Step by Step Wire Jewelry - August - September 2016

step by step
5 MINUTE RING:
wear it tonight!
See page 55
jewelry
Make this
Flower Cuf,
get the kit!
p. 34
FLOWER
GARDEN CUFF
by Heather Lawrenz
page 34
EPOXY, CLAY, &

CONCRETE BASICS
for jewelry makers p. 6
plus:
The ABCs of
separation
enamel with
a torch
LEARN METAL STAMPING
on ring bezels and shanks!
p. 16
VOL. 12 NO. 4 AUG-SEPT 2016

stepbystepwire.com
Add bezels & stones

with a micro torch
p. 30
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to think about how to turn your weekend

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summer
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Oaks, PA
WORKSHOPS | August 17-21, 2016
EXPO | August 19-21, 2016
Indulge your jewelry making passion with a five-day

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Summers 15th anniversary celebration!
Renowned jewelry-making masters from across the country are fusing their
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Craving more Bead Fest fun? Your favorite jewelry show is heading to Tacoma, WA this fall.
save the date!
contents
in this issue
Vol. 12 No. 4
AugustSeptember 2016
projects
10|
rules and lace bracelet
38|
By Sarah Thompson
16|
By Delilah
42|
separation enamel
By Kieu Pham Gray
20|
48|
stamped bezel ring
fair and square rings

By Aisha Formanski
55|
the scroll cuf

By Eva Marie Sherman
30|
single bunting necklace

By Brenda Schweder
By Jeff Fulkerson
26|
chain shank ring
5-minute jewelry
By Heather Lawrenz
wire wrapped
leather bracelet
By Becky Nunn
34|
separation enamel
By Kieu Pham Gray
flower garden cuf
16
By Heather Lawrenz
fair and square rings

By Aisha Formanski
48
26
30
2 | STEP BY STEP WIRE JEWELRY | August-September 2016
Get this
exclusive
project kit at
42
www.interweavestore.com/
garden-cuf-project
10
On the Cover
ower garden cuff
By Heather Lawrenz
34
38
features & departments

4|
of the wire
By Denise Peck, Editor-in-Chief
6|
advertising sections
52|
53|
marketplace
advertisers index
hardware store basics

get a makeover
By Melissa Cable
9|
color canvas:
fall farmers market
By Heather Powers
46 |
spotlight
By Sara Richardson
51|
54|
wire basics
46
meet the artists
www.jewelrymakingdaily.com | 3
off he wire
Favorite Jewelry
Bracelets and rings are my favorite
pieces of jewelry. And do you know
why? I can see them the whole time
Im wearing them! Its funny how many
of us have an earring habit (I include
myself in that!). Admittedly, theyre
often afordable, and theyre itty bitty
pieces of art. But we can never see
them on ourselves! Mine are actually
displayed on the wall within a huge
picture frame, because there I can
appreciate them. And though I love every single pair, once I choose
a pair to wear, I never see them again that day. In fact, how many
of you immediately feel for what youre wearing when someone
compliments you on your earrings? Right?
But rings and bracelets, those you get to appreciate all day long.
Right there, on your hands and wrists. In this special issue, we have
four brand-new bracelet projects and four rings! Heather Lawrenzs
beautiful Garden Cuf, on the cover, is available as a kit from the
Interweave Store. Everything you need so you dont have to source
anything yourself! And if youve ended up with ne-gauge wire in
your stash like I have, there are three beautiful bracelets and a ring
that call for ne wire. You can start right in!
There are a couple ring projects inside that require soldering. Use
them to hone your soldering skills all done with a micro torch.
No need for an elaborate metalsmithing studio! If youre a little
soldering-shy, do some tests on copper so you dont risk your
sterling. The more you do it, the easier it will get, I promise.
So jump into this special issue and get those hands and wrists
adorned! You know you love them!
Denise Peck, Editor in chief

Denise.Peck@fwcommunity.com
step by step
jewelry
GROUP CONTENT STRATEGIST
CONTENT CURATOR, JEWELRY
CONTENT CURATOR, WIRE
CONTENT MANAGER, JEWELRY
CONTRIBUTING EDITORS
EDITOR, JEWELRYMAKINGDAILY.COM
_______________
ASSOCIATE ART DIRECTOR
DESIGNER
Kristal Wick
Merle White
Denise Peck
Karla Rosenbusch
Sara Richardson
Melissa Cable
Heather Powers
Tammy Jones
Samantha Wranosky
Kerry Jackson
Jim Lawson
PHOTOGRAPHY
_______________
ADVERTISING SALES MANAGER
ADVERTISING SALES MANAGER
CLASSIFIED ADVERTISING
AD TRAFFICKER
Marilyn Koponen
Marilyn.Koponen@fwcommunity.com
(877) 613-4613
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Stephanie.Griess@fwcommunity.com
(877) 613-4630
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Jenn.Rein@fwcommunity.com
(970) 613-4695
Cari Ullom
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_______________
Step By Step Wire Jewelry (ISSN 1555-9939) is published bi-monthly by F+W

Media/Interweave Press, 4868 Innovation Dr., Fort Collins, CO 80525-5576.
USPS #017-249. Periodicals postage paid at Fort Collins CO 80525, and
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copyrighted by F+W Media, Inc., 2016. All rights reserved. Projects and information are for inspiration and personal use only. Reproduction in whole or in part is
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Did you know:

You can get solder in paste form. It comes in a syringe
and is already mixed with ux. Just dot along the seam,
like sheet or wire solder. And it comes in easy, medium,
and hard, which refers to the temperature at which it
ows easy owing at the lowest temperature.
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Step by Step Wire Jewelry magazine is not responsible for any liability arising from
errors, omissions, or mistakes contained in the magazine, and readers should
proceed cautiously, especially with respect to technical information, following all
manufacturers instructions and precautions. Step by Step Wire Jewelry magazine
does not recommend, approve, or endorse any of the advertisers, products, services, or views advertised in Step by Step Wire Jewelry magazine. Nor does Step by
Step Wire Jewelry magazine evaluate the advertisers claims in any way.
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VISIT US ON THE WEB:
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TM
ICE RESIN
NE
BEZEL BY DIAN
L
EL
CRACKN
Hardware
Store Basics
get a MAKEOVER
By Melissa Cable
If youre like me, the hardware store is your craft store.

I spend hours roaming the aisles examining pieces of
pipe and electrical fittings, small nails and screws, paint
chips, and tools. My favorite finds include concrete, twopart epoxy, and putty epoxy, and all have become staples
on my bench. While I enjoy the functional aspects of
these hardware-store basics, their aesthetic virtue is often
lacking. Sometimes they are an unattractive color, are
too thick or thin, dry too fast or slow, or are packaged in
costly, giant tubs.
ICE RESIN TM
BY SUSAN
LENART KAZMER
Luckily, I am not alone in feeling this way. Thanks to talented and clever
entrepreneurs who recognize that these supplies have a place in the art
and jewelry making world, we now have access to hardware-store basics
in colors and sizes that better fit our unique use.
Liquid Epoxy
While liquid epoxy and resin is used in the jewelry industry as adhesives,
more often they are used to fill bezels, cast in molds, or to protect the
surface of embellished metal and polymer clay. Because appearance is
key, products created for art and craft use tend to have superior clarity.
MAGIC-GLOSTM
PENDANT
Ice Resin,
originated by Susan Lenart Kazmer, is a two-part epoxyy that
includes a resin and a hardener. Once mixed, it has a
workable time of 45 minutes, dries in 6-10 hours, and cures
in 3 days. It is extremely durable and scratch resistant, so
the time investment is well worth the wait. Minimizing
bubbles takes practice, but otherwise, it is easy to use.
For a faster solution, you can turn to resins that cure with
ith
MAGIC-GLOSTM
BY LISA PAVELK
A
CRYST
AL CLA TM
Y
BANG
LE W I
TH
SWARO
VSKITM
CRYST
A LS
CRYSTAL CLAY
TM
UV light. Lisa Pavelkas Magic-Glos is a one-part resin that cures in just 5

to 15 minutes under direct sunlight or by using a UV light. I appreciate the
quick curing time when I am building a piece in layers and need to apply
several rounds of resin. In fact, this product cures best and shrinkage is
minimized when used in layers. It is especially great over polymer clay.
Clay Epoxy
Clay epoxy is a two-part adhesive that consists of an opaque resin clay
nd
around a core of hardener. To use, simply pinch of the desired amount and
hand knead until the color is consistent. Clay epoxy is especially popular
in the jewelry industry as a base for embedding objects. Crystal Clay, for
or
example, has a working time of up to three hours, giving the user plenty
of time to hand embed any number of objects. It cures in 14-16 hours and
d
comes in over 25 colors.
KLAYRESIN TM
BY SHERRI H
AA B
For a clay that cures in around 10 minutes, KlayResin by Sherri Haab

works great for creating beads and shapes in addition to embedding items.
ms.
It comes in white, copper, steel, and concrete colors. When making metal
al
owers, I will often make a small loop at the end of the metal and place a
KlayResin ball over it to form a stamen. I have just enough time to roll it,
t,
dimple it, and apply some PearlEx powder before the clay hardens.
Concrete
I love the industrial look of concrete, so much so that I recently invited
Robert Dancik to include his concrete under my Create Recklessly brand.
When I rst began experimenting with concrete, I quickly found that not
all concretes are equal. Some have aggregate (the sand that makes up
concrete) that was too large, some was diicult to mix in small batches,
and others cracked easily. Luckily, two resourceful experts in our eld have
done the experimenting for us.
Create Recklessly with Concrete by Robert Dancik comes in a
convenient size and is easily mixed with water. The product is incredibly
strong, and the yogurt consistency means it pours easily into bezels or
SIN
RINGS MADE OF KLAYRE
BY SHERRI HAAB
SSLYTM WITH
CREATE RECKLE
BERT DANCIK
CONCRETE BY RO
ENCAPTUR
E
ARTISAN
CONCRETETM
BY PATTI
BULLARD
PENDANT
CONCRETE
T DANCIK
BY ROBER
a mold you can even pour it onto a rubber stamp to get a textured piece
of concrete. Another tried-and-true brand, Patti Bullards EnCapture Artisan
Concrete comes in a kit that includes enough concrete for 8-16 pieces and
a bottle of activator to mix into the concrete. My favorite tip from Bullard is
to create a subtle gold sheen on the surface of the dried concrete by using a
brass bush. Both brands have a workability of 5 minutes, cure in an hour and
ofer powdered pigments to create colored concrete.
As with all products, be sure to follow manufacturers directions and take all
safety precautions. And keep roaming those hardware store aisles! You never
know when you may discover the next jewelry-making trend. While you are
there, be sure to grab some supplies for this simple organizer.
Epoxy Resin Clay 1-2-3

We asked Debra Saucier, creator and developer of Crystal
Clay, for her top three favorite tips for working with epoxy
resin clays.
1. Epoxy resin clay consists of two parts, a resin and a hardener.
The resin will crystalize and become rock hard when it reaches
temperatures under 40 degrees Fahrenheit. To soften it, simply place the resin
under hot water or in a 100 degree Fahrenheit toaster oven for ve minutes and it
will become soft and pliable again, even when it cools.
2. To remove ngerprints and other imperfections, use a little olive oil to
smooth out the clay. This will also give it a slight sheen and is a great trick for
keeping the clay from sticking to your hands.
3. Besides making rings, one of Debras favorite ways to use epoxy clay is for
repairing things around her house. When adhering clay to objects needing
repair, be sure to roughen the surface of the object to get the best bond
between it and the clay.
CONCRE
TE
PENDA
NTS BY
PATTI B
ULLARD
RESOURCES
Ice resin: www.rangerink.com
Magic-Glos: www.lisapavelka.com
Crystal Clay: www.crystalclay.com
KlayResin: www.sherrihaab.com
Create Recklessly with Concrete: www.fauxbone.com
Encapture Artisan Concrete: www.wubbersushop.com
DEBRA
R
SAUCIE
COLOR CANVAS:
fal farmers market
BY HEATHER POWERS
I love when mums take over the farmers market at the

end of the season. The abundance of blooms and warm
autumn hues are some of my favorites to translate into
jewelry designs. I always carry my camera to the farmers
market; inspiration lurks everywhere.
I pulled out the analogous colors of plum, violet-red,
orange, and golden yellow as the main elements in my
necklace. Analogous colors are those right next to each
other on the color wheel and a sure-fire color palette for
harmonious color combinations.
I had an autumnal collection of felted wire in the perfect
shades to match this photo. Felted wire is wool fibers spun
on a wire core. The hand-dyed wool has beautiful transitions
of color. I wrapped the felted wire around 19 gauge steel wire
links to create wrapped beads. I pulled together lampwork
leaf headpins in the same colors to dangle from the pendant.
Resources: Polymer Clay Flower Pendant:

Humblebeads, www.humblebeads.com.
Lampwork headpins, Thornburg Bead Studio,
www.thornburgbeadstudio.com. Felted Wire:
Wooly Wire, www.woolywireetc.etsy.com.
STEP BY STEP WIRE JEWELRY'S
Advance Your Skils
2016 FEATURED ARTIST
SKILL LEVEL 4
Sarah Thompson
rufes and lace

BRACELET
by Sarah Thompson
Create a stunning lattice-work bracelet with pops of color using the
Modified Soumak weave and your favorite color of crystals. Ive done
the step photos in copper wire as an alternative to the sterling.
tools and supplies

o 14-gauge sterling round half-hard
wire, 10"
wire, 16"
wire, 4'
o 26-gauge ne silver soft wire, 3'
o 28-gauge ne silver soft wire, 35'
o 3mm or 4mm beads to t between
rules, approximately 38 beads
o Ruler
o Permanent marker
o Flush cutters
o Flat-nose pliers
o Round-nose pliers
o Chasing hammer
o Bench block
o Needle les
o 7mm-8mm dowel
o Liver of sulfur
o 0000 steel wool
o Soft brass bristle brush or
a toothbrush
1. Cut one 8" length of 14g wire, mark at

1", 4" (center mark), and 6". Cut two
8" lengths of 18g wire, mark the centers.
Cut two 12" lengths of 20g wire, mark the
centers. Take one length of 20g wire, and
bend it at a 90 angle at the center mark
with the tips of the at-nose pliers. Continue
to make alternating 90 bends with the tips
of the at-nose pliers, going up one side. It
should look like a zig-zag.
2.
Make enough rules to t between the

center mark and the 6" mark on the 14g
wire. Do not go beyond the 6" mark. Flip
the wire over, and nish the other half; the
rules should t between the 1" and 6"
marks. Repeat Steps 1-2 with the remaining
20g wire.
RESOURCES: Wire: Monsterslayer,
www.monsterslayer.com; beads: Fusion

Beads, www.fusionbeads.com.
2
3.
Start on the left, and work toward the

right. Grab a 20g wire, an 18g wire, 14g wire,
18g, and the last 20g wire. Line up the center
marks, and tape them together just below
the marks. This project will reference the
wires by number, starting with the left as
Wire 1, followed by 2, 3, 4, and 5.
4. Cut a 15' section of 28g wire. Leaving a

7' tail, and coming in from the back, slip
the 28g wire between Wires 2 and 3. Wrap
around Wire 2, bringing the 28g wire to the
back of the base wires.
5.
From the back, slip the 28g wire between

Wires 3 and 4, wrap around Wire 3. Bring
the 28g wire between Wire 4 and 5, and
wrap around Wire 4.
6.
Lash (wrap around) the two wires to

secure them together around Wires 4 and 5.
The 28g wire should end up between Wire4
and 5.
8a
8b
10
7.
Cross over Wire 4 and 3 with the 28g

wire, and down between Wire 2 and 3. Wrap
around Wire 3 so that the 28g wire is in the
front. Bring the 28g wire over Wires 3 and 2
to wrap around Wire 2.
8.
Lash Wires 1 and 2 together. The

weaving wire should end up between
Wires 2 and 3. Repeat Steps 4-8. NOTE: It is
important that the lashes are in the 90 bends
of the rules.
9.
Weave Wires 2, 3, and 4 together until

you are just below the points of the rules,
touching the edge of the base wires.
10. Lash the points to the weave as you

did in Steps 4-8. Continue to weave in this
manner, lashing the points to the weave as
you come to them, making sure to always
have the rst lashing start on the right-hand
side for consistency.
11. Weave Wires 2, 3, and 4 together

for " after attaching the last rules. Coil
around Wire 3" up and trim the 28g wire
ush to Wire 3. Spread Wires 2 and 4 away
from Wire 3.
12. Take Wire 5, and curve it in and across
11
Wire 3, directly above where the weave

ends, and over the center of the coils. Coil
Wire 5 around Wire 3 twice, and trim of the
excess wire.
13.
Repeat with Wire 1, this time with it

crossing over and above the coiled end of
Wire 5. Coil around Wire 3, and trim of
the excess. Flip the bracelet over, remove
your tape and repeat Steps 1-13 for the
other half of the bracelet. Pay attention to
what side has the lower rules; this is the
side you should start the rst lashings to
keep it consistent.
12
13
14.
Cut two 12" lengths of 20g wire, and

mark the centers. Take one 20g length, and
starting in the center, make 90 bends with
the tips of the at-nose pliers. Line up the
new rules with one side of the inner rules.
The points should touch. The outer rule
needs one more rule than the inner rule.
Flip over, and repeat on the other half.
15.
14
15
Cut a 10' section of 28g wire. Leaving

a 5' tail, lash the center of the outer rule
to the center of the inner rule where they
touch. Lash twice. Coil the outer rule,
stopping when the outer and inner rules
touch. Lash the two rules together twice.
16. Continue this pattern of coils and

lashes to connect the outer rule. The very
last rule will be connected to the curved
portion of Wire 5. Flip the bracelet over, and
nish connecting the outer rule with the
5' tail. Repeat Steps 14-16 on the other side
(left side of the bracelet) with the remaining
20g wire.
16a
16b
17
17. Starting on the right, coil the outer rule

for " with the 28g wire. Curve it in and
across Wire 3, directly above the trimmed
end of Wire 1. Coil the 20g wire around Wire
3 twice, and trim the excess 20g and 28g
wire of. Repeat on the leftside.
18
18.
Curve Wire 4 (the 18g wire on the

right) in and over Wire 3. Coil around
Wire3 once. Trim of the excess wire.
Repeat with Wire 2 (the 18g wire on the
left). Flip the bracelet over, and nish the
ends in the same manner.
19a
19b
20
21a
21b
22a
22b
19.
Hold the remaining length of Wire 3

over a bench block, and paddle it at with
the chasing hammer. Repeat on the other
end. Round one end with the le, and mark
the center of the hammered section. Grip
the round-nose pliers at the mark, and fold
over the top around the jaws to form the
hook. Keep it open enough to slip a 14g wire
through. Curve the tip up with the roundnose pliers.
20. Trim the other hammered side to

"; round the end with the les. Mark the
center, and fold over the round-nose pliers
to form a small hook. Curve the tip up with
the round-nose pliers.
21. Form the bracelet around a bracelet

mandrel, with the hooks facing out.
22. For the hook, cut a 2" length of 14g

wire. Form one end around a dowel between
7mm-8mm in diameter. A little extra wire
will help you grip and pull the wire around
to ensure a nice shape. Bail-making pliers
also work well. Trim this extra wire of after
you have formed the wire. Cut the remaining
wire coming of of the loop to ". Loop
the " length in the opposite direction as
the larger loop with the round nose pliers,
forming a smaller loop. It should look like
a gure 8. Hammer it at with the chasing
hammer. Slip the small loop of your eye onto
the smaller hook on the bracelet. Compress
the hook to close the opening. With your
ngers, bend the larger hook in slightly at
the opening. This will make it easier to slip
the eye onto the hook.
22c
23.
Cut an 18" length of 26g wire. Slip

a 4mm bead onto the center of the wire.
Find the center of the bracelet; position the
bead in the opening between the inner and
outer rules on one side, coming in from
the back. Thread the two ends of the 26g
wire through the openings directly below
and above the bead.
24.
Starting with the top section of 26g

wire, wrap around the lashings connecting
the rules together. This will secure the
bead inside the opening. Add another bead
to the wire and t it inside the next opening.
Thread the 26g wire through the opening
above the bead. Wrap around the lashings
connecting the rules, and repeat, working
your way up one side.
23
25. When you get to the last bead, wrap
Are you getting better and

better at weaving with wire?
Sarahs book, Fine Art Wire
Weaving, is filled with projects
like this one that take wire
weaving to a whole new level.
Available in paperback or
instantly as a digital download.
the 26g wire around the last lashing, and

coil around the 26g wire holding the last
bead. Coil twice and trim. Flip the bracelet,
and nish the other half with the remaining
26gwire.
26. Cut another section 18"of 26g wire,

and add the remaining beads inside the
rules on the other side of the bracelet.
Give the bracelet a slight domed look
by gently bending the outer rules back
with your ngers. Oxidize with liver of
sulfur and polish with 0000 steel wool.
Use a toothbrush or soft brass bristle
brush to remove the steel wool caught in
theweave.
24
25
25
www.interweavestore.com/fine-artwire-weaving
Chalenge Yourself
SKILL LEVEL 3
separation
ENAMEL
by Kieu Pham Gray
Separation enamel is a great process to create fun designs in your enamel. While its traditionally
done in a kiln, these instructions will show you how to create it with a torch. Most people who do
torch-red enameling use this process for the instant gratication. However, this process will
take at least ve rings to achieve this great efect. If you are making several pieces, consider a
production line process, working several pieces at the same time, while sifting the same colors.
tools and supplies

o Enamel, Counter or Black
(for back side)
o Enamel, Wax Yellow
(Thompson Enamel, #2110)
o Enamel, Foundation White
(Thompson Enamel, #1030)
o Enamel, 2 contrasting colors of
transparent (Thompson Enamel,
Nile Green #2305 and Copper
green #2410 were used in
the project)
o Enamel, Iris Purple #1760
o Enamel, Ivory #1238
o Separation enamel
o 24-gauge copper shape of your
choice (in this project a leaf
was chosen)
o Holding agent or ClearFire
o Penny Brite
o Vintage chain with clasp, 18"-22"
o Vintage charms for an accent, 2-3
o 19-gauge 6mm jump rings in
matching vintage color, 2-3
o Sifter
o Trivet
o Spatula
o Paint brush
o Clean paper (magazine)
o Butane torch
o Tripod with mesh
o Fire Tweezers (cross-locking
are best)
o Alundum stone
o Chain-nose pliers, 2 pair
1. Clean the copper to be enameled of all

oil residues. The easiest way to do this is by
scrubbing the piece with Penny Brite. Rinse
with clean water. Note: Be sure to wash your
hands thoroughly with dish soap and water
to remove oils and lotion. The one cause for
enamel not to stick is oil. You may also burn
off any oils on the metal with a torch, however
you will need to pickle the piece after ring to
remove rescale. When handling clean metal,
hold it from the sides to eliminate any potential
of contaminating work surface.
1
rst. Place a clean piece of paper (magazine

or telephone book paper is best) on your
work surface. Then place the copper piece
onto a raised surface on a (Example: a
stack of pennies, a pair of tweezers, a lm
canister, etc.) This helps you lift the piece for
transfer to the ring surface. Using a paint
brush, brush a thin layer of a holding agent
or ClearFire on the back of the metal piece.
This helps the enamel stay in place during
transfer to the trivet. Allow the holding
agent to dry thoroughly before ring. Firing
wet enamel may cause bubbles on the
enamel surface.
Counter-enameling is the process of ring enamel

on the back side of the working surface. This
reduces the stress on the enamel caused by the
cooling of the metal. Enameling both sides of the
metal distributes the stress equally to reduce warping, and
prevents the enamel from popping of. When torch ring, it
is advised to re the counter-enamel rst as to reduce the
risk of ruining the nished design. Counter enamel can be
any color, black, or just a mix of leftovers that form gray.
RESOURCES: All materials from The Urban
Beader: www.theurbanbeader.com
3.
Place the counter enamel into the

sifter, and sift evenly over the metal surface
until the entire surface is covered and you
cannot see the metal through the enamel.
For a consistent color throughout the piece,
ensure that every layer of enamel is sifted
evenly. Tip: When applying the enamel, sift in a
circular pattern starting from the outside edge
and working your way to the middle. Tapping
the handle of the sifter with the tweezers will
help distribute the enamel.
Enamel run-of should be returned to its
container. Use the paper the funnel the
run-of back into the container. You should
use separate papers to catch each run-of
to reduce the risk of contamination of the
colors. Tip: Mark the papers so that you do not
get mixed up or throw out the paper after every
sifting. This will eliminate cross-contamination.
2. You will counter-enamel the back side
3
4. Using a metal spatula, carefully transfer

the metal piece to the trivet for ring. If
there is a drilled hole in the metal blank,
make sure you clean it out before ring.
If you do not do this, the hole will ll with
enamel during the ring.
5.
5a
5b
5c
Begin ring the enamel by torching it

from underneath the metal. If you re from
above, you will risk blowing the enamel of
the surface and overheating the enamel.
Move the ame around the trivet so that
the enamel will re evenly. Heat it until the
enamel looks like the surface of an orange
peel. Use a spatula and/or re tweezers to
remove the enameled piece from the trivet,
and place it on a cooling block (re brick).
When the enameled piece has cooled, clean
the front side, again with Penny Brite, to
remove the rescale. Enamel will not fuse to
the metal if there is rescale.
6.
On the front side, add ClearFire, sift,

and re the enamel colors one at a time
to the orange peel stage in the following
order: Wax Yellow #2110, Foundation White
#1030, Transparent colors. (This project
uses Nile Green #2305 and Copper Green
#2410). To create a little extra interest,
Iris Purple #1760 was sifted around the
edges. Allow the enameled piece to cool
completely. It helps the enamel powders
to adhere at each step if you add ClearFire
each time.
6a
6b
7a
7b
8a
8b
7b
7.
Mix the separation enamel with water

or a holding agent to create a creamy
consistency. Using a number 2 paint brush,
paint a design onto the surface of the
enamel with the separation enamel. Paint
the design lines no closer than " apart.
Allow to dry completely before ring. To
create a little more interest in the leaf
design, a line of Ivory enamel is sifted in
the middle of the design. Ivory #1238 was
sifted in a thin line down the middle create
a vein.
8. Place the unit on the trivet and tripod

for a nal ring. During this ring, the
separation enamel will turn black as it is
burning of, and it will disappear. Finally, it
will start to separate the layers of enamel to
reveal the colors below. Be sure to re the
unit for 2-3 minutes. Watch for the changes
in the enamel. Allow it to cool completely.
8c
9.
Cut the chain to your desired length, and

attach the enameled leaf and vintage pieces
to the chain. Terminate the chain with a
jump ring and clasp.
8d
Advance Your Skils

SKILL LEVEL 4
stamped bezel
RING
by Jeff Fulkerson
I love handmade stamps. There is an organic quality that you just dont get with a machine-made
stamp. That said, there are a few little things you need to know about handmade stamps. The first
thing is they arent perfect. To me, thats their charm, but you have to deal with a stamp that may
not be exactly symmetrical or flat. Always start by testing stamping on scrap copper.
tools and supplies

o Cabochon
o 22-gauge sterling sheet,
approximately 2" x 2"
o 16-gauge sterling sheet, " x 3"
o 20-gauge ne silver sheet, " x 4"
o Jewelers saw with #2 blade,
or shears
o Decorative stamps
o Hammer
o Steel bench block
o Sharpie
o Pickle
o Copper tongs
o Flux
o Butane torch
o Easy, medium, and hard solder
o Solder brick or tripod
o Ring mandrel
o Scribe
o Rawhide mallet
o Metal le
o Needle les
o Burnishing tool
o Parallel jaw pliers
o Steady Stamp (optional)
o Silver black or liver-of-sulfur
o Rotary tool with felt (Bobbing
compound) and muslin (Zam) bufs
o Diamond le (optional)
1.
I use 20g ne silver for the bezel because

thicker metal takes a deeper impression.
Once you have gured out how to place the
stamp to get the impression where you want
it, stamp the bezel.
1
22a
2b
2. Wrap the stamped bezel around the
RESOURCES: Diamond file from Harbor
stone, mark, and cut to length. When

soldering, remember you need a joint that
ts side-to-side, top to bottom, and each
side needs to plane in with the other side. To
help you align the bezel for soldering, use a
pair of parallel jaw pliers and grab the joint.
Bend the wire forward, backward, and back
to the center. This will take all of the ght
out of the metal and help you align the joint.
Freight, www.harborfreight.com; Danny

Wade stamps: www.ferrovalleytool.com;
metals: www.riogrande.com
3.
Solder the bezel with a small piece of

hard solder. Pickle, rinse, and check the joint
to make sure its soldered.
4. With a needle le, le down the seam as

needed, and re-shape the bezel around the
stone. File or sand the bottom of the bezel
so you will have a good t when you solder
the bezel to the back plate. If the top also
needs sanding, do it now. Double-check the
t on the stone in case you deformed the
bezel a little with the ling/sanding.
4a
4b
5. When designing with stamps, use a

piece of paper and an ink pad to work out the
design. Draw the outline of the stone on a
piece of paper, and play with the design until
youre happy with it. You may want to draw
several outlines as this gives you a chance to
gure out which stamp(s) you want to use
and how to space them. Cut out a piece of
22g sterling sheet to use as the back plate.
6. Use a Sharpie to draw the outline of the

5a
stone with the bezel around it on the

sheet, so you know where to stamp. Start
stamping the design on the back plate. Start
5b with the larger stamp, if you have one in
this case a half round one. If you need help
holding the stamp perpendicular, you can
use a stamping aid like the Steady Stamp.
Once you have nished with that stamp,
stamp the smaller design in between the
larger stampings.
7. Cut out the stamped back plate using

a #20 blade in the jewelers saw or shears.
Leave just a tiny lip around the impressions
to give the piece a nice border. File the back
plate until everything is even. Use a ring
clamp to hold pieces while ling.
6a
6b
If you dont have liver of sulfur or

a blackening agent, you can use
a black Sharpie. Just ll in the
stamped impressions with the
marker and let it dry well. Then
use a Pro Polish pad or very ne
steel wool to polish thepiece.
If you love the idea of stamping
with custom-made stamps like
the ones Jef uses in this project,
our stamping collection comes
with an exclusive Danny Wade
stamp made especially for us!
7b
7a
8. Set the bezel on the stamped plate,

ux, and place medium solder on the inside
of the bezel. Line up the bezel with the
Sharpie outline you drew as a stamping
guide. Solder from the bottom, if you have
a soldering tripod. Pickle, rinse, and dry of.
Stamping leaves marks on the backside of
the metal, so sand down the bottom of the
back plate, so you can polish it later.
www.interweavestore.com/newdirections-in-metal-stamping-collection
"
"
Ring
9a
9b
9. Cut a piece of 16g silver " wide and

about 5mm shorter than the ring size you
want to make an open shank. To lay out the
shank, mark the middle with the scribe, come
in " on both sides, and draw a line from
there to each end, creating a little bow tie.
10. Cut out the shank just outside of the
10a
10b
lines using the jewelers saw or shears. Put

the shank in the ring clamp, and le down
to the lines so you have good, clean lines to
stamp to. Stamp the perimeter of the shank,
and stamp each end. Our shank now has
wavy edges because of the metal displaced
by the stamps. You can either le them
straight or leave them as a design element.
11.
When you round up the shank (not

yet!), we have to le of the ends so the
shank sits at on the back plate with no lip
or sharp corners. File the ends at an angle
while the shank is still at. Once we get
the bulk of the metal led of, youll have
a much easier time getting it at after its
beenshaped.
10c
11a
11b
12a
12b
12. Using a rawhide mallet, form the

shank around the ring mandrel. Make it
smaller to start, as its easier to enlarge it
than to make it smaller. Once you have it
shaped and have the correct size, make sure
it sits at on the back plate without rocking.
File as needed.
13. Place the shank in the middle of the

back plate lined up with your Sharpie line,
and solder with easy solder. Pickle, rinse,
and dry.
14. To bring out the stamped impressions,
13
blacken the ring with either Silver Black or

liver of sulfur. To get a high polish on the
ring, use a rotary tool with felt (Bobbing
compound) and muslin (Zam) bufs.
Tip: Before
soldering the
shank to the
back plate, look
at the top of the plate and
determine the line you want
the ring to follow (how it
will sit on your finger). Mark
the top and bottom with a
Sharpie, and transfer the
marks to the back of the
plate; draw a straight line
between them to give you a
guide to align your shank to.
14a
15
14b
15.
When you go to set the cab, many

times the t will be a little too snug, and
if you force it, you might chip or break the
stone. Take a diamond le, and carefully
le the stones girdle where the stone is too
tight against the bezel. You can take of just
enough to get the stone to slide in.
16.
Once the stone is in the bezel, use a

burnisher to push the bezel over the stone
to secure it. Since this is a thick bezel, you
will need to use a little pressure to bend the
bezel. You may nd you have better control
with a prong pusher, so use whatever works
for you.
16a
16b
Vintaj Patinas are opaque inks

specially formulated by Ranger
to adhere to metal. They create
beautiful and durable patina
effects. The Patinas will colorize
2EJP=FJ@EJCOHECNAAO>AVAHO
and other metals for gorgeous
jewelry and crafting projects.
Available in 25 blendable colors plus
4 metallics for endless possibilities.
visit www.rangerink.com for
pNK@Q?PEJBKNI=PEKJEJOLEN=PEKJ
tips & Techniques.
Advance Your Skils

SKILL LEVEL 4
he scrol cuff
by Eva Marie Sherman
Incorporating silversmithing techniques while designing wire jewelry has definite
advantages. The use of positive/negative space as a design element opens up a whole
new world of creative possibilities. Use this project to jumpstart your own exploration into
creating soldered jewelry using sterling wire. Although I use a hydraulic press in this project,
you can either use a rubber mallet with the bracelet press, or make your bends using pliers.
tools and supplies

o 14-gauge dead soft sterling silver
wire, 40" (5 lengths at 8")
o Scrap copper wire
o 3mm pre-fabricated tube bezels, 7
o 3mm faceted stones, 7
o Flush cutters
o Metal file
o Medium and easy solder
o Flux and brush
o Butane micro torch
o Butane
o Solder board
o Cross locking tweezers
o Round bracelet mandrel
o Bangle press
o Rubber or rawhide mallet
o Hydraulic press (optional)
o Weighted rubber mallet
o Heavy-duty wire cutters or
jewelers saw
o Crock pot & pickle
o Copper tongs
o Soft bristle brass brush
o Oval steel bracelet mandrel
(optional)
o Bezel setting burnish punch
o Fine steel wool
o Tumbler (optional)
o Burnishing compound (optional)
PLEASE NOTE: I WOULD RECOMMEND

THAT YOU HAVE A WORKING
KNOWLEDGE OF SOLDERING,
SAWING, AND STONE SETTING TO
COMPLETE THIS PROJECT.
1.
Trim and file the ends of the wires so the

ends are flush. Fold them in a loop so the
ends are touching.
11a
11b
2a
2b
2c
3a
3b
RESOURCES: All materials from Rio Grande:
www.riogrande.com.
2.
Set the join on top of a small piece of

medium solder. Flux and heat the metal
with a butane torch until the solder flows.
Pickle, rinse, and dry. Repeat with the
remaining wires.
3.
Shape all the wires on the round

mandrel.
4. Insert the wire in the bangle press,

making sure the wire is centered.
5. Insert the bangle press into the hydraulic

press, and apply pressure until the wire is
compressed. Repeat with the remaining
wires. As an alternate compression method,
hammer the bangle press with a weighted
rubber mallet until the wire is compressed.
Or make your own bends in the wires using
at-nose pliers.
4a
4b
5b
5a
6.
Stack the compressed wires, and anchor

them together with a piece of copper wire.
7. To determine your cuf size, measure
5c
7a
7b
your wrist, and deduct ". Remove a section

of the wires (that includes the join) with a
saw or heavy-duty wire cutters, so that the
remaining wire length equals your cuf size.
NOTE: Measure the wires on the inside to get
the correct length.
8.
Solder the wires together at each end

with medium solder. Pickle, rinse and dry.
File the ends until they are softly rounded.
Shape and work-harden the cuf on the oval
steel mandrel.
9.
Set the pre-fabricated tube bezel in

place, and solder with easy solder from the
back side. Repeat with the remaining bezels.
Pickle, rinse, and dry the cuf, and burnish it
with a soft bristle brass brush. NOTE: Make
sure the seats in the tube bezels are facing
toward the top of the cuff.
10.
Set the cuf on a steel mandrel, and

set the faceted stone into the tube bezel.
Make sure the stone is sitting at, and the
girdle of the stone is slightly below the top
of the bezel wall. Use a chasing hammer to
hit the bezel setting burnish punch to angle
the bezel wall. Repeat with the remaining
stones. Polish the cuf with ne steel wool,
or tumble polish as desired.
8a
8b
Still a little hesitant on

soldering? All the soldering
in this project is done with a
handheld micro torch, so you
neednt fear the hoses and
tanks! And you dont need a
big space or dedicated studio.
You can solder on a soldering
brick on a baking sheet to
protect your table. Learn all the
things you need to know to get
comfortable with soldering in
Kate Richbourgs book, Simple
Soldering!
www.interweavestore.com/simplesoldering
10a
10b
Chic and Simple

SKILL LEVEL 2
wire rapped
LEATHER BRACELET
by Becky Nunn
I created this bracelet in my home oice (that would be at the kitchen table) one night and brought
it in to the oice at Nunn Design the next day to shoot the step photos. After the third member of
my team asked me, Did you make this? I started to get a little bit of a complex. I tend to have a
classic, romantic feel to my work, so to create something that was a little more on-trend, I guess, was
out of character for me. Regardless, ALL of us love this project. We hope you do, too!
tools and supplies
1. Fold over one of the ends of the 7" strip
o 24-gauge silver craft wire, 5'

o " width chocolate brown leather, 7"
o 8mm silver jump rings, 5
o 6mm silver jump rings, 5
o Silver spring ring
o Silver Itsy lotus charm
o 4mm silver faceted round metal
beads, 13
o Flush cutters
o Chain-nose pliers, 2 pair
o Ruler
o Scissors
RESOURCES: Kits (available in both gold-
of the leather. Use chain-nose pliers to

create a 90 angle on the end of a 3" piece
wire. Place the wire down onto the backside
of the folded over leather end. Wrap the
wire around the leather 3 times, wrapping
over the starting point to secure the wire
to the leather. Use chain-nose pliers to tug
rmly on the starting point, making sure the
start of the wrap is very tight and secure.
Trim the excess wire. Continue to wrap the
wire around the leather another 6 times.
1
plated and silver-plated) available from

Fusion Beads: www.fusionbeads.com
2. To nish of the wrapped end, thread the

wire into the folded over loop of the end of
the leather, and pull on the wire rmly. Cut
the excess wire. Use the chain-nose pliers
to make sure the end is tucked in rmly into
the inside edge of the leather loop, so it will
not snag on anything. Measure about 5"
of leather from the newly wrapped end, and
repeat Step 1 on the other end of the leather.
3a
3b
3c
3. Measure 1" from one looped end of

the leather. With a 4.5' piece of wire, wrap
around the leather 3 times, tucking the
end under the wrap. Thread on one of the
4mm faceted beads. Wrap the wire through
the bead 3 times. After you have threaded
the wire through the bead, and wrapped it
around the leather 3 times, wrap around just
the leather 3 times. Repeat this process until
you use all 12 of the 4mm faceted beads.
4.
4a
4b
To nish of the wrapping, tuck the wire

under several wraps, and pull it rmly. Trim
the excess wire.
5. Open one of the 8mm jump rings with

both pairs of chain-nose pliers, and thread
it through one of the leather ends. Close the
8mm jump ring. Create a chain by linking
together the jump rings in the following
pattern to create a chain: a 6mm jump ring,
an 8mm jump ring, a 6mm jump ring, and
the spring ring. Attach the chain to the first
8mm jump ring.
6. On the other end of the leather, open an

Wrapping the ends of leather
cording with wire to make a
loop is just one way to finish
leather ends. Learn many more
finishing techniques from
Melissa Cable, founder of the
Create Recklessly line of leatherworking tools. Get her compact
tool kit and her accompanying
DVD with lots of tips and
projects using leather.
5a
8mm jump ring, and thread it through the

leather end. Close the jump ring, and create
the following chain: a 6mm jump ring. An
8mm jump ring, a 6mm jump ring, and an
8mm jump ring. On the last 8mm jump ring,
thread on a 4mm faceted bead, and an itsy
lotus charm that is attached to a 6mm jump
ring. Close the 8mm jump ring. Attach the
chain to the first 8mm jump ring.
5b
www.interweavestore.com/basicleatherworking-collection-for-metaljewelry-makers
www.interweavestore.com/intermediateleather-jewelry-making
Chic and Simple

SKILL LEVEL 2
Get this
exclusive
project kit at
www.interweavestore.com/
garden-cuf-project
flower garden
CUFF
by Heather Lawrenz
This delightful, unusual cuf is made with Lillypilly Designs leather cut-outs.
Though the end result looks complex, the techniques are quite basic. Get lots
of practice punching holes in metal and making wrapped loops in this design.
And get lots of compliments when youre done!
S
Save
a e ti
time!
i !
G
GET
E THE
T E KIT!
KI
ttools
l andd supplies
lili
o Lillypilly Designs tiny leather
owers, circles, and teardrops,
14-20
o 1" wide brass cuf
o 21-gauge 2" gunmetal head pins, 14
o 1.6mm screw down hole punch
o 1.25mm metal hole punch pliers
o Chain-nose pliers
o Round-nose pliers
o Flush cutters
11a
RESOURCES: Leather owers, circles and
1. On paper, arrange the leather
teardrops, brass cuff : Lillypilly Designs,

www.lillypillydesigns.com; headpins: Fusion
Beads, www.fusionbeads.com; screw
down hole punch, metal hole punch pliers:
Beaducation, www.beaducation.com.
components into a composition that will t

within the width of the cuf. With the metal
hole punch pliers, punch holes in any leather
components without holes.
2. Mark the holes of each component

onto the paper, and cut it into a strip
roughly the size of the cuf. Place the paper
onto the bracelet blank, and use the metal
hole punch pliers to make divets at each
mark, for hole starters.
1b
3. Using the screw down hole punch,

punch all of the holes in the cuf.
2a
2b
4a
4b
5a
4. From the inside of the cuf, thread a head

pin, and stack the leather component onto
the head pin. Make a 90 bend with the
chain-nose pliers, approximately " above
the leather component.
5. Create a very small loop with the roundnose pliers, and wrap the tail 2-3 times,
moving toward the component, until it is
snug against the cuf. Tip: Grasp the tail with
another set of pliers to make it easier to get a
tight wire wrap.
You can add touches of leather

to lots of jewelry designs. Add a
leather tassel to a long necklace
or hang a chain maille pendant
from soft leather lacing to make
the pendant stand out. Learn
lots of leather techniques from
Melissa Cable in her Intro to
Leather Jewelry Making DVD.
5b
tuck it in with the chain-nose pliers. Repeat

Steps 4-6 for each leather component.
5c
www.interweavestore.com/intro-toleather-jewelry-making-dvd
6. Cut the wire tail close to the wrap, and
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Where your
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The exclusive kit for this stylish bracelet is
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Findings Forms
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Advance Your Skils

SKILL LEVEL 4
chain shank
RING
by Delilah
The base of this ring is a small rolo chain. I always use the whole piece of
chain and cut it only when Im sure the length is what I need. I advise you
measure it on your finger or a ring mandrel while working from time to time.
tools and supplies
s id e o f s h a n k
o 28g silver plated, or craft wire,

approximately 13'
o 20g silver plated or craft wire,
approximately 24"
o 4mm stardust beads
o 3mm rolo chain, approximately 6"
o Flush cutters
o Wire scissors
o Round-nose pliers
o Ring mandrel or a pen
o Flat-nose pliers
RESOURCES: Chain and wire: www.Etsy.com
11a
1. Cut both wire lengths in half. Twist the

3mm rolo chain. Hold about 1" of the
chain. Twist the chain the same way you
will twist two plain wires together. The only
diference is that the chain will start looking
like a snake or herringbone weave. Twist it
and loosen it until you see how it should lie.
The last photo shows how the chain should
look when it is completely twisted.
2.
Take one 12" length of 20g wire, and

start coiling the 24g wire around it, about
5" from the end of the base wire. Leave
about a 24" tail of wrapping wire before
starting the coiling.
1b
1c
4a
4b
3.
After coiling 5 times, wrap the rst

link of the chain to the base wire, and coil
another 5 times.
4. Twist the chain as in Step 1, and with

the wire, catch the second and third links in
the row. Repeat until the shank is just over
2" long. It should measure about a size 8
(US measurement). Twist it around the ring
mandrel to ensure both ends meet at your
desired size.
5. Repeat Steps 2-4 to wrap the rolo chain

to the other length of 20g wire.
6. Now that both edge wires are attached,

make sure the twisted chain is right in the
center. If not, carefully pull the wires in order
to align them. Wrap the ring around the
mandrel to ensure it will be the right size.
Continue coiling down the 20g wires.
7. When the 20g wires are completely

5a
5b
coiled, bend the ring around the mandrel,

and twist two opposite sides together in the
middle as shown.
8.
Twist them together again at least two

more times to create a mounded spiral.
Keep the spiral on top and the other two 20g
wires of to each side of the ring as shown.
9.
Twist each side wire twice around the

mound. Using one of the coiled wires on
the top, make a double loop as shown. Use
round-nose pliers and tuck it right beside
the mound.
8a
9a
9b
8b
10a
10b
10. With the tail of the coiled wire, make
Coiling wire gives a whole new

dimensionality to the look of
wire jewelry. Be sure, when youre
coiling with very ne wire, that
you keep the wire from kinking,
and let the wire slip gently
through your ngers as you go.
If you hold it tightly, the wire will
twist as you coil, and that ruins
the smooth look of the coiling.
If you love the look of Delilahs
ring, youll love Kerry Bogerts
5-star book, Weave Wrap Coil.
Its lled with more beautifully
coiled designs and lots of
wrapping tips.
a small loop next to the double loop, like a

figure 8. Uncoil the extra 28g wire from the
20g wire and trim the 20g to fit the figure 8.
Use the leftover 28g wire to lash the small
loop to the shank. Bring the 28g wire up
through the shank and through the double
loop and thread the stardust bead on top of
the double loops. Lash the bead to the shank
with the 28g wire.
11. Repeat Step 10 on the other side so

they look symmetrical, adding another
stardust bead in the same manner. Carefully
wrap the 28g wires a couple of times before
cutting them. Hide the ends carefully to be
sure they wont scratch you while wearing
the ring.
10c
www.interweavestore.com/weavewrap-coil
12. On each side, unwrap and cut the

20g excess wire as shown. Bend the end
in toward the figure 8 and lash it snugly to
the shank Press it with the flat-nose pliers,
carefully. Cut the extra wrapping wire and
hide the end carefully.
11
12a
12b
Chic and Simple

SKILL LEVEL 2
singlebunting
NECKLACE
by Brenda Schweder
Feeling a bit celebratory? The SingleBunting Necklace pays homage to Americas
patriotic swags of stars and stripes. These instructions make a 16" necklace.
tools and supplies

o 16-gauge copper or 18-gauge
annealed steel wire, 8'
o Now Thats a Jig!
o SingleBunting Necklace pattern
template (download and print on
printable vellum paper at 100%)
o StarterKit (JigBed, Bracket, StartrPeg
Pak, Screwdrivr)
o BigRounds (1", 1", 1", and 2")
o Puncher & CornerTaks
o SwiveLok (optional)
o WireLiftr (optional)
o Permanent extra-ne point Sharpie
marker (white chalk pencil, steel
version)
o Semi-ush wire cutters* (heavy duty
cutter, steel version)
o Chain-nose pliers*
o Bent-nose pliers*
o Bench block or anvil
o Hammer: 4-6 oz. chasing (utility* or
ball peen* hammer, steel version)
o Needle le
o Liver of sulfur patina (XL Gel, Liver of
Sulfur Extended Life Gel)
o Steel wool (00) (or other buing pad)
o Renaissance wax and soft cloth, steel
version
* When using dark annealed steel, use
pliers (and tools) dedicated for steel
wire use.
1. Align the SingleBunting Necklace Pattern

to the top of the JigBed with the Punchr
& CornerTaks, and screw-in the pegs and
SwiveLok for any one of the Bunting Setups.
2. Cut four 7" lengths of 16g copper wire.

Center and trap a wire length between
the bottom of the Bunting Setup and its
associated SwiveLok. Further tighten the Lok
with your ScrewDrivr.
RESOURCES: Now Thats a Jig!: www.Now-
Thats-a-Jig.com; necklace pattern template:

www.BrendaSchweder.Etsy.com.
3.
Wrangle both wire ends up and around

the sides of the BigRound, counterclockwise,
all the way around the " peg to the upper
left, and clockwise around the " peg to the
upper right.
4. Mark the wire just short of the
intersecting points on each side with a

Sharpie marker. Lift the element up and of
the JigBed with the WireLiftr.
5. Trim with a cutter. Repeat Steps 2-5 to

form the rest of the SingleBunting Elements
for each BigRound size. Note: The 1"
BigRound is deliberately not used in the design.
6.
If necessary, le the ends smooth with a

needle le to remove any burrs, and hammer
each element to harden and texture.
7. Cut eight 4" lengths of wire, and screw-in
the pegs and SwiveLok for the CurvedBarbell

Link Setup to the JigBed. Center and trap
one wire length between the bottom of the
CurvedBarbell Link Setup and the SwiveLok.
Further tighten the Lok with your ScrewDrivr
as per the Bunting Setups above. Wrangle
both wire ends up and around the sides of the
peg, counterclockwise all the way around
the " peg to the upper left and clockwise
around the " peg to the upper right. Mark
the wire just short of the intersecting points on
each side with a Sharpie and trim with a cutter
as per the Bunting Element above. Repeat to
8a form a total of eight links. If necessary, le
the ends smooth to remove any burrs, and
hammer each element to harden and texture.
8. Cut two 12" lengths and one 3" length of

wire, and screw the " peg into the JigBed
on the JumpRing Setup. Coil the wire length
tightly. Fill the peg, and trim the wire at the
top. Repeat for a total of two coils. Note: Each
coil should yield 7-8 full wraps. Cut JumpRings
from the coils for a total of 14 rings. Replace
the " for the " peg at the JumpRing Setup,
and coil the remaining wire length around the
peg to cut and create one " JumpRing. File
any burrs from the cut ends.
8b
9a
9.
Cut a 4" length of wire, and screw

the " and 1" pegs into the JigBed at
the TinyClasp Setup. Trap the wire length
between the peg and the SwiveLok, leaving
a 1" lead. Further tighten the Lok with the
ScrewDrivr. Wrap the long tail between the
two pegs, and completely around the "
peg. Wrap the short tail. (Note: The wire will
t quite snugly between the pegs.) Mark the
cut-line at the intersection, remove the clasp
from the JigBed with the WireLiftr and cut.
10. Patina all the elements with liver of

sulfur, as per the manufacturers directions.
Rinse and dry. Buf of the blackened coating
with steel wool. Clean each element with
steel wool. If using steel wire, seal each
element with Renaissance Wax by rubbing
a tiny amount (as you would lip-gloss) over
the entire piece, and buf with a clean cloth.
9b
11.
Lay out the elements of the

SingleBunting, smallest to largest. Pick up the
rst two smallest BuntingElements and stack
the larger over the smaller, staggering them so
the top the lower loop connects to the bottom
of the upper loop. Open and close a small
JumpRing to connect them in this position.
11
10
Save your hands with a jig!

Much wire manipulation is made
easier on a wire jig. And you
can make identical components
again and again, which can be
a challenge with pliers. Join
Brenda for more tips and designs
on making simple, consistent
links in her instant download.
12
13
12.
Repeat Step 11, adding on the next larger

element over the last, and the next over that
one, until all four have been connected.
13. For the necklace link-lengths, connect

four CurvedBarbell links together with three
of the small JumpRings. Repeat with another
four links and three JumpRings to form the
two sides of the necklace.
14. Connect the SingleBunting focal
www.interweavestore.com/makingdesigning-simple-single-links-now-thatsjig-video-download
component to the link-lengths with small

JumpRings.
14
15a
15. Connect the TinyClasp to one side, and

a large JumpRing to the remaining side.
15b
spotlight by Sara Richardson

A Beaded Gift Glass Beads
Tennessa McClean learned her craft from her bead-making Mom,
Lynne Knudtson of Paradise Designs, as a way to stay at home with
and nancially contribute to her family. She took to it like a moth to a
ame! These beautiful beads are her marbled Zulus. Theyre tumbled
for a velvety soft, matte nish. Black & coral organic mini discs have
larger holes (" or 3mm) for lots of fun design options, like stacking in
pairs as spacers. Theyre also tumbled for a soft matte nish. Check out
all her gorgeous beads and colorways at www.Abeadedgift.etsy.com,
abeadedgift@yahoo.com.
Danny Wade Metal Stamps

Danny and his crew at Ferro Valley Tools have almost
singlehandedly created the wild resurgence in popularity of
decorative stamping. Their selection of handmade stamps is
unrivaled in diverse designs of all sizes. Check out how Jef
Fulkerson uses these stamps on his beautiful turquoise ring
on page 20, and imagine how you can decorate your work!
Get your own exclusive Danny Wade stamp in our stamping
collection www.interweavestore.com/new-directionsin-metal-stamping-collection, or see more at www.
ferrovalleytool.com.
Earth & Elegance: A Bohemians Guide

to Creating Artisan Leather Jewelry
by Laura Gasparrini
Parawire's New Texture Hammer

and Latest Color
Add texture to wire and metal sheet with this brilliant 6-in-1
Texture Hammer! The diferent texture heads surround the
head of the hammer, so there is no need to switch out the
heads or nd other texturing tools. The heads do screw of
so you can better aim the one youre working with. Patterns
include spirals, squares, stripes, and circles. Their newest
silver-plated craft wire color is a gorgeous coral, using
Parawires exclusive coloring process, which produces the
brightest colors with a resilient nish. Coral is available from
16-gauge through 28-gauge. Visit www.parawire.com for
more information!
Laura Gasparrini, the creative mind

behind Om Tara, has self-published
her rst volume of dynamic leather
jewelry projects. This volume
focuses on knotting, braiding, and
macram. It's great for beginner
and experienced jewelry artists. You
will also learn several techniques,
including four diferent knots, halfhitch skills, braiding, and looping.
Eight step-by-step projects in the
book help you make creative necklaces, lariats, bracelets, and
even a clasp. Purchase the book through her website, www.
omtara.com.
Love this
magazine?
Then youll
love our free
community
for anyone
interested in
creating
handmade
jewelry!
Whether youre new to jewelry
making, looking to learn advanced
technique, or are simply interested
in sharing, learning, and being
inspired, this is the place for you!
Get started with a free eBook
download and sign up for free:
www.JewelryMakingDaily.com/Free-eBooks
STEP BY STEP WIRE JEWELRY'S
Chalenge Yourself
2016 FEATURED ARTIST
SKILL LEVEL 3
Aisha Formanski
fair and square

RINGS
by Aisha Formanski
Were seeing hints of gold with classic sterling silver in this years trends. And
stamping continues to be a style that continues to strike a chord. This ring project is
quick and easy, but the style is understated, classic, and will appeal to a wide variety
of tastes. The hardest part of this project is deciding what to stamp!
tools and supplies

o 2mm plain finger ring bands,
available in US sizes 6, 7, and 8
o Square blanks in gold-filled and
sterling silver in 8.5mm and
12.85mm
o Easy solder paste
o Bench block with rubber base
o 1 lb. brass mallet
o Stamp Letter Set Beaducation
model number SET001
o Stamping tape
o Clear plastic graph ruler
o Fine point permanent marker
o Butane torch Max Flame
o Butane fuel filtered
o Flux brush
o Handy flux
o Non-combustible work surface
o Solderite board
o Quench bowl and tweezer
o Third hand with tweezer
o Solder pick
o Pickle pot & pickle
o Copper tongs
o Pro polish pad
o Nylon ring bending pliers
RESOURCES: Rings: Halstead Bead: www
.halsteadbead.com. Blanks and stamps:

www.beaducation.com.
TIP: You can also

use the reflection
of the letter in the
metal to help place
the next stamp where you
would like it. Write out your
phrase on a piece of paper.
This will help prevent any
misspelling, and will help
you plan out the layout.
Tie back your hair, wear

safety glasses, protect your
work surface, and always work in a
well-ventilated area when using a
torch. You can also purchase a
Smoke/Fume Absorber to help
keep fumes away from your face.
Solder paste contains fluoride,
which can be harmful to your
health. Follow all the manufacturers guidelines and safety precautions. You can also request the
MSDS (material safety data sheet).
1
1a
1. Polish the square blank lightly with

the pro polish pad. Draw a line using the
clear plastic graph ruler and the fine point
permanent marker. This line designates
where the bottom of the letters will be. Once
you have the bottom line drawn, place a
second line above it. The clear plastic graph
ruler is nice for this, because you can see
through it to align the two lines.
1
1b
2a
2b
2. Lay a piece of straight tape onto the top

line, youll use the top edge of the tape as a
bumper. Drag the stamp to the tapes edge,
and strike the stamp.
2c
3. Use the nylon bracelet bending pliers

to shape the square blank into a slight
C shape. Place the blank into the pliers
with the stamped side up and the jaw of
the pliers downward like a frowning face.
Squeeze the jaws of the pliers closed.
4. Youll want the curve of the blank to

match the outside curve of the ring. Check
the t, and make any adjustments if needed.
5. Place the blank face down onto the

3a
soldering board. Hold the ring in the third

hand tweezer. Double check that the ring is
3b touching the square blank. Brush a thin layer
of ux onto the back of the blank, place a
small dollop of easy solder paste onto the
square blank where it meets the ring, on the
front and the back.
6. Strike the butane torch, and slowly and
evenly heat the whole piece with the ufy

part of the ame (which is beyond the bright
aqua cone), until the solder paste ows.
Once the solder ows on both sides, remove
the ame, and turn of the torch. Be careful;
the third hand tweezer will be hot. Quench
the ring in water, and place the piece into
the pickle pot until its clean. Rinse it in
5a water, and thoroughly dry it with a paper
towel. Rub the ring with a pro polish pad
until you have the desired shine.
There are a couple of tools

that can help you make your
stamping straight and neat the
Steady Stamp holder and Stamp
Straight Tape. Get both of these
and a custom Danny Wade
decorative stamp, plus Aisha
Formanskis and Lisa Niven
Kellys pioneering books on
stamping metal jewelry, in this
bargain bundle!
5b
www.interweavestore.com/newdirections-in-metal-stamping-collection
6a
6b
s clasp
spirals
spiral hook
wrapped disc
briolette
jump rings
wire wrap
wire basics
1
2
5
Chain Maille Kits
#weseeyourglimmer, #handufacturer!
available in Argentium Sterling and Silver plate
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or (970) 613-4695.
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Georgia
William Holland School of Lapidary Arts
Young Harris
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Classes in wire wrapping, chain making, beading, cabochons,

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advertisers index
AD Adornments
Beadaholique
Beadalon/Artistic Wire
Beaducation
C. G. M. Inc.
Fire Mountain Gems
Halstead Bead Inc.
Helby Import/Beadsmith
HyperLynks
Interweave
Lillypilly Designs
Metal Designz Canada
Midwest Maille
Monsterslayer, Inc.
Now Thats a Jig Brenda Schweder
Nunn Design
PJ Tool Jewelry
Ranger Industries Inc
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IRONWORK
MEETS
with 20+ beautiful designs!
Join artist Jodi Bombardier as she demonstrates how to

create beautiful iligree style jewelry inspired by wrought
ironwork. Learn all the steps you need to create
successful cold-joined projects with wire wrapping
techniques that result in beautiful and delicate designs.
/HDUQDERXWWKHDUWRIOLJUHHat:
bit.ly/bombardier-filigree
ARTISAN FILIGREE:
Wire-Wrapping Jewelry Techniques
and Projects - Jodi Bombardier
136 pages - 8.5x10.25 - $24.95
IBSN 978-1-59668-635-9
meet he artists
AISHA
FORMANSKI has
worked in the DIY jewelry
and beading industry
since 1994.Aisha's first
book, Punched Metal
Jewelry, 20 Clever and
Easy Stamped Projects,
was published by
Interweave Press in Winter 2013.Her passion for
creating jewelry inspired her to open her own business
in 2010, Everthine Jewelry. She currently resides in
Saint Paul, MN.
HEATHER
LAWRENZ has
been "artsy" her whole
life but was bitten by
the jewelry bug 15
years ago after taking a
basic jewelry-making
class.She launched
her own jewelry line
in 2003, and although her styles have evolved, her
love of non-traditional materials has remained
constant.Heather designs out of her home studio in
MN, where she lives with her supportive husband and
sassy Mini Schnauzer.Find Lawrenz Jewelry online at
www.lawrenzjewelry.comor at art fairs and boutiques
around the Midwest.
EVA SHERMAN
began beading as a
way to spend time with
her daughters but soon
became hopelessly
addicted. In 2005, she
traded in her architectural
career for the opportunity
to spend all her time
among beads and opened Grand River Bead Studio
in Cleveland, Ohio. She has discovered an affinity
for working with wire and metals, and she prefers to
design in an organic and unstructured style. Eva is the
coauthor of Organic Wire & Metal Jewelry, and her
second book Cool Copper Cuffs is scheduled to be
released in the summer of 2016.
JEFF
FULKERSON has
been creating imaginative
jewelry for 30+ years and
has taught at museums,
schools, and events.
The award-winning
silversmith has studied
such Native American
greats as Richard Tsosie, Jesse Monongye, and
Michael Cheatham. Noted for his meticulous execution
and attention to detail, Jeff loves the creative process
of seeing his ideas take shape and come to life. See
more of his work at www.aldenjeffriesdesign.com.
BECKY NUNN
is the founder and
owner of Nunn Design.
Her mission is:
Through collaborative
relationships, Nunn
Design inspires
and nurtures
creativity.Becky
believes that everyone is creative and that we are born
with natural abilities and a desire to express ourselves
in some creative form or another.To be inspired and
nurtured, visit Nunn Design at www.nunndesign.com.
SARAH
THOMPSON has
been exclusively working
with wire weaving for
the last 5 years and
has been teaching this
technique for 4 years.
She has written a book,
Fine Art Wire Weaving
(Interweave), as well as a few magazine articles. In
2014, her Thistle design won best in show at the Bead
and Button show. She lives in Spokane, WA, with her
husband and five kids.
KIEU PHAM
GRAY has been
creating jewelry for
almost 20 years. She
started from the need
to look the part while
working in retail
management for Neiman
Marcus. In making
jewelry for herself and friends, Kieus jewelry line was
created. Since then she has sold to over 30 stores
in 10 states and participated in numerous juried art
shows. Today, Kieu and her husband Andy own and
operate www.TheUrbanBeader.com, where they work to
provide the industry with specialty supplies and tools.
Most recently, she co-founded www.EverCrafting.com,
a social media site for serial crafters.
BRENDA
SCHWEDER is an
LUMINITA
VIRTINEANU isher
artist, author, teacher,

real name, but she goes
creativity columnist,
by delilah. Shehas
and inventor of Now
been working with wire
Thats a Jig!, The Wire
and stonecontinuously
Bending System that
since 2010 and started
Sits Tight and Stays
creatingtutorials a
Put! Shes written Collaborate: Friends in the Making,
couple of years ago when
Steel Wire Jewelry, and Junk to Jewelry and Vintage
craftersshowed interest in her designs. See more
Redux. Her designs and fashion jewelry forecasts have
ofher work at www.mssdelilah.etsy.com.
been published more than 100 times in books and
magazines. Visit her websites at www.BrendaSchweder.
com and www.Now-Thats-a-Jig.com, and catch her on
Etsy, Facebook, YouTube, and Pinterest.
five-minute project
Fast and Easy
engraved
gemstone ring
by Heather Lawrenz
A beautiful gemstone bead with two holes is perfect

for wire wrapping onto a ring shank. Wrapping
through the two holes makes for a secure attachment
with no wobble. Be sure to use a wire that can t twice
through the drilled holes, for strength.
tools and supplies

10mm x 20mm doubledrilled engraved
gemstone, 1
4.5mm wide hammered
ring, 1
24-gauge craft wire, 3'
Flush cutters
Chain-nose pliers
RESOURCES: Gemstone:
Lillypilly Designs, www

.lillypillydesigns.com.
Ring: Nunn Design, www
.nunndesign.com. Wire:
Artbeads.com, www
.artbeads.com.
1. Start in the center of the 3' length wire, and wrap about
" around the ring, approximately 8 times.
2.
Holding the gemstone against the top of the shank,

feed the right, working end of wire through the right-side
hole in the stone. Wrap fully around the ring and back
through the same hole, pulling the gemstone snugly
against the ring. Repeat with the other end of the wire
through the other hole in the stone. Tip: If the wire doesnt
feed easily through the gemstone hole on the second pass
easily, use the pliers to push the wire into the hole.
3.
With the left end of the wire, wrap around all the
wires between the stone and the shank, until you have
approximately 8" of wire remaining.
4. Repeat step 3, wrapping in the same direction, with the

wire on the right side.
5.
Wrap the 8" tails, on both sides, down the ring shank,
using 4" of wire. Wind the remaining 4" back up toward
the gemstone, over the previous wraps.
6.
Cut the remaining tails, and tuck the ends into the
wraps using chain-nose pliers.
ucts
New Prod
reativity
C
r
u
o
Y
e
ir
to Insp
gems.com
in
a
t
n
u
o
m
www.ire
www.firemountaingems.com
One Fire Mountain Way, DEPT C004
Grants Pass, OR 97526-2373
1-800-355-2137
Americas Favorite
Beading and Jewelry
Supply Company
Go online to see over 120,000 HOT
jewelry-making products and order
a Free catalog today
You supply the creativity,

we supply everything else!
Ombretta Tempestini, Italy
www.lacreativaimpertinente.blogspot.it
Finalist, Metals JewelryMaking Contest
Fire Mountain Gems

and Beads 2016
Swarovski Authorized Reseller

Step by Step Wire Jewelry - August - September 2016

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Step by Step Wire Jewelry - August - September 2016

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step by step

EPOXY, CLAY, &

LEARN METAL STAMPING

on ring bezels and shanks!

VOL. 12 NO. 4 AUG-SEPT 2016

Add bezels & stones

SELLING YOUR CRAFTS!

to think about how to turn your weekend

Market 2016 is the complete up-todate resource for crafting professionals

LISTINGS TO SELL YOUR JEWELRY, PAPERCRAF T, QUILTING, KNIT TING OR SEWING!

GREATER PHILLY EXPO CENTER

Indulge your jewelry making passion with a five-day

GREATER TACOMA CONVENTION AND TRADE CENTER

save the date!

rules and lace bracelet

stamped bezel ring

fair and square rings

the scroll cuf

single bunting necklace

chain shank ring

flower garden cuf

fair and square rings

2 | STEP BY STEP WIRE JEWELRY | August-September 2016

features & departments

hardware store basics

meet the artists

Denise Peck, Editor in chief

ADVERTISING SALES MANAGER

F+W MEDIA, INC.

Thomas F.X. Beusse

Step By Step Wire Jewelry (ISSN 1555-9939) is published bi-monthly by F+W

Did you know:

4 | STEP BY STEP WIRE JEWELRY | August-September 2016

If youre like me, the hardware store is your craft store.

6 | STEP BY STEP WIRE JEWELRY | August-September 2016

UV light. Lisa Pavelkas Magic-Glos is a one-part resin that cures in just 5

For a clay that cures in around 10 minutes, KlayResin by Sherri Haab

Epoxy Resin Clay 1-2-3

8 | STEP BY STEP WIRE JEWELRY | August-September 2016

fal farmers market

I love when mums take over the farmers market at the

Resources: Polymer Clay Flower Pendant:

STEP BY STEP WIRE JEWELRY'S

Advance Your Skils

2016 FEATURED ARTIST

rufes and lace

10 | STEP BY STEP WIRE JEWELRY | August-September 2016

tools and supplies

1. Cut one 8" length of 14g wire, mark at

Make enough rules to t between the

RESOURCES: Wire: Monsterslayer,

www.monsterslayer.com; beads: Fusion

Start on the left, and work toward the

4. Cut a 15' section of 28g wire. Leaving a

From the back, slip the 28g wire between

Lash (wrap around) the two wires to

Cross over Wire 4 and 3 with the 28g

Lash Wires 1 and 2 together. The

Weave Wires 2, 3, and 4 together until

10. Lash the points to the weave as you

11. Weave Wires 2, 3, and 4 together

12. Take Wire 5, and curve it in and across

Wire 3, directly above where the weave

Repeat with Wire 1, this time with it