire over the shank wires [15],
with the short end on the back side of the
shank wires. Slide the wrapping wire as
close to the cabochon as possible.
To wrap the shank, use your fingers to
bring the long end of the wrapping wire
over the shank wires to the right of the
short end. Keep the wrapping wire tight
to the shank wires, but do not allow the
shank wires to compress and overlap.
Continue wrapping, using flatnose
pliers to press the wrapping wire to the
shank wires every six to eight wraps to set
it. After youve wrapped 1 2 in. (13 mm) of
the shank wires, remove the tape pieces
that are holding the shank wires together.
Determine your ideal ring size (see
Sizing Up the Situation, page 9) and note

18

19

the circumference. Measuring from the

first wrap, find the circumference length
on the shank wires and mark that point
with a fine-tip marker [16].
Continue wrapping, pressing the wrapping wire to the shank wires every six to
eight wraps until you reach the mark [17].
Use wire cutters to trim the excess
wrapping wire, and press the wire end
to the shank wires, using flatnose pliers.
Trim the excess wire from the shank
wires so they extend about in. (6.5 mm)
past the end of the wraps. Use pliers to
grasp the shank-wire ends and fold them
over the top of the ring shank, pressing
them tightly to the shank wraps [18].
Shape the ring shank. Using a ring
mandrel, hold the end of the wrapped
shank at the mandrels mark for your ideal
size. Carefully bend the shank around the
mandrel, working from the end of the
shank toward the cabochon [19]. Tuck
the shank end under the cabochon.
NOTE: You may need to remove the ring
from the mandrel to bring the open end
under the cabochon properly.
www.A r t J e w e l r y M a g . c o m

11

Process photos by Jim McIntosh.

20

21
Once you have the basic shape of the
ring shank, remove the ring from the
mandrel. Use flatnose pliers to carefully
grasp the shank wires where the shank
meets the stone [20]. Bend the shank
90 to bring it under the cabochon.
With your fingers, squeeze the shank
together to compress its diameter. Check
the size on the ring mandrel, and compress
the shank until the ring is slightly smaller
than your ideal size. Compress the shank
until the end of the ring shank reaches
the side where the shank meets the
cabochon [21].
Place the ring back on the mandrel
at the mark for your ideal size. Using a
rawhide mallet, lightly hammer the outside of the ring shank to refine the shape
and work-harden the ring.
File and polish the ring. Use a needle
file to smooth any sharp wire ends. Polish
the wire with a polishing cloth, or apply
jewelers rouge according to the manufacturers instructions and then buff it with
a hard felt buff in a flex shaft.

FORGED AND SOLDERED LINKS

Forged
Teardrop
Bracelet

wire/metal

Forge round wire

into teardrop shapes
to make this

delicate
chain.

by Deborah Fehrenbach

ecessity is indeed the mother of

invention. I had created a pendant
and was drawing a blank about what

kind of chain would complement it. As I paged

rapidly through my favorite jewelry textbook, the
simple line drawings flipping past my eyes brought
this design to mind. After making the chain for the
original pendant, I realized that the chain itself was
beautiful enough to stand on its own.
This pendant sparked
Fehrenbachs search for
a complementary chain.
She ended up designing
the teardrop-link chain.

12

Ar t Jewelr y

B es t o f the We b: W i r e J ewe lr y

beginner

materials

Sterling silver wire:

14-gauge (1.6 mm), round, dead-soft,
7 in. (17.8 cm)
16-gauge (1.3 mm), round, half-hard,
2 in. (51 mm)
14k yellow-gold wire: 14-gauge (1.6 mm),
round, half-hard, 31 4 in. (83 mm)
6 sterling silver jump rings: 18-gauge
(1.0 mm), 4 mm inside diameter

tools & supplies

suppliers

Prepare the wire. Use heavy-duty wire

cutters or a jewelers saw with 2/0 blades
to cut fourteen -in. (13 mm) pieces of
14-gauge (1.6 mm) sterling silver wire. Use
a sanding stick with 220-grit sandpaper or
a #2-cut hand file to round the edges of
the cut wires. Repeat to cut thirteen -in.
(6.5 mm) pieces of 14-gauge (1.6 mm) 14k
gold wire. File or sand one end of each of
the gold wires flat.
Forge the teardrop shapes. Place a
sterling silver wire on the edge of a steel
block or bench anvil. Use a ball-peen
hammer that has a polished flat face to
forge one end of the link so that it looks
like a teardrop [1]. Youll have more control
in shaping the wire if you make several
light strikes instead of a single heavy blow.
Hammer both sides of one end of the
wire until the teardrop is at least 3.5 mm
at its widest point. Keep the face of your
hammer aimed straight down. If you strike
at an angle, the metal will begin to spread
in that direction. If this happens, turn the

wire over and make one or two light blows

to straighten out the piece. Repeat to forge
another 12 links. Forge the 14th link with a
teardrop shape at both ends of the wire.
Drill the teardrops. Use a center punch
or a finishing nail to make a dimple in the
center of each teardrop shape. Use a drill
press or a flex shaft and a 1.7 mm drill bit
to drill a hole at each dimple [2]. Drill a
hole at both ends of the double-ended
teardrop link.
File or sand the links to remove any
burs from the drill holes and to smooth
the edges [3]. Sand the links with progressively finer sandpapers, up to 800 grit. Set
the double-ended teardrop link aside until
you join the links.
Solder gold wire to the teardrop
links. Flux a link and one gold wire.
Solder the wire to the link at the end
opposite the teardrop, using medium
silver solder [4]. Quench, pickle, and rinse
the link. (For more on basic soldering, see

Wire cutters: heavy duty

Jewelers saw, 2/0 blades (optional)
Sanding sticks: various grits
Sandpaper: various grits
Hand file: #2-cut flat (optional)
Steel block or bench anvil
Hammer: ball-peen
Center punch or finishing nail
Drill press or flex shaft, 1.7 mm drill bit
Soldering station: torch, solder (medium
and easy), fire-resistant surface
(soldering pad, firebrick, or charcoal
block), pickle pot with pickle, flux, crosslocking tweezers, copper tongs, anti-flux
Pliers: roundnose
Wooden dowel: 1 2 -in. (13 mm) diameter
Tumbler, steel shot, burnishing
compound
Wire (Rio Grande, 800.545.6566,
www.riogrande.com)

See Safety Basics at

www.artjewelrymag.com/howto.

www.artjewelrymag.com/howto.
Repeat for the remaining 12 links.

Join the links. Paint anti-flux around the

solder join and around the drill hole on the
underside of each link. The anti-flux will
ensure that the solder does not reflow
while you heat the gold wire in the next
step. Allow the anti-flux to dry completely.
Slide the gold wire of one link through
the drilled hole in another link. Assemble
all the links in this way, positioning the
double-ended teardrop link on one end.
Place the chain on your soldering pad.
Ignite your torch and hold it so that the
flame is parallel to the chain [5]. Focus the
hottest part of your flame at the tip of a
gold wire until the wire balls at the end.
Repeat for the remaining links. Quench,
pickle, and rinse the chain.
www.A r t J e w e l r y M a g . c o m

13

Process photos by Deborah Fehrenbach.

make matching

earrings
Make teardrop shapes. Cut two 1-in.
(25.5 mm) pieces of 14-gauge (1.6 mm)
sterling silver wire. Use a sanding stick
or #2-cut hand file to round the edges
of both ends of the wires.
Forge the teardrops as you did for the
bracelet links, but do not drill holes in
the ends.
Make ear wires. Form two ear wires
(see www.artjewelrymag.com/howto
for instructions), but do not solder the
loops closed.

Add gold wires. Cut two 1 4 -in.

(6.5 mm) pieces of 14-gauge (1.6 mm)
14k gold wire, and sand the ends flat.
Solder the gold wires to the teardrops
as you did for the bracelet, and then
heat the end of each gold wire until it
forms a ball. Do not allow the gold wires
to ball up tight against the teardrops.

Assemble the earrings. Insert the

gold balls through the loops of the ear
wires, and tighten the loops just
enough to allow the teardrops to move.
Solder the loops closed. Tumble-polish
the earrings for 28 hours.

Make a hook clasp. Use roundnose pliers

to make a small loop at one end of a 2-in.
(51 mm) piece of 16-gauge (1.3 mm)
sterling silver wire [6]. Bend the wire
around a 1 2 -in. (13 mm) wooden dowel [7].
Grasp the tip of the wire in your roundnose
pliers, and slightly curve the tip of the wire
up [8]. Solder the loop closed with medium
solder, and hammer the hook flat [9].
Assemble the bracelet. Attach the
hooks loop to one end of the chain,
using a 4 mm-inside-diameter (ID) jump
ring. Paint anti-flux on the hooks loop
and solder the jump ring closed with
easy solder.
Make a chain from as many 4 mm ID
jump rings as needed to make the bracelet
the desired length. Solder all but the last
jump ring closed. Connect the chain to the
bracelet using the open jump ring, and
then solder that jump ring closed. Tumblepolish the bracelet for 28 hours (see
www.artjewelrymag.com/howto ).

14

Ar t Jewelr y

B es t o f the We b: W i r e J ewe lr y

materials

Sterling silver wire:

14-gauge (1.6 mm),
round, half-hard,
2 in. (51 mm)
14k yellow-gold wire:
14-gauge (1.6 mm),
round, half-hard,
1 2 in. (13 mm)

Deborah Fehrenbach is inspired by her two

loves scuba diving and gardening. I love
Mother Natures textures, colors, and shapes,
she says. Deborah is an instructor at the
Shiawassee Art Center in Owosso, Michigan.
Contact: deborahmarie@voyager.net

The gold wire posts act as hinges,

giving the chain flexibility and depth.