Daisy

Metal Jewelry
in Bloom

Metal Jewelry in Bloom

Make
Beautiful Flowers Learn Metalworking Techniques by Making Lilies, Daffodils, Dahlias, and More

Learn Metalworking Skills

Build metalworking expertise by making beautiful flowers. Each flower project
teaches traditional metalworking skills that transition from easy to more complex
as you progress through the book. Learn techniques and apply them on a small
scale for big results. Discover:
✿ A comprehensive tools and materials overview
✿ Easy to understand metalworking basics
✿ Step-by-step project instructions illustrated with clear photographs
Cherry ✿ Beautiful, true-to-life flowers to make out of metal
Blossom ✿ Stunning jewelry projects that pull it all together

Cable

64438 U.S. $21.95

CAN $28.95

Melissa Cable
ISBN 978-0-87116-443-8
52195
www.KalmbachBooks.com

9 780871 164438
From the publisher of Bead&Button,
0 64465 16443 1
BeadStyle, and Art Jewelry magazines

BKS-64438-CV.indd 1 1/2/13 8:25 AM

 Metal Jewelry
in Bloom

BKS-64438-01.indd 1 1/2/13 8:57 AM

BKS-64438-01.indd 2 1/2/13 8:57 AM
 Metal Jewelry
in Bloom
Learn Metalworking Techniques by Making Lilies, Daffodils, Dahlias, and More

Melissa Cable

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 Kalmbach Books
21027 Crossroads Circle
Waukesha, Wisconsin 53186
www.Kalmbach.com/Books

© 2013 Kalmbach Books

All rights reserved. Except for brief excerpts for review, this book may not be reproduced in part or in whole
by electronic means or otherwise without written permission of the publisher.

Woven Leaf and Clasp was originally published in Jewelry Designs with Art Glass Beads, from Bead&Button magazine, 2010.

Lettered step-by-step photos by the author. All other photography © 2013 Kalmbach Books.

The jewelry designs in Metal Jewelry in Bloom are the copyrighted property of the author, and they may not be taught or sold without
permission. Please use them for your education and personal enjoyment only.

Published in 2013
17 16 15 14 13   1 2 3 4 5

Manufactured in the United States

ISBN: 978-87116-443-8
EISBN: 978-0-87116-776-7

Editor: Karin Van Voorhees

Art Director: Lisa Bergman
Layout Artist: Lisa Schroeder
Illustrator: Kellie Jaeger
Photographer: William Zuback

Library of Congress Cataloging-in-Publication Data

Cable, Melissa, 1970-
Metal jewelry in bloom : learn metalworking techniques by making lilies, daffodils, dahlias, and more / Melissa Cable.

p. : col. ill. ; cm.

ISBN: 978-0-87116-443-8

1. Wire jewelry—Handbooks, manuals, etc. 2. Metal-work—Handbooks, manuals, etc. 3. Jewelry making—Handbooks, manuals,
etc. 4. Costume jewelry—Handbooks, manuals, etc. 5. Flowers in art. I. Title.

TT212 .C33 2013

739.274

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 This book is dedicated to Lesley Mosler Robinett,
for whom my very first flower, the dogwood, was
made. Thank you for encouraging me to leap.

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 Contents
Introduction ........................................8
Chapter 1 Flower Fundamentals ............. 10
Getting Started ........................................................... 12
Tool and Supplies ....................................................... 13
Choosing Petal Count.................................................. 18
Determining Petal Shape .............................................. 20
Applying Petal Texture ................................................ 22
Adding Petal Edge Dimension ...................................... 26
Embellishing the Petal Surface ...................................... 30
Forming the Petal Center.............................................. 32
Riveting ..................................................................... 36
Adding Color ........................................................... 38

Chapter 2 Forming Basic Flowers ...........40

Trillium ...................................................................... 42
Lily ........................................................................... 43
Magnolia .................................................................. 44
Dogwood.................................................................. 45
Orchid ..................................................................... 46
Anemone ................................................................. 47
Cherry Blossom ......................................................... 48
Passionflower ............................................................. 49
Clematis.................................................................... 50
Narcissus.................................................................... 51
Daisy ........................................................................ 52
Daffodil ..................................................................... 53
Sunflower .................................................................. 54
Dahlia ....................................................................... 55
Rose ......................................................................... 56

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 Chapter 3 Advanced Techniques
for Flowers and Foliage........................ 58
Crushed Flower Technique ...................... 60
Wisteria ..................................................................... 61
Carnation .................................................................. 62
Pomegranates or Rose Hips ........................................ 64
Tube Flower Technique ............................65
Agapanthus ............................................................... 67
Fuchsia ...................................................................... 68
Leaf, Branch, and Vine Techniques ........... 69
Wirewrapped Branch and Vine..................................... 71
Wirewrapped Wreath ................................................. 72
Woven Leaf and Clasp ............................................... 73
Leaves with Wavy Edges ............................................. 74

Chapter 4 Metal Jewelry in Bloom ........ 76

Magnolia Earrings ....................................................... 78
Rapid Review: Creating Consistent
French Earring Wires, 79
Trillium Earrings........................................................... 80
Rapid Review: Jump Rings, 81
Linked Collar............................................................. 82
Delicate Lariat ............................................................ 84
Charming Display ....................................................... 86
Rapid Review: Clasps, 87
Statement Piece.......................................................... 88
Stylish Slide .............................................................. 90
Dapped and Linked .................................................... 92
Rapid Review: Bails, 94
Contrast With Leather .............................95
Rose Cuff.................................................................. 96
Leather Panels .......................................................... 98
Contrast With Faux Bone .......................100
Faux Bone Cuff ......................................................... 104
Ribbon-Laced Pendant ............................................... 106
Templates ........................................108
Resources ........................................ 110
Acknowledgments .............................111
About the Artist ...............................111

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 Introduction
I
remember when I made my first
metal flower. I had just spent the
day making bracelets with dozens of
customers at my bead shop. We were
creating simple strung bracelets from
carnelian beads, pearls, and a beautiful silver
bead with an image of a dogwood on it. We
made over 1,000 bracelets that day to raise
money for the Melanoma International
Foundation in memory of my friend
Lesley (the dogwood was her favorite flower).
Inspired and invigorated by these new friends,
who so selfishly gave up their time and talent,
I sat in the classroom and created until the
wee hours.
As I sat and beaded with these women, I
not only had the pleasure of getting to know
them, but I also had the opportunity to really
understand what they did and did not pursue
when learning to make jewelry. There was a
passionate discussion about how each of them
wanted to work more with metal. However,
there was always something that stopped
them—they didn’t have the tools or the room,
or they feared the skills were too advanced.
The conversation stuck with me, and from that
point forward, I dedicated myself to finding
ways for students to learn to work with metal
on their own terms.
So, what were their terms? First: No
jeweler’s saw! It is not my intention to feed
into the fear surrounding sawing metal. On
the contrary, I encourage you to learn how to
use a jeweler’s saw, and every flower in this
book can be made using one. However,
sometimes, you have to question why you are
using the tool you are using. Is it just because
someone told you to? “Is it the right tool for
the job?” is the only question that matters.
Learn to use as many tools as you can, and
BKS-64438-01.indd 8
then choose what works for you. To make this
initial foray into metalwork as easy as possible,
you will learn how to cut metal with metal
shears in this book.
Second term: limited investment in tools.
Admittedly, as I have been making flowers
over the last eight years, I have expanded the
techniques I use (and the collection of tools I
use). You’ll get a complete list of all my
favorite tools, but most of the flowers can be
made with just a few tools and supplies.
Third term: no soldering. Many people
work at a kitchen table and do not have the
space or ventilation needed for soldering.
There is no soldering in this book, although
experienced metalworkers can certainly adapt
the designs into soldered projects. Instead,
these flowers are assembled using basic cold
connections, such as riveting.
Fourth term: usable finished pieces. Not
everyone works in metal all the time. Some
people dabble in wirework, bead stitching,
chain mail, and mixed-media work. These
flowers can be incorporated into nearly any
jewelry or artwork that you may already
be making.
Fifth term (defined more by me than by
my students): create flowers in a way that
serves both as a project lesson and a technique
lesson. My goal is not to teach you to make a
dogwood blossom per se, but to make sure the
techniques you learned in making the dog-
wood can be applied to other flowers or other
metalwork you undertake. In fact, my real
goal is for you to have the skills to make any
flower in the world—to be able to look at one
and break it apart in a way that makes it an
approachable project. Enjoy!
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 9

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 Flower Fundamentals
B
y reviewing the step-by-step process for constructing metal flowers, you will quickly
learn how to look at flowers in a way that enables you to create your own design. To use
this chapter, read through the entire process once, as decisions you make for one aspect
of the flower will affect the design of another part of the bloom.
I’ve created a Metal Garden System that will help you analyze a flower, break down the
characteristics, and then determine the “recipe” you’ll need to follow to re-create the flower in metal.
In the following pages, you’ll learn how to apply the system as well as how to use the tools and
supplies you’ll need.

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BKS-64438-01.indd 11 1/3/13 11:22 AM
 Getting Started
When observing a flower to re-create
in metal, the first thing to do is to
count the number of layers. Is there
one set of petals, or are the petals
stacked in layers? Next, determine
roughly how many petals there are
per layer. Finally, examine the outline
of the petals. Are they round, oval, or
spear-like? These three details make
up the basic flower template.
Then, notice the flower detail. Look
at the edges of the petals. Are they
smooth, tattered, or rippled? How are
the petals shaped? Are they flat, or
cupped in a concave or convex
manner? Observe the surface of the
petals. Are there lines, dimples, or
an interesting pattern? Finally, what
does the center look like? Does it have
a few tall stamen or a tight cluster of
small stamen?
12
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Using these questions, let’s look at
a dogwood:
This flower has one layer of four
petals. The petals are round and have
a notch out of the end. The petal
surface has lines going from the center
of the flower to the tip of the petal and
the petal is slightly cupped. The center
is a tight cluster of stamen.
You can quickly see that by
understanding how to break down the
characteristics of a flower, you can
determine the “recipe” for creating
any flower. In this chapter, you’ll
learn different ways to represent petal
count, petal outline, petal edge, petal
surface, and center treatment in metal.
I have created templates to make
it easier. On pages 18 and 19 you’ll
find templates for three-, four-, five-,
six-, and seven-petal flowers. These
templates can be combined with each
other to create layered, complex
designs. Each template has heavy
black lines that can be cut into
stamen, and gray lines that allow you
to choose a round, oval, or spear-
shaped petal. A set in multiple sizes
for you to copy and use is on pages
108 and 09.
Before you start making flowers, you
need to understand the required tools
and supplies. I’ve provided a
comprehensive overview on the next
few pages, but by no means do you
need all of the items listed. You can
execute many of the techniques with
just eight tools. These are the
“essentials” and they are pictured on
page 13. You can find them at most
bead stores and also at major craft
chains and online stores. While I
encourage you to invest in good tools
that will last you over time, don’t let
your budget stop you from enjoying
metalworking. There are a variety of
economic options for the beginner—
more so than ever before.
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 Tools and Supplies
THE ESSENTIAL
2 3
8 TOOLS
1 Metal files
2 Household or brass hammer
3 Flat head jewelers screwdriver
4 One or two dapping punches
7 5 1.5mm hole-punch pliers
4
6 Metal shears
7 Roundnose pliers
8 Steel bench block
1
6

TIP Setting up can be over-

whelming when you start a new
type of jewelry making. For many,
the kitchen table serves as a
workstation, and the thought of
having to drag out a whole bunch
of supplies stops you in your tracks.
I was that way until I discovered a
trick. Take a picture of your
workspace after you set it up and
before you start to work. It will
seem less intimidating to set up
again next time. Until you have a
bench with all your tools at your
fingertips, this is a great way to
break down a barrier that may be
stopping you from enjoying a
new project.
5
6
1 2
4
3
8
7
10
THE ESSENTIAL SUPPLIES 9
1 Polishing papers—to create a matte or mirror finish
2 Scouring pad—to create a brushed finish
3 Polishing pad—to polish metal
4 Polishing cloth—to remove tarnish from metal
5 Steel wool—to create a matte finish/reveal highlights after applying a patina
6 Painter’s tape—to prevent templates from sticking to the metal
7 1⁄16-in. diameter solid rivets—preferred over tube rivets
8 File lubricant
9 Label stock—to copy templates
10 Liver of sulfur—to add patina to metal
24-gauge or 26-gauge metal sheet or disks —see p. 17

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 Your “Garden” Tools

1 Dapping set—for embellishing petals
and creating dapped cups
2 Riveting hammer—for hammered
finishes and riveting
3 Chasing hammer—for hammered
finishes and riveting
4 Hammer—for use with metal stamps
5 Scissors—to cut tape and templates
6 Dimpling pliers—1mm for dots,
3mm, 5mm, and 7mm for dimples
7 Metal shears—scissor style for
right-handers, shear with a spring for
left-handers
8 Wire cutters—for trimming wire
and metal
9 Roundnose pliers—for wire
wrapping and wire loops
10 Chainnose pliers—for wire
wrapping and grasping metal
11 Metal files—flat and round needle
or diamond files for smoothing and
shaping edges
12 Emery board—drug-store variety
13 Diamond bur—to create a
stardust finish
14 Texture brush—to create a
brushed finish.
15 Battery-operated bead reamer—for
use with a diamond bur or texture
brush. Use a rotary tool or flex shaft
in place of a battery-operated bead
reamer (not shown)

15 2

3
14

13
1 4
12

11
5

6
10

8 7

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 27 28

16
17

18

26

19
25

24

23
20

21

22

16 Crimping pliers—to fold crimp tubes
17 Cross-locking tweezers—to hold hot
metal at the torch
18 Butane torch—for making fused pins
and applying heat patina to
copper. Use with a heat-proof surface
19 Power punch—for making large holes
20 Steel bench block—for riveting and
stamping textures, and rubber bench
block for creating shape and providing 24 Center punch—for stamping dots
support during filing 25 Cold chisels—for stamping
21 Pipe cutter—for scoring and long lines
cutting pipe 26 Flat head jewelers screwdrivers—for
22 Hole-punch pliers—1.5mm for stamping lines
riveting, 1.8 and 1.25mm for holes and 27 Small vise—to hold nail set
embellishments during riveting
23 Awl—for piercing and 28 Nail sets—for stamping circles and
stretching holes riveting into concave spaces

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 SHEARS
The most important tool in your toolbox is a pair of metal shears. I have tried
dozens of metal shears over the years, from basic tin snips to the popular
Joyce Chen multi-purpose shears. To this day, my favorite pair is still the
narrow blade, 71⁄4 in. shears sold by Eurotool. The blades are just long
enough to make continuous, smooth cuts, the handles are comfortable, and
the shears remain sharp for a long time. They easily cut through 24-gauge and
even thicker gauges if treated well. The Joyce Chen shears work
exceptionally well on 26-gauge metal, but find I overstress the handle on
higher gauges. However, they are exceptional for straight cuts where
precision is required due to their very narrow blades. For left-handers who
find scissors-style shears difficult to use, pick straight shears that have a spring.
Most students find that straight shears without a spring are almost unusable for
making flowers and are suitable for single, straight cuts only.

METAL DISKS VS. SHEET METAL
When I create flowers, I almost always start with metal disks.
Since I am usually going to end with a rounded design, it
makes sense to start with a round piece of metal. I am often
asked, “Isn’t it cheaper to just use sheet metal?” The answer:
Yes, most of the time. For base metals, such as copper,
brass, or aluminum, sheet metal is usually less expensive.
However, prices for precious metals, including sterling silver,
can vary. The price of sheet silver is often based on the daily
ounce price. The price for the disks is often what it cost the
suppliers at the time that the disks were made. So
depending on when the disks where made (in a high or
low silver market), they may be priced much lower or much
higher than sheet. Bottom line: Price out your options before
buying and decide for yourself if the convenience of starting
with a disk is worth the price difference.

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 METAL CHOICES
Choose your metal for both form and function: Consider how you want the flower to look (form) and how it needs to
perform (function). Don’t be afraid to mix metals. You can create beautiful effects by using different metals within the layers
of a flower or by using a contrasting metal as the center treatment. Here’s a quick review of some of the most common metals
and how they relate to the projects in this book:

Copper is a great choice for making flowers. It is soft enough to cut easily, but
COPPER

strong enough to withstand shaping. In addition, you can use a torch to apply a
heat patina (p. 38), producing beautiful colors. It is readily available and comes in
wire, tubing, sheet, and disks, as well many other forms.

Although harder to cut than copper, brass is an option that looks especially
BRASS

beautiful with a stardust texture(p. 22). Because it is hard, don’t overwork it. It will
become brittle and your petals or stamen are likely to break off.
NICKEL SILVER

Nickel silver is a combination of copper, zinc, and nickel ,and has a medium gray/
silver finish. It is hard, like brass, but much more brittle. It is a good choice for
flowers or layers that have no stamen. If you have a nickel sensitivity, you may want
to choose an alternative for silver-colored flowers.

Silver-filled items are generally made with a brass core and then coated with a
GOLD-FILLED

layer of silver. The coating is thicker than standard plating, making it more durable.
SILVER OR

While most companies offer silver-filled sheet metal in double layers (coated on
both sides), a few offer it in single layers (coated on one side), giving artists a
unique opportunity to have two-toned flowers. Gold-filled materials are made in
the same way, but are generally a layer of 14K gold over a copper alloy.

Sterling silver is 92.5% silver and 7.5% copper. It cuts easily without becoming
brittle and looks great with all finishes. The disadvantage is that it can be 10 times
SILVER

the price of copper or brass. Fine silver is 99.9% pure silver and is much softer
than sterling silver due to the lack of copper. Fine silver is suitable for flowers that
will be work-hardened.
RETICULATED

Silver made from 80% silver and 20% copper can be heated in a very specific
way to wrinkle the metal, due to the different melting temperatures of the two
SILVER

metals. While you can buy sheets and reticulate it yourself, many suppliers carry
sheets and disks that have already been reticulated, giving you instant texture.

Aluminum is a soft, light gray/silver-colored metal that is available in more jewelry-

OR ANODIZED
ALUMINUM

making forms than ever before. It becomes extremely brittle as you work with it, so
ALUMINUM

it is not recommended for flowers that have stamen. However, it is a great choice
for a domed center or flower layers without stamen. Aluminum can be
anodized (a method of coating the metal through an electrochemical process),
adding beautiful colors and patterns.

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 Choosing Petal Count
These five basic templates that can be altered and
combined to create just about any flower. The thick
divider lines on each template designate the stamen.
The petal outlines give you three petal shape choices:
spear (inner line), oval (middle line), or round
(outer line).

See pages 108 and 109 for template pages featuring

each template in multiple sizes for you to copy and use.

Three Petal three Petal

Three-petal templates work well alone or in multiple
layers. They can also be used to create leaves.
Flowers: Trillium, Lily, Magnolia (p. 42–44).

Four Petal
This template is used for the dogwood, the original
flower in the Metal Garden series.
Flowers: Dogwood, Orchid, Anemone
(p. 45–47)

five Petal
This template can stand in for any generic flower and
Four Petal also be used to create star shapes. It works especially
well for large pendants.
Flowers: Cherry Blossom, Passionflower
(p. 48 and 49)

Five Petal
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 Six Petal
This petal works well for larger flowers, but is still easy
enough to cut for small designs.
Flowers: Clematis, Narcissus, Dahlia (p. 50, 51, 55)

Seven Petal
This template will test your cutting skills! Give yourself some
practice before tackling it, work in sizes that are one inch or Six Petal
larger, and always use a hard metal to ensure strong stamen.
Flowers: Daisy, Daffodil, Sunflower (p. 52–54)

Seven Petal

Applying the template

To apply the template, copy it onto label stock, and place it
on a piece of painters tape. Cut out the template, and tape
and place it on the metal you will be using. The tape will
prevent sticky residue from the label stock. You can skip the
tape if you are using removable labels.

Before applying the template, you may want to consider

texturing your metal (p. 22).

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 Determining Petal Shape
Cutting
All flower templates are cut in the same manner. If you
are new to cutting with shears, give yourself a few flowers to
get used to the process. Take time when you are cutting. The
smoother the cuts, the less filing you will have to do later.
First, here are a few general tips for cutting with shears:
Never close your shears. You have complete control over
whether the shears open or close. Keep it that way. Never try
to line up the end of the shears with a cut line and snip. You
are more likely to cut further than you intend, leave a torn
“Y” shape in the metal where the tips meet, create
dangerous flying metal, or even worse, cut yourself.
Work toward the back of the shears for the longest cutting
stroke possible. This will help you avoid closing the shears
and allow you to make continuous smooth cuts, which
require less filing.
Avoid scissor-cutting action. Although it sounds like a
feature in a child’s action figure toy (“now with scissor
cutting action!”), it is not a desirable thing. The open, close,
open, close action of scissor cutting will often result in
double cuts and thin sharp pieces that protrude from the
edge of your work.
Don’t be afraid. Remember: If you control the shears, and
they don’t close…what do you have to fear? It’s all about
control, and that’s what you are going learn as we explore
cutting out the templates.

Step 1: Cutting the stamen

Starting toward the back of the shears, cut down
each side of the stamen, ending at the center circle.
You can change the width of the stamen as desired by
cutting on, inside, or outside the line. Don’t cut too
far on the outside of the stamen line or your petal will
not have enough metal left for a strong joint (a). a
If you want no stamen, simply cut down the center
of the black line until you reach the center circle (b).

NOTE: You will notice as you cut the stamen (and

again as you cut the petal) that the petals will twist a
bit. No worries. For now, leave them be. How much
they twist has to do with several things: how sharp the
shears are, the angle you are holding the shears, etc. b

Using chainnose pliers, gently pull the stamen so

they stand straight up (c). This will get them out of
the way so you can cut the petals.
Try to pull them up rather than put a sharp bend
in them. Bending them work-hardens the joint and
increases the risk that the stamen will break off later.
c

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 Step 2: Cutting the PetalS
When you look at the petal template, you will notice that you’ll need to cut
on the right side of the petal and the left side of the petal. There is a slightly
different technique for each. For right-handers, the right side is very easy to
cut as the wrist more naturally bends forward than backward. (As you can
imagine, left-handed artists will find the right side of the petal harder and vice
versa for this same reason.)
Working toward the back of the shears and starting at the tip of the petal, a
cut the right side of the petal, following the template line for the round, oval,
or spear-shaped petal. Cut until you can remove the excess metal. Repeat on
all right sides of all petals (a).
The trick to cutting on the left side is how you hold the flower. Place the
flower between your thumb and your forefinger and middle finger for
support. Position the shear so that the tip of the shear is on the inside of your
thumb. This will allow you to cut with your right hand while rotating the piece
with your left hand, reducing the amount of bend in your wrist (b).
While you may be tempted to turn the flower over and freehand cut the left b
side, be warned that you are very likely to cut/over bend the stamen that way.
If you flip the stamen to the back and then cut from the back, you have
significantly work-hardened the joint where the stamen is attached to the
flower and will be likely to lose it when you work with it later. Have patience.
By the second flower, left-side cuts will get dramatically easier as you
understand how to hold your work.
Push the stamen down just partway and remove the template.

Step 3: Filing
Use a metal file to round the edges of your petal.
Lubricate: Consider lubricating your files with a cutting
lubricant for smoother, easier filing.
Provide support: Avoid air filing. By filing in the air, you are
giving away half of your power with every stroke. Position the
piece on a rubber block for support to push against as you file. a
Follow a forward motion: Hold the file in your hand with the
file pointed away from you and make a “pushing” or forward
stroke to remove metal. Focus on rounding the outer edge and
intersection where the edge of the petal meets the gap left
from cutting the stamen (a). There is often a point here. Work
to round the edge with the file. Then, take an emery board at
a 45-degree angle to the edges to round them a bit more and
remove filing marks (b). b

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 Applying Petal Texture
Before you begin working with metal, you can apply a texture to the
surface. It is important that you consider, however, whether the application will
work-harden the metal too much, making it difficult to cut, and making the
stamen more likely to break. For this reason, I generally recommend textures that
can be achieved without using aggressive methods like hammering. Because the
metal has two sides, you can create different textures on the front and back. This
is a nice detail for stamen, which are often rolled or pulled forward, and leaves or
petals that are curved.
Place the metal on a small square of faux suede when using sandpapers,
scouring pads, or polishing pads. This provides a grip for the metal and keeps it
from sliding around. Rotate the fabric as you work.

BRUSHED FINISH
Attach a texture brush
STARDUST TEXTURE to your tool and create
By far my favorite texture, a stardust texture is a brushed finish.
shimmery and fine, and can be easily achieved Alternatively, use a
using a pear-shaped diamond bit. Simply insert the maroon scouring pad for a
bit in a flex shaft or rotary tool, or use a battery- brushed finish.
operated bead reamer. Use the side of the bit to
texture the metal. Avoid touching the tip to the
metal, as this will make lines and streaks.

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 MATTE FINISH
While you can simply use sandpaper or
steel wool for a matte finish, my favorite way
to achieve a uniform matte surface is to start
with a stardust finish. Then, I use 3M
Tri-M-ite polishing papers, starting with the
400 grit, moving to the 600 grit, and ending
with the 1200 grit, to bring it from stardust
to matte.

MIRROR FINISH
Achieve a mirror finish by using 3M polishing papers,
working all the way through to the finest grit, 8000. This can
take time and a good amount of elbow grease, but the finish
is worth it. For a quicker shiny finish (although not as
spotless as using papers), try a polishing pad. This pad
contains a fine abrasive and polishing solution that work
together to remove any oxidation, creating a beautiful sheen.
Alternatively, use a rotary tumbler with steel shot.

Whenever you use sandpapers, you will start with the coarsest grit (the smallest number, such as 400)
and work your way to the finer grits (larger numbers, such as 1200). The most important thing to
remember when sanding is to always rotate your piece, or the direction you are sanding, by 45 degrees
every time you change the grit. If you do not, you will simply be making deeper and deeper grooves in
your metal with your sandpaper. By rotating the piece, you are slowly pressing the metal into the previous
grooves, creating a smoother and smoother surface as you go.

1 2 3 4

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 HAMMERED TEXTURES
In some cases, such as
the narcissus, the flower or
flower layer will have no
stamen, no edge, and no
surface embellishment. In that
case, it’s okay to apply a texture
with a hammer, which will
harden the metal.
To create a hammered finish,
use the rounded face of the
chasing hammer. Hammer
straight up and down to create
divots. Don’t neglect the edges
of the piece, but try not to
hammer too hard on the edge,
or you risk creating thin, sharp
points in the metal that will
distort the shape or have to
be filed off. You can also use
the flat end of a riveting
hammer or specialty texture
hammers to create an entirely
different finish.
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BKS-64438-01.indd 24
ADVANCED TEXTURES
While not covered in detail in this book, there are numerous metal-
texturing techniques that lend themselves well to flowers. Here are
just a few:
Roll printing involves using a jewelry-making tool called a rolling mill.
These range in price from $400 up to thousands of dollars. Rolling mills
work by sandwiching annealed metal between a texture (such as a brass
texture plate, sandpaper, or even a piece of card stock with an image cut
out) and two rollers, and pressing the texture into the surface of the metal.
As you can imagine, the metal is quite hard after this process and therefore
would likely need to be re-annealed prior to any cutting.
Etching is a chemical process of removing metal from the surface while
retaining metal that is covered with a resist. For example, if you stamp on
metal using Staz On ink (the resist) and place it in an etching solution,
when you’re done, the metal will be raised where the ink covered the metal
and will be etched away elsewhere. While it can be intimidating at first,
it is quite easy with the right setup. In the past, the primary way to etch
metal was to use nitric acid; however, today, there are much safer methods
such as using ferric chloride (a heavy salt). Ferric chloride will etch copper,
brass, and nickel, but not silver.
1/2/13 8:59 AM
 Annealing
Annealing is the process of returning the crystal structure
in metal to its original state after it has been work-
hardened by strong forces, such as hammering or
bending. By heating copper to a dull red, the crystals
return to their original size and the metal becomes soft
and malleable again. However, in introducing heat with
an oxygen flame, the copper will often build up firescale
(a layer of black oxides), which you can use as a
decorative patina or you will need to remove with pickle.
While the details of annealing can be quite extensive, the
following basics will be sufficient for the projects in this
book if you choose to do a hammered or other manufacturer’s directions on the pickle if you choose to
aggressive texture. remove the firescale.

To anneal, place the copper on a fireproof surface and
pass the flame of a butane torch over the surface until
you see a dull red glow (best seen in low light). Taking
it to a glowing red will mean it is past the annealing point
and the metal will become brittle. Using cross-locking
tweezers, quench the metal in water. Follow the
Use commonsense safety precautions when working
with flame, such as working in an area away from
flammables, rolling up your sleeves, and wearing eye
protection. Always use your torch in an area with good
ventilation, just for good measure.

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 Adding Petal Edge Dimension
PUNCHED
Punched edges are a common edge
treatment and are easily achieved
using hole-punch pliers to punch a
partial hole. Position the hole-punch
pliers peg so that it extends just
halfway over the disk edge. Punch a b
“half-hole” (a).
Use a needle file to round the outer
edges of the hole (b).
Try different sized or shaped hole-
punch pliers to get different effects.
For example, an oval hole-punch
pliers will create a different look than
a round one (c). I use the 1.8mm
round punch most often.

a c

TATTERED
Tattered edges are simply a series
of partially punched holes. Start at
the center tip of the petal and punch
a half-hole as for a punched edge.
Punch identical holes on each side.
Space the holes far enough apart so
there is sufficient metal between
them (a).
Use a needle file to round the outer
edges of the hole.
Adjust the look by varying the
depth of each punch. Either just nip
the edge with the punch pliers, or b
make nearly complete holes. The
number and spacing of holes will also
alter the look of this edge (b).

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 SPLIT
A split edge can provide the
appearance of a fuller flower by
giving the impression of twice as
many petals.
Use metal shears to cut a rounded a
triangle out of the center of each petal.
Use the same cutting technique used
when cutting the petals on the
templates. Start by making a right-
handed cut and a left-handed cut to
remove the triangle (a).
Vary the width and length of the cut
to change the appearance of the petal.
A wide, shallow cut will produce a
heart-shaped petal, while a long, deep
cut provides drama (b).

DIMPLED
A dimpled edge reflects light; the tip
of the petal is burnished when pressed
into the dimple.
Position the dimple pliers so the
rounded peg extends just halfway
over the disk edge. Punch a half-
dimple (a). a
Make at least two more dimples on
the edge (b). I use 3mm and 5mm
dimple pliers the most, but the size
you choose will depend on the size of
your flower and the result you’re
going for.

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RIPPLED/WAVY
Achieve a rippled edge by
making consecutive, alternating
dimples. More so than any other edge
treatment, it dramatically changes the
overall look of the petal.
Start at the top of the petal and
make a dimple as in the dimpled edge.
Turn the dimple pliers (or the flower)
over and make a dimple on each side
of the first dimple (a).
Turn the pliers (or the flower)
over again and make a dimple
on each side of the last dimples.
Repeat as desired.
After you get familiar with the
spacing of dimples, you may find a
it easier to make all of the dimples
in one direction, leaving a space
between each (b). Then, flip the
pliers (or the flower) over and
make dimples in the spaces. You
may find, depending on the
size of the petal, that you will
have achieved the ripple by just
dimpling one side in this manner. b
To make a flower appear more
wavy rather than rippled, use a
larger dimple pliers (c).
c

POINTED
Create a pointed edge when you are
cutting your flower from the
template. If you are good at making
tight, rounded cuts, it can also be
done free-form.
From the template, cut a short tab at
the edge of each petal and stand it up,
just as with a stamen. Cut the petals,
making right- and left-hand cuts
starting at the bottom of each tab (a). b
Remove the template and lay the
tabs back down. Round them using
the shears or a metal file (b).
Because you are starting your cut
below the petal shape lines on the
template, use them more as a guide
than an actual cutting line.

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 ROLLED
Rolled edges help create a petal with
a cupped feel. They work especially
well with flowers that have multiple
layers nestled together.
Using long roundnose pliers (or
bail-making pliers), grasp the edge
of the petal at an angle parallel to the
edge of the petal. Make sure the tips
of the pliers extend beyond the petal’s
edge to avoid marring (a). b
Roll the edge over toward the
center of the petal, being sure to
support the petal with your fingers.
Repeat on the other side of the petal
(b). Repeat both steps on the
a remaining petals.

PINCHED
Pinched edges only work on
spear-shaped petals and work best
with harder metals. Soft metals,
such as aluminum and fine silver,
collapse.
Start by creating a rolled edge.
Using the front notch of crimping
pliers, grasp the petal towards the
tip of the petal so the edges rest in
the grooves of the crimping
pliers. Gently squeeze (a).
Move the crimping pliers down
the petal, gently squeezing as you
go. For larger flowers, use a pair
of chainnose or bentnose pliers. If
you squeeze too aggressively, you
risk tearing the metal. Go back to
the tip, and start again if you want a
more dramatic pinch (b).
This technique works nicely with
a pointed tip, as it gives you a piece
of the petal that you can move
independently from the pinched
edge, providing even more shape.
SAFETY
Working with metal requires
some basic, commonsense safety
measures, such as wearing safety
glasses to protect your eyes from
any flying metal and a mask when
doing extensive filing to avoid
inhaling metal particles. Equally
important are the ergonomic aspects
of working with metal shears. I once
made 30 flowers in one sitting and
found my hand and thumb nearly
unusable for three weeks. Be sure
to rest and stretch your hands at
regular intervals and vary your tasks
to avoid repetition injuries. Finally,
a focus on your posture to help avoid
the back, neck, and shoulder pain
that can result from hunching over
your work.
b

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 Embellishing the Petal Surface
LINES
The most common surface embellishment is the simple line. Lines can be
made in all lengths and widths by using a range of flat head jewelers
screwdrivers and cold chisels, both available at the hardware store.
Decide on the number and placement of your lines. Place your piece
on a rubber bench block, and use a screwdriver and a household hammer to
stamp a line (a).
Repeat this line on the petal directly across from the first petal. Go to the
next petal and stamp a matching line, and then move to the petal directly
across from that petal.
By working on opposing petals around the flower, you help keep the overall
flower shape even, making it easier to stamp as the petals become more and
more shaped.
You can also achieve an interesting effect by stamping on the back of the
petal. Because the stamen often get in the way, simply hold each petal at the
edge of the bench block as you stamp.
Finally, you don’t have to stick with just straight lines. There are dozens of
interesting metal stamps that also make great surface embellishments. a

DOTS
Dots can be a simple decorative accent or, in conjunction with lines, can
appear to be stamen.
On a bench block, use a center punch and a household hammer to stamp
dots as desired (a). You can also use 1mm dimple pliers (b). To create open
dots, or circles, use nail sets (c).

a b c

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 RUBBER VS. STEEL BENCH BLOCK SHADED TEXTURE
A steel bench block is traditionally used for creating stamped I often texture my metal
impressions. Using a rubber bench block gives the added benefit once the flower is cut.
of altering the overall shape with each hammer strike. This allows me to have
the texture applied in
Stamping a basic line on the center of a petal on a steel bench the direction of the petal,
block results in a crisp line on a flat petal. By switching to a rubber or I can spot-texture to create
bench block, not only will you form a line, but the petal also folds the impression of shadow. If you are
itself slightly, creating a natural shape. Different stamp patterns going to texture after cutting, just remem-
create different shapes. A “V” will cup the metal further than a ber it can be a challenge on smaller flowers,
straight line will. Play with stamping combinations using a rubber especially when the stamen get in the way.
bench block, and you will quickly become familiar with the differ- Review how to texture metal (see p. 22–24)
ent shapes the petals develop (a). for techniques.

I almost always use a rubber bench block. My flowers tend to

look more natural,
not to mention that it
happens to be one
of my favorite and
most-used tools on
my bench.
STAMPED DIMPLES
a You can also use
dapping punches to
make dimples and add
to the overall shape of
the flower.
On a rubber bench block,
use a small dapping punch and house-
hold hammer to stamp an
impression. Hit the impression several
times to more dramatically shape
the petal.
DIMPLES FROM PLIERS Notice how the dimple is shiny from
Use dimple pliers to create concave or convex dimples on being burnished by the dapping punch.
the petals. If you have dramatic edge treatments, such as ripples Keep this in
or waves, be sure to dimple the surface first; otherwise, you risk mind so you
collapsing the edge embellishment with the dimple pliers. can perform
To create a concave dimple, place the dimple pliers over the your surface
petal with the rounded peg on the top surface of the petal and embellish-
gently squeeze. To create a convex dimple, place the dimple ments in an
pliers over the petal with the rounded peg on the bottom surface order that
of the petal and gently squeeze. The size of dimple pliers changes protects this
the appearance of the dimple. lovely effect.

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 Forming the Petal Center
NO STAMEN
Flowers without stamen are most
often used as part of a riveted,
layered flower. You can choose to
have no stamen if you want to
embellish the center with a
decorative rivet, will use stamps
to create an interesting center, or
will do more advanced work with
the flower.
Simply cut straight down the
center of the stamen, all the way to
the center circle, when you cut out
the templates.
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BKS-64438-01.indd 32
ROLLED STAMEN
Rolled stamen not only offer a
decorative touch, but also provide
closed loops that can be used as an
attachment point for wire-wrapped
beads. They can even be rolled to
the back of the flower to create
slides and pendant bails. (Adding
beads and creating slides and bails
is explained in Chapter 4.)
Hold roundnose pliers with your
palm up (facing the ceiling). This
gives you a full half-turn before a
having to readjust your pliers.
Hold the tip of the stamen with the
tip of the pliers (a).
Roll the metal until you can no
longer turn the pliers (b).
Open the pliers, not removing
them from the roll, and return to
the original starting position. Roll b
again until you can no longer turn
the pliers. Repeat until the stamen
is rolled as desired (c).
It is important to close the
stamen closely so that beads wired
to the stamen do not slip out.
1/2/13 9:00 AM
 TALL STAMEN
Tall stamen are simply rolled stamen that have not been rolled all the way.
Begin a rolled stamen, but stop after the first roll (a). Grasp the stamen below
the roll with roundnose pliers, working close to the jaw. Roll inward to arc the
stamen toward the center of the flower (b, c). Tall stamen work best in deeply
cupped flowers or with large beads that will help protect them from being bent.

a b c

TAB STAMEN
Tab stamen are functional: They become prongs for stones, pearls, beads,
dapped domes, or any other focal piece that can be securely set.
Place the item to be set (a dapped dome, for example) in the center of the
flower and gently push the tabs over its surface. Do not push them all the way
a down yet. Trim the tabs as desired (a).
Rounded bottom focal pieces, such as beads, are often difficult to set in
tabs and work best if you create a cup for them to sit in. Simply use a dapping
punch the approximate size of the bead and, on a rubber bench block, punch
straight down with a hammer, creating a well for the bead to rest in (b).
Notice that the flower also cupped, sometimes quite dramatically. Simply
pull the petals back down if needed—the well will still remain. Just
b remember that the back of the flower is no longer flat and will not lend itself
well to certain designs.
Work with opposing tabs. Slightly flatten one tab, then the one across from
it. Work with the next tab and then flatten the one across from that one. This
will help keep your focal piece centered. To push the tabs, use a nail set, end
of your pliers, or other tapered tool (c).
Tap the tabs gently with a small hammer to secure them (d) when this
c won’t risk breaking your stone.

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 CURLED STAMEN
Curled stamen work on their own as a beautiful center treatment or provide
a frame around another center focal, such as a rivet or stamped design.
Hold the pliers with your palm up (facing the ceiling).
Hold the tip of the stamen about a third of the way past the tip of the pliers.
Roll the stamen, offsetting it toward the tip of the pliers, so that the stamen
does not roll on itself (a). Once your hand can turn no more, open the pliers
and roll them back to the original position. Roll the stamen again, in an offset
manner. Repeat until the curl is complete.
Organize the curls as desired, such as in a circle around
the center, or clustered into the center. Be gentle; you do not
want to break off a stamen. Roll any exposed stamen tips
downward to reduce the risk of them getting snagged on
something.
Depending on where you start on the pliers and how long
your stamen are, you can get tight curls or large, loopy
ones. You can even cut the template out of a metal sheet and
create extra-long stamen that extend past the edge of the
template circle.

WOVEN BASKETS
Another way to set beads is in a cup made by basket weaving around the
stamen. This works best on seven-petal flowers, but any flower with an odd
number of petals will work.
Stand the stamen so that they are just shy of straight up.
Wrap a piece of 26-gauge or 24-gauge wire once around the base of one of
the stamen, holding the wire tail on the petal. Alternate weaving the wire in
front of and behind the stamen. When you reach the starting point, you will
notice that the pattern of front and behind has switched (a). With an even
number of petals this won’t happen. In this case, wrap the wire around the
first of the stamen and turn around and go in the opposite direction to achieve
the same result. a
As you are weaving, pull in just slightly so the stamen are vertical. Weave
two-thirds up the stamen. Push a bead into the basket. It should be fairly
tight (b).
Continue weaving two more passes, pulling tighter so that the stamen close
over the widest part of the bead. Roll the ends of the stamen outward. Wrap
the weaving wire twice around one of the stamen and trim.

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 DAPPED CUPS
Dapped cups can be concave or convex and
embellished or plain.
To successfully dap a disk into a dome, introduce the
metal to the dapping block by gradually cupping it.
Trying to dome it all in one hammer blow usually
results in puckers. Overworking a dome that is
hardened will also cause it to pucker, and even crack
due to its brittle state, so know when to stop.
Find the dapping die that is the same size as the
disk (a). Move two or three dapping die sizes larger
(depending on your block). Place the disk in the die and
strike it with the corresponding dapping punch (b).
Not sure which punch to use? Always make sure the
punch fits in the die you are using so that the bottom of
the punch “thuds” solidly in the bottom of the die. If it
a b
BKS-64438-01.indd 35
doesn’t, you risk damaging your tool.
Place the partially cupped disk in the die that is the
next size smaller. Strike it with the corresponding
dapping punch (often times, this is the same punch)
(c).
Repeat until you reach the die equal in size to the
disk. Don’t go beyond this die size unless you anneal the
metal first (d).
Mark the center of the cup and use 1.5mm hole-
punch pliers to pierce a hole in the cup for riveting (e).
To create a punched edge on cups as you did on
petals, simply punch “half ” holes directly across from
each other (top then bottom, left then right) (f) and
then punch the spaces between in the same manner (g)
before dapping.
c d
f g
35
1/2/13 9:00 AM
 CLUSTER STAMEN
Sometimes, you want more stamen
Riveting
than the template allows. Cluster stamen Rivets serve both form and function.
are a separate layer of just stamen that While they make beautiful center
create a flower with a full center. treatments, provide a contrasting metal
Enlarge or reduce the template for the size color, or stand in place of stamen,
cluster you desire. Use the inner circle size as your guideline. How you more importantly, rivets connect
organize your stamen will determine how big the final cluster is. flower layers and create dynamic,
Stamen that rest straight up will result in a cluster size that is the same three-dimensional designs that would
size as the inner circle. Stamen that lie flat but curl slightly upward will otherwise need to be soldered.
be nearly the same size as the template itself.
Cut the black triangles out of the template, removing them one at a A rivet is a piece of wire or tubing,
time (figure and a). Unlike with the flower templates, do not do all the most often with a head (think of an
right-side and all the left-side cuts at one time. It gets too confusing. untapped screw), that is placed
Remove the template and file the stamen. Punch a hole in the center through multiple layers of material (in
with 1.5mm hole-punch pliers so you can rivet it to your flower (b). our case metal). The end is trimmed
I find that if I cut my stamen tip at an angle, I can focus mainly on and hammered in a manner that
rounding the point. It also gives me room to get my file between the allows it to spread, trapping the rivet
stamen tips. Position the stamen as desired. in the hole and adhering multiple
layers together.

Riveting works on the principle that all

the power of the hammer goes straight
down the rivet. If there is space for
that power to be diverted, the rivet
cannot spread properly. Therefore,
while there are some very rare
exceptions and tricks, three rules
must be followed to ensure successful
riveting:
a b
1. The rivet diameter and the hole(s)
in which it will be placed need to
match perfectly. Why? The rivet will
buckle or be unable to spread enough
to fill the hole.

2. There needs to be no open space

between the layers being riveted.
Why? The rivet will buckle.

3. Punch holes and rivet one rivet at a

time. Why? The precisely calibrated
holes may no longer line up due to
slight shifts in the metal.

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 Place the trim Check the edges to make sure they are
guide over the not sharp. If they are, gently tap them
rivet. Place the down with a chasing hammer. Use
flush-cut side of sandpaper to smooth the rivet, but
your wire cutters beware not to over-sand.
flat on the guide
and trim the wire. Riveting a concave item
If the concave item is wide enough to
Remove the accommodate a hammer, place the
guide. Follow one of these riveting rivet head on the back of the piece
methods to flare your rivet. Over time, and flare the rivet inside the concave
you will find which hammer and which item. In most cases, you cannot get a
style you prefer. hammer face into the item you are
trying to rivet.
With a chasing That’s why you
Luckily, the availability of pre-made hammer turn to another
rivets and hole-punch pliers makes Strike the center trick I learned from
riveting easier than ever. For example, of the rivet firmly. my mentor Robert
I can easily find 1⁄16-in. (1.58mm) It will slightly Dancik.
diameter solid rivets at jewelry supply spread.
stores, metal studios, and many bead Select a nail
shops. Combined with a 1.5mm hole Work along the set with an a
punch, I can easily punch and insert edge of the rivet, impression that
a rivet into any metal up to 22 gauge, striking and pulling out as you approximately
and use an awl or bead reamer to hammer. (I call this a “J” stroke.) matches the head
stretch or file the hole if it’s tight. A This will spread the metal and work- of the rivet. Place
screw-style hole punch has a 1⁄16-in. harden it. the nail set in
punch and is also a viable option. a vise (a).

Make a trim guide With a riveting Place the piece

Punch a hole in a 26-gauge piece of hammer face down (b) on
scrap metal to create a guide for Rivet in a the nail set, resting b
cutting the proper rivet length. compass-point the rivet head in
manner, striking the impression.
the rivet north-
south (a) and Trim and rivet as described previously.
then east-west a This can take some practice to balance
(b). Work around everything as you are riveting, but it
Riveting flat items the rivet in the will allow you to rivet almost anything.
Punch a matching hole through same manner,
all layers. spreading it
evenly.
Insert a rivet and place the piece,
rivet-head down, on a steel bench
block. All of the weight must be on
the head. b

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 Adding Color
Color is an important topic to
understand when creating flowers.
Methods to color metal could and
have filled entire books, but here is a
brief overview of some of my favorite
coloring options. Every year, new
methods of coloring metal are
introduced (or old ways are
revitalized), so I urge you to keep
experimenting.
Alcohol inks
Alcohol inks (Adirondack liquid
inks, Copic, or Spectrum Noir), or
permanent markers, such as Sharpie,
adhere to nonporous surfaces. It is
important that you seal colors from
alcohol inks (see p. 39). Alcohol
activates alcohol … so if you
accidentally spray perfume or
hairspray on your piece, or get hand
sanitizer on it, the ink will run. It
also means that it is difficult to layer
unsealed colors, as the new layer
activates the previous layer, causing
streaking.
Metal inks
I use metal inks by Ranger (Vintaj
Patinas) and artist Lisa Liddy (Color
Me This blended patinas). While
alcohol inks are transparent, these are
opaque, and provide a more solid
38
BKS-64438-01.indd 38
color. They are
permanent on
metal, but it is
recommended that
they be sealed. Use
a polishing pad to
wipe the ink from
the raised areas of your
metal to create even more
dramatic effects.
Liver of Sulfur
Liver of sulfur works well on both
copper and silver to create a dark
finish that can then be polished back
to reveal highlights of shiny metal and
low-lights of colored detail. It is
especially effective on textured pieces,
as it makes the textures stand out.
While liver of sulfur can be used on
silver to create finishes that range
from bronze and green to blue and
purple, this takes some practice,
involves temperature and solution
variables, and is sometimes enhanced
by the addition of other chemicals.
For our purposes, we’ll consider dark,
antique-looking finishes only.
Liver of sulfur comes in solid,
liquid, and gel form. Each has its
advantages and disadvantages, but
basically, they are the same
substance. Follow the manufacturer’s
directions for using the solution
you choose.
I find that I can bring color my
pieces faster by heating the solution
and the metal. I run the metal under
hot water, and once the piece is hot,
I place it in the warm solution either
using a small steel basket or by
dangling it in the solution on a piece
of wire. Once it darkens, rinse it well
to stop the reaction and to remove
the excess solution. Use steel wool or
polishing pads to remove the dark
surface color, and leave traces in the
crevices of the texture.
You may want to antique the metal
before working with it; other times,
you may want the more intense
contrast achieved by antiquing the
project at the end and then polishing
it. Keep your desired end result in
mind when you begin a project.
Heat Treatments
Sterling silver, copper, and brass
turn black when exposed to the
high heat of a torch flame. The black
surface is called firescale, and it is
the result of oxidation caused by the
oxygen in the flame. Unlike the color
resulting from an application of liver
of sulfur, this black surface is hard
to remove without the aid of an acid
pickle. Copper, however, does not go
straight to black. As you heat copper,
colors begin to emerge—oranges,
purples, blues, greens—all in swirling
patches that are unpredictable, but can
be beautiful.
1/2/13 9:01 AM
 Before you heat-treat metal, be sure
it is completely clean. Any fingerprints
will show up. Clean the surface with
alcohol, wash it with soapy water,
rinse it, and dry it before heat-
treating, as alcohol is flammable.
To create a colored heat treatment
on copper, place the copper on a
fireproof surface and run the flame
back and forth over it. After achieving
the desired color, immediately quench
the copper in water. If the color is
not what you like, keep repeating the
process. As long as the metal remains
hot, it will continue to turn color,
eventually going to a grayish black.
Even when it gets to this point, you
can heat it again to get different colors.
Be careful, though. Heating copper to
a dull red glow brings it to its
annealing point and will make it soft.
While you cannot achieve exactly
this same effect on brass, you can get
a dark, golden hue and some color by
passing a flame over the metal.
Alternately, for a consistent dark hue,
place the copper in a 450°F oven for
5–10 minutes. Sometimes I am able
to coax out more blue and purple
on the brass by soaking it in
a ¼ C vinegar and 1 Tbsp.
salt solution for 15 minutes
before drying the metal and
heating in the oven.
BKS-64438-01.indd 39
Nail Polish
Often overlooked, nail polish is
a great option for coloring metal. It
comes in many colors and is easy to
brush on. Be sure to have some
texture on the surface of the metal
when applying nail polish. This
“tooth” will provide better adhesion.
Prismacolor pencils
Not all colored pencils are alike.
Prismacolor pencils work well on
metal because they have thick, soft
cores with vivid pigments that create
solid, blendable color layers. Like nail
polish, be sure to have a texture on
the metal for the pencil to bite into. If
you will be adding multiple layers to
get thick, opaque color, apply a sealant
between layers (see Sealing).
Advanced techniques
While not covered here, these
flowers are beautiful enameled
(powdered glass fused to the surface
of metal), powder coated, accented
with colored resin, or perhaps even
spray painted!
The coloring methods listed here
are by no means the only options.
Experiment, play, and see what color
options you can come up with on
your own.
Sealing
No coloring method, be it
ink, pencil, or an antiqued or
heat-treated finish, is
permanent. Over time,
oxidation or abrasion will
eventually change the finish you
worked so hard to achieve.
To help minimize this, seal any
color treatments. Nearly all
spray sealants have some sort of
alcohol in them, so if you spray
them on a piece of metal that
you’ve colored with alcohol ink,
the ink will reactivate and run.
You also need to consider that a
sealer, such as clear nail polish,
will dramatically change the
sheen of the piece. The product
I use exclusively to seal all of
my colored pieces is Preserve
Your Memories II spray. It dries
quickly enough to avoid running
ink and has a neutral finish.
To seal with spray
Review the manufacturer’s
directions. Always spray outside
and be sure to never start or
stop the spray directly on your
piece, because any splattering
will occur at the start or end
of the spray. Spray 10–12 in.
above the piece, and be sure
to rotate and flip it for full
coverage.
39
1/2/13 9:01 AM
 Forming Basic Flowers
Y ou just learned all
of the steps to make
flowers, from
working with petal count and
shape templates to embellishing
the edges, surfaces, and centers.
This chapter contains the specifics
using a few of my favorites, as
well as some common flowers you
are likely to see in your own
neighborhood, as examples.
Each formula specifies which
template to use. The size is up to
you. If the flower is layered and
requires multiple templates, the
instructions indicate if the
templates are the same or
different sizes. The shape of the
petal is listed as round, oval, or
spear, and cutting notes specify
details on how to cut the flower,
such as including stamen or not.
The edge, surface, and center
treatments are listed, and an
illustration details the placement
BKS-64438-02.indd 40
of any surface stamps. Assembly
notes outline special tips or
techniques for assembling your
flowers. Many are riveted together,
so review the riveting instructions
on pages 36 and 37 before
you begin.
I purposely omitted
instructions for overall texture,
as that is more of a personal
preference than a flower-specific
detail. Just about any texture will
work with any flower.
The instructions summarize
edge, surface, and center
treatments with references to
treatments in Chapter 1. While
you might find yourself flipping
between pages at first, I assure
you, these treatments will become
second nature. Give yourself time
to get familiar with all of them.
EDGES
Punched ..................26
Tattered ...................26
Split ........................27
Dimpled...................27
Rippled/Wavy ..........28
Pointed ...................28
Rolled......................29
Pinched ...................29
SURFACE
Lines .......................30
Dots ........................30
Dimples from Pliers .....31
Stamped Dimples .......31
Shaded Texture..........31
CENTERS
No Stamen ..............32
Rolled Stamen ..........32
Tall Stamen...............33
Tab Stamen ..............33
Curled Stamen .........34
Woven Baskets .........34
Dapped Cups ..........35
Cluster Stamen .........36
Riveting....................37
1/2/13 8:20 AM
BKS-64438-02.indd 41 1/3/13 11:29 AM
 Trillium Template: Three-petal template
Petal Shape: Oval
Cutting Notes: Cut one three-petal
template with stamen.

Edge: Rippled/wavy
Surface: Line (figure)
Center: Rolled or tab stamen
Assembly Notes: Create a wavy, rippled
edge with dimple pliers and then stamp a
long line in the center of the petal with a
chisel on a rubber bench block.

Use roundnose pliers to shape the petals

T his flower looks good with rolled more if you do not get the shape you want
stamen or tab stamen, if you want from stamping alone. You can stamp straight
to add a bead in the center. T his down the center with a dapping punch to
sample has a heat patina. cup the entire flower more, if you like.

figure

42

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 Template: Two three-petal templates in the
same size
Petal Shape: Spear
Cutting Notes: Cut one disk with stamen
and one without stamen. I like to cut the
stamen a little narrower on this flower.
Lily
Edge: Rolled and then pinched
Surface: None
Center: Tall rolled stamen
Assembly Notes: On both disks, roll
the petals and make a pinched edge using
crimping pliers. On the disk with the
stamen, use a dapping punch to punch
straight down the center. Make a hole in
the center of each layer using 1.5mm hole-
punch pliers.

T his flower looks best on a set of

leaves (see p. 74). T he pinching
action can cause pliers marks; a
brushed finish helps mask these.

Place the layer with the stamen on top of

the other disk, and rivet. Grasp the length
of the petals with a roundnose pliers and
gently pull up to further shape the flower.

43

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 Magnolia Template: Two three-petal templates, one
in a smaller size
Petal Shape: Round
Cutting Notes: Cut the smaller disk with
stamen and the larger disk with no stamen.

Edge: Rolled
Surface: Stamped dimple (figure)
Center: Tall stamen
Assembly Notes: Use a larger punch
(approximately half the diameter of the
petal) to stamp two deep dimples on each
petal. Using the same punch, stamp straight
down the center of each layer.

Punch a hole in the center of each layer so

the flower can be riveted together.

Make sure the stamen are pulled to the

center so they do not get damaged as you
start the next step. Roll the edges slightly
to further cup the petals and, using pliers
or your hands, push the petals up so the
flower is more cupped. Shape the two
layers so the disk with stamen fits into the
other disk.

Offset the petals, making sure the top layer

sits firmly on the bottom layer, or the rivet
will buckle. Rivet together for a stand-alone
flower or rivet it directly to your jewelry
design.

figure

44

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 Template: Four-petal template
Petal Shape: Round
Cutting Notes: Cut the template with
stamen. Dogwood
Edge: Punched
Surface: Stamped line with a dimple at the
end (figure 1)
Center: Rolled stamen
Assembly Notes: Roll the stamen. Use
1.8mm hole-punch pliers to punch a half-
hole from the tip of the petal. On a rubber
bench block, use a screwdriver to stamp a
line down the center of each petal and a
damping punch to stamp a dimple at the
end of each line.

If you are going to rivet the flower to

something, be sure to punch a hole in the
center before rolling the stamen.

To add a bead, cut 3–4 in. of 28-gauge

wire. Wrap it through one of the stamen
loops tightly two or three times. String a
bead and push it down into the center of
the stamen, slightly unrolling the stamen
as needed to get the bead to fit. Wrap
the remaining wire through the opposite
stamen, in the opposite direction, two to
three times (going under the bead), and
trim (figure 2). Be sure not to kink the wire
and to keep it tight.

figure 1 figure 2

45

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 Orchid Template: Four-petal template
Petal Shape: Three round, one spear
Cutting Notes: Cut only two stamen;
stand them up straight. Cut the three petals
that are adjacent to the stamen into round
petals. Lay the stamen down. Cut the
remaining petal into a spear (see tip below).

Edge: On the spear petal, two punched

divots on the sides; rolled and pinched
edges

Surface: Stamped lines (figures 1 and 2)

Center: Rolled stamen

Assembly Notes: On the top round

petal and bottom spear petal, stamp long
lines on the front of the flower. On the
backs of the side round petals, stamp
long lines.

On the spear petal, roll the sides and dap

a dimple at the rounded bottom.

To add a bead, wire to the curled stamen

(figure 3)

TIP When you have a place where two

cuts need to meet, punch a hole at the
intersection and then cut to the hole. This
figure 1 figure 2 figure 3 gives you some leeway if you don’t meet
the cut exactly.
46

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 Template: Two four-petal templates, one
disk one size smaller than the other
Petal Shape: Round
Cutting Notes: Cut the larger disk with
no stamen. On this layer, rather than cut a
straight line for no stamen, cut a triangular
stamen. It leaves a little more space
Anemone
between the petals, making it easier to
trim. Cut standard stamen on the
smaller disk.

Edge: None
Surface: Three long lines (figure)
Center: Tab-set dome
Assembly Notes: Stamp three long lines
on the petal. Place the smaller disk on the
larger disk and rivet them together. Tab-set
a domed piece of metal or a coin bead.

figure

47

BKS-64438-02.indd 47 1/2/13 8:21 AM

 Template: Five-petal template
Petal Shape: Oval
Cutting Notes: This flower is best
created with a 1.25 diameter or larger disk.

Cherry
Cut the stamen and petals. After removing
the label, cut the stamen in half, length-
wise, so you have twice as many stamen.

Blossom Edge: Punched

T his flower looks great made of single-layer
silver-filled sheet; the curled center will show
off the contrasting brass.
Surface: Lines and dots (figure)
Center: Tight curls
Assembly Notes: Punch the edges of
the petal. Stamp three lines on each
petal near the center of the flower
using a small screwdriver. Use 1mm
dimple pliers to make one dot above
each line. Add a second dot above
the middle line.

figure

48

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 Passionflower
Template: Two five-petal templates in the
same size
Petal Shape: Spear
Cutting Notes: Cut both disks without
stamen. Either cut straight down the
stamen (left), or punch a hole at the end
of the stamen and cut to it (right). This
can make it easier to remove the excess
metal when cutting your petal shape.

Edge: None
Surface: Stamped dimple (figure)
Center: Cluster
Assembly Notes: Create the cluster
center and punch a 1.5mm hole in it and
the two flowers. Dap a medium dimple
toward the edge of each petal. Assemble
the flower with the cluster on top,
offsetting the petals, and rivet together.

figure

49

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 Clematis Template: Six-petal template
Petal Shape: Oval
Cutting Notes: Cut the stamen and
petals. After removing the label, cut the
stamen in half, lengthwise, so you have
twice as many stamen.

Edge: Rippled
Surface: Line (figure 1)
Center: Dots and open curl (figure 2)
Assembly Notes: Stamp dots in the
center of the flower using a center punch.
Loosely roll the stamen, rolling one split
stamen to the right and one to the left to
T his flower can also be made using two
form a frame of rolled stamen around the
stacked three-petal templates.
center. Use small dimple pliers to ripple
the edges of the petals. On a rubber
bench block, stamp a long line in the
center of each petal.

figure 1

figure 2

50

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 Template: Six-petal template
Petal Shape: Spear
Cutting Notes: Cut the template without
stamen Narcissus
Edge: None
Surface: Hammered
Center: Dapped cup with punched edge
Assembly Notes: Hammer the surface of
the flower with a chasing hammer. Punch
four opposing half-holes on the edge of a
small disk. Punch half-holes between each
of these holes to get even spacing. File
to round the edges of the half-holes.
Dap the disk into a cup. Punch a 1.5mm
hole in the center of the cup and flower.
Rivet together.

T his flower can also be made using two

stacked three-petal templates.

51

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 Daisy
Template: Seven-petal template
Petal Shape: Spear
Cutting Notes: Cut the disk with stamen.
After removing the label, cut the stamen
in half, lengthwise, so you have twice as
many stamen.

Edge: Punched
Surface: Long line (figure)
Center: Curls
Assembly Notes: After rolling, arrange
the stamen into the center, pulling
them into corkscrews until the center is
filled evenly.

T his flower has two nice variations. You can rivet together two seven-
petal templates for a fuller flower before curling the stamen, or you can
flatten the stamen, creating an interesting texture in the center. If the
stamen is flattened, place the flower face down over a dapping punch
depression that is just slightly larger than the center and dap down,
creating a cupped center. Arrange the petals, leaving them extending
backward slightly. Make this flower only with 26-gauge metal so you do figure
not risk damaging your dapping block.

52

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 Daffodil
Template: Seven-petal template
Petal Shape: Oval
Cutting Notes: Cut the stamen and
petals, choosing whether to apply the
pointed edge treatment at the time you cut
the petals or after.

Edge: Pointed
Surface: Line (figure)
Center: Woven basket
Assembly Notes: Consider riveting
the flower to your project before weaving
the basket.

figure

53

BKS-64438-02.indd 53 1/3/13 11:30 AM

Sunflower Template: Two seven-petal templates,
same size
Petal Shape: Spear
Cutting Notes: Enlarge the center circle
on one disk before cutting, so the petals
are shorter. Mark dots at the end of each
stamen line and near the center between
each of these lines. Cut no stamen.

Edge: Reverse dimple

Surface: Line (figure)
Center: Rivets and stamped dots
Assembly Notes: Create reverse dimples
by placing the rounded ball of the dimple
pliers on the back of the petal tip. Stamp
lines using a long chisel. Use 1.5mm hole-
punch pliers to punch holes where you
marked the dots. Set rivets in this layer only
in all but two holes (a). Stack the flowers
in an offset manner. Punch through one
of the remaining rivet holes into the layer
below. Set a rivet. Punch through the other
rivet hole and set a rivet. (This will connect
the two layers and prevent them from
spinning.) Roll the petals on each layer
forward, just slightly.

figure
54

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 Template: Four six-petal templates: two
large in the same size, two in different
smaller sizes
Petal Shape: Spear
Cutting Notes: Cut the smallest disk with
stamen and the rest without stamen. Vary
the metal for each layer.
Dahlia

Edge: Dimple
Surface: Dimple from pliers (figure)
Center: Curled stamen
Assembly Notes: Punch a large dimple in
the last third of the petal and a half-dimple
at the tip of the petal. Use 1.5mm hole-
To make a water lily, cut the
punch pliers to punch a hole in the center
petal edges so they are more
of each flower. Rivet together. Curl the
pointed, omit the surface dimple
stamen and roll each petal forward slightly.
on the petal, and pull the petals
forward even further.

figure

55

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 Template: Six-, five-, four- and three-

Rose
petal templates
Petal Shape: Round
Cutting Notes: No stamen

Edge: Rippled
Surface: None
Center: Cluster
Assembly Notes: Create rippled
edges using your largest dimple
pliers. Stack the layers from the most
petals to the least petals. Use the
cluster stamen on the top. Rivet the
layers together, occasionally checking
that the petals on each layer are
offset from the petals on the layer
below. After riveting, use chainnose
pliers to arrange individual petals as
desired.

56

BKS-64438-02.indd 56 1/3/13 11:31 AM

 I t wasn’t until my co-worker and friend Lesley, to whom this book
is dedicated, passed away from melanoma that I truly understood
the devastating effects of this disease. Women younger than 39 have
a higher likelihood of developing melanoma, the most serious form of skin
cancer, than any cancer other than breast. It is the leading cancer killer of
women between ages 29–34.

The Melanoma International Foundation was founded to develop

personalized strategies for these patients so that they may live longer,
better lives. The organization is also committed to providing free
screenings and educational opportunities in communities nationwide and
manages an extensive website cataloging the most up-to-date melanoma
research and resources.

To find out more about melanoma prevention and treatment or to make a

donation, visit melanomainternational.org. A limited number of the
dogwood bracelets mentioned in the introduction to this book are still
available in the foundations website store with all proceeds benefiting
the organization.

57

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 Advanced Techniques
for Flowers and Foliage
A l though I’ve taken quite a bit of artistic license when creating the flowers in
Chapter 2, I’ve tried to maintain the most distinctive features of each. In this
chapter, you’ll explore additional techniques that push the literal translation of
flowers toward a more whimsical representation.
You’ll be working with thin, 30-gauge sheet metal. Normally, this would be too thin to create
a design that stands on its own, but you will learn how to score it strategically and work it into
forms that can be combined into strong structures. Then, you’ll use tubing to create flowers with
incredible layering and dimensions. Finally, you’ll create different leaves and vines, a vital part of
connecting everything together.

BKS-64438-03.indd 58 1/2/13 8:22 AM

BKS-64438-03.indd 59 1/2/13 8:22 AM
 Crushed Flower Technique
Crushing is a type of fold forming.
The metal is scored so it moves in
the desired direction. Stamping and
folding the scores work-hardens
the metal.
a TIP For this technique, texturing with a
hammer will make the metal too hard
to form. A heat patina can be applied
before shaping (applying it afterwards
would anneal or soften the metal
and negate all of the work you did to
harden it while shaping it).
1 Place the metal on a rubber block.
b should be just large enough for
2 Using a cold chisel longer than
the metal diameter, stamp an X
(side one) (a).
3 Turn the metal over and stamp an
X between the lines of the first X (side
two) (b).
c crushing technique, but begin with a
4 The metal has four peaks (the lines
stamped on side one) and four valleys
(the lines stamped on side two).
Position chainnose pliers so the left
edge of the pliers is resting to the right
of a valley (c). Turn the pliers a
e f
60
BKS-64438-03.indd 60
quarter turn to the left, pulling the
peak up further and pushing the
valley deeper. Repeat on all peaks (d).
5 Use roundnose pliers to embellish
the edges as desired. Create a ruffled
look by grasping the edge of the metal
and twisting a quarter turn (e, f).
6 Use an emery board to smooth any
sharp edges.
7 Turn the crushed flower upside
down and use an awl (and the light
tap of a hammer if needed) to punch a
hole through the center (g). The hole
a headpin.
The flower looks great as a hanging
cluster (Wisteria), as an accent
(Pomegranate), or bunched together
to give the impression of fullness
(Carnation). These use the same
different metal shape.
Tip Dull new screwdrivers and
chisels slightly so they do not cut
through the metal.
g
1/2/13 8:22 AM

Wisteria
Begin with a sheet of copper with a
heat patina applied. The variation
throughout creates different color
blossoms. Or, color with inks after
forming. Due to their size and their
nooks and crannies, the blooms
are difficult to polish after they are
formed, so I don’t recommend an
antiqued finish unless you’d like to
leave it black.
a b
BKS-64438-03.indd 61
1 Cut 16–24 1⁄2–5⁄8-in. squares from the
metal. Round the corners with shears
to create circles.
2 Crush each circle, ruffle the edge,
and pierce a hole.
3 String a 4mm bead onto a 24-gauge
headpin. String a flower over the
bead (a) so the bead nestles inside. If
the bead goes too far into the flower,
remove the flower and string a few 110
seed beads above the 4mm bead.
Restring the flower and check to see
that the bead is positioned as desired.
You Will Need
• 2x6 in. 30-gauge copper or silver
sheet metal
• 16–20 4mm beads
• 16–40 110 seed beads
• 16–20 1-in. 24-gauge headpins
• 8–10 3.5mm 20-gauge jump rings
(other sizes will work)
• craft wire
4 Make a wrapped loop above each
flower (b).
5 String two flowers onto each jump
ring. Close one jump ring and leave
the rest open.
6 Attach a piece of craft wire to the
closed jump ring to mark the top of
the cluster. String an open jump ring
with flowers through the closed jump
ring between the two flowers. Close
the jump ring (c).
7 Add an open jump ring to the ring
you just closed, always placing the
jump ring between the flowers, and
close. Repeat to add all the jump rings.
8 Shape the cluster by adding more
blossoms toward the top; use jump
rings to attach wire-wrapped flowers.
At the very bottom, either add a third
blossom or another jump ring with a
single flower.
Attach the cluster to an earring wire, a
chain, or a foliage component
(detailed later in this chapter).
c
61
1/2/13 8:22 AM
 You Will Need
• 2x8 in. 30-gauge copper or silver
sheet
• 11⁄2-in. 26-gauge disk
• 1-in. 26-gauge disk
• 3 ft. 24-gauge wire
• six-petal template

1 Cut 22 1⁄2-in. circles from the

metal sheet.

2 Crush each circle and ruffle the

edges. File any sharp edges and punch
two holes side by side in the center
using an awl.

Carnation
3 Place a six-petal template on a
11⁄2-in. disk.

4 Cut every other stamen 1⁄4 in. down.

Stand the three stamen up. Following
the curve of the disk, trim the disk
Carnations bring me back to a popular junior high school fundraiser:
between the stamen so that you have
Students bought carnations dyed in our school colors and sent them to an approximately 1-in. disk with three
friends during second period. They were often the work of secret admirers, tabs. File the corners of the tabs to
gently round them.
so to this day, carnations bring a smile to my face. This flower makes a great
cocktail ring and is beautiful on a Faux Bone cuff. Simply rivet the backing 5 Using 1.25mm hole-punch pliers,
disk to the Faux Bone first and then attach the carnation tabs to the disk. To punch holes on the disk as shown
jazz it up, add a 2–3mm crystal on the center of the wire before stringing (a): From the outside, punch a hole
on every stamen line and then below
the crushed flowers onto the wire.
that, two holes between every stamen
line. Below that, punch two holes
between each stamen line. Punch one
hole between each stamen line, and
finally, punch two holes in the middle.
You will have a total of 38 holes. Each
flower cup will use two holes.

a b c
62

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 d e f

g h

6 Dap the disk so it is slightly domed
(b).
7 Cut 19 2-in. pieces of 24-gauge
wire. Bend each piece in half. String
each end through a hole in a flower
cup (c).
8 String each wire end through
adjacent holes on the convex side of
the dome. Turn the disk over and
twist the wires together tightly to
attach the flower cup to the disk (d).
Trim the excess wire.
11 Place a 1 in. disk on the back of the
domed disk and fold the remaining
tabs over to secure it (h).
TIP If you want to make a flower
that has connection loops on both
sides, simply cut all of the stamen in
step 4. Use two opposite stamen as
connector loops and the other four
(two sets of adjacent stamen) as tabs.

9 Repeat until all the flower cups are

attached to the disk (e, f).

10 Use roundnose pliers to further

twist the flower edges (g) to fill any
gaps. Tighten any loose flowers by
further twisting the wires in the back.

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 You Will Need
• 2x1-in. 30-gauge sheet metal
• 7 6–8mm seamless metal beads
• 7 3mm beads
• 7 4mm beads
• 7 1-in. 22-gauge headpins

1 Place a seamless bead in a dapping

block so that it is fully supported. Use
a small dapping punch to gently dap
dimples on the bead (a). Unevenly
rotate the bead so the dimples are

Pomegranates
placed randomly. Repeat for the
remaining seamless beads. Set aside.

or Rose Hips
2 Cut seven 3⁄8-in. disks from the metal
sheet. Follow steps 1–3 of the crushed
flower technique to score the disks.

3 Using shears, trim a triangle from

each side, starting near the base of a
Depending on the display, these altered beads can look like pomegranates
peak and ending in the center of a
or rose hips. The secret to making them work is using soft, seamless metal valley (b). Use an emery board to
beads. Seamed beads will break when they are dapped. Because many base smooth the corners. Repeat for all disks.
metal beads, such as copper or brass, are often seamed or are too hard, use
4 Follow steps 4, 5, and 7 of the
sterling silver beads for this project. crushed flower technique to crush
each disk and pierce the holes. Instead
of ruffling the edges, turn down the
pointed edges slightly (c).

5 String a 4mm bead on a headpin.

String the crushed disk, a dimpled
bead, and a 3mm bead (d).

6 For a dangle, make a wrapped loop

above the beads (e).
a b

c d e
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 Tube Flower Technique
There are many flowers that are hard to make with
sheet metal due to their tubular shape. While you could roll
the metal into a tube, you would be unable to do much more
embellishment due to the metal work-hardening during
rounding. It makes sense in these cases to start with tubing.
Tube flowers are beautiful on their own (Freesia), clustered
(Agapanthus), or with an elaborate center
treatment (Fuchsia).
Tubing is often overlooked by new metalworkers
because lengths of tubing cannot be cut with wire cutters or
shears; the tube will collapse, so cutting a segment requires
a saw. To make it easier, you will use an inexpensive tube
cutting tool available at all hardware stores. It is important to
remember what you learned about different metals in Chapter
1 because the properties of each metal are the same whether
in sheet or tube form. Copper and silver will be the easiest to
work with. Brass will be hard to cut, and aluminum will be
brittle. Tubing is found most readily in these four metals, so
review the considerations for each again.
The tubing in these projects is between 7⁄32–1⁄2-in.
outer diameter because anything smaller will be too hard to
cut petals into, and anything larger tends to have thicker walls
that make it impossible to add detail with shears. Look for
tubing that has a .014–.016-in. wall, which is approximately
27–26 gauge.

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 a b
Cutting Petals
Due to the properties of tubing, it is
important that you follow the rule:
“Never close the shears.” Closing
the shears on the tubing creates a
splayed end to the cut and often a
flat place on the metal. You will,
depending on the petal length, do
some scissor action cutting.
1 Determine the length of the petals
and mark the base of the petal with a
piece of painters tape.
2 Determine how many petals you
want. Place the tubing over the center
of the corresponding template. Mark
the locations of the stamen and use
these as the dividing lines between
petals (a).
3 Place the bottom blade of the shears
into the tubing as far as it will go (b).
Cut as far as you can without
closing the shears. Open and cut
further if needed until you reach the
tape. Repeat on all dividing lines.
4 Gently bend the petals outward
just a bit so you can freehand cut the
shape of the petal (c).
66
BKS-64438-03.indd 66
c
e
Cutting Length
1 Mark the desired length of the
tubing. Using a tube cutter, place the
tubing into the slot, aligning the blade
with the point you want to cut (d).
2 Twist the knob until the blade just
touches the tube. Spin the tube cutter
around the tubing once or twice (e). If
you cannot spin it, you over-tightened
the knob.
3 Slightly tighten the knob again and
spin the tool around once or twice (f).
Repeat until the tube is cut. The cut
end will have a nice taper to it and will
d
f
be hardened from the cutting process.
(The petals on your next flower may
be slightly harder to cut and the tips
of the petals will be slightly more
cupped.) In many cases, the cupping
is complementary to your flower. If
you don’t want cupping, add length to
the petals so you can trim off the end
before continuing to shape the petals.
The flower is now ready for
embellishing.
1/2/13 8:23 AM
 You Will Need
• 7⁄32 tubing, ¾-in. per flower
• 6mm bead for each flower
• 4mm bead for each flower
• 11⁄2-in. headpin for each flower
• chain

1 Follow the tube flower technique

to mark the length of the petals
⁄ in. from the end of the tube. Make
38

cut lines using a five-petal template.

Cut and shape the petals as directed.

2 Create a stardust texture on

the tubing (a).

Agapanthus 3 Carefully use 1mm dimple pliers

carefully to create dimples along the
tubing as an additional texture (b).

4 Use 3mm dimple pliers to dimple

These tubes can take many forms: A tight cluster resembles an Agapanthus,
the edges of the petals (c).
a single or line mirrors freesia, and a loose cluster mimics honeysuckle. I’m
tempted to hang a hummingbird charm among these flowers! 5 String a 6mm bead, the flower, and
a 4mm bead onto a headpin. Connect
the bead unit to a piece of chain with a
wrapped loop (d).

6 Continue wrapping flowers onto

chain, two flowers on each link (one
on each side), until you reach the
desired length.

a b

c d

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 You Will Need
• 7⁄32-in. tubing, 1 in. per flower
• 5⁄16-in. tubing, 1 in. per flower
• 8mm bead for each flower
• 6mm bead for each flower
• 11⁄2-in. headpin for each flower
• 5 in. 22-gauge fine-silver wire

1 Place tape 3⁄8 in. from the end of

each tube to mark the length of the
petals. Make cut lines using a four-
petal template. Cut, shape, and dimple
the petals.

2 Place the 5⁄16-in. tube over the 7⁄32-in.

tube (a).

Fuchsia 3 Make five 1-in. balled headpins

(p. 70) from the 22-gauge wire.
Stagger the lengths and twist them
together into a cluster (b). Make one
2-in. balled headpin and set aside.
This is a layered tube flower using balled headpins as stamen. You can buy
telescoping tubing, which is a series of tubes that fit into each other and 4 String a 6mm bead on the 2-in.
create as many layers as you can depending on the size of the tubing. headpin. Feed the headpin cluster
into the tubing. Feed the beaded
headpin through the cluster and the
tubing (c).

5 String a 6mm bead onto the headpin

and make a wrapped loop tight to the
bead (d).

TIP These flowers make great earrings

and lariats.
a b

c d

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 Leaf, Branch, and Vine Techniques
While flowers are beautiful on their own, hints of their
natural setting—branches, vines, leaves—give them more
authenticity and interest. These supporting elements can
be standalone pieces or components to connect, unify, and
frame your flowers. You will see how to make designs using
these leaves, branches, and vines in Chapter 4.
A good way to accent leaves, branches, and vines is to
use balled-end wire: heat the end of a piece of fine-silver
wire in a butane torch flame until it balls up. Balls can be
flattened and turned into leaves, clustered for the
appearance of berries, or even incorporated into the
center of flowers. Details are on page 70, but here are a few
points to review before beginning.
This technique works best with fine-silver wire, as
it is a pure metal. Sterling silver, which has copper in it,
discolors as it reacts with the oxygen in the flame and balls
unevenly, as the copper and silver have different melting
points. Copper alone will ball nicely, but it turns black in
the flame. Simply reheat the copper until the black coating
is removed and look for color to appear before quenching.
This process can be easier to do in dim light so you can
better see the flame. Do not try this with other base
metals. Anytime you heat metal to a melting point, fumes
are released, and metal that is not pure may contain
ingredients that produce noxious fumes.

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 Balled headpin
1 Light the butane torch as directed
by the manufacturer. Locate the small
blue flame (often called the cone) that
extends directly from the tip of the
torch. The flame beyond that turns
nearly clear.

2 Hold the wire at its midpoint with

cross-locking tweezers and place the
end of the wire at the tip of the blue
flame. As the metal melts, slowly
move the wire down, keeping the
ball at the same point until it is the
desired size.

3 Quench the wire in water to cool it.

TIP Sometimes, larger gauge wires can

take a while to ball, because the heat
is pulled through the wire and into the
cross-locking tweezers (which
are acting as a heat sink). You can
sometimes speed the process by
heating the entire wire, including the
tips of the cross-locking tweezers, Safety Notes
by moving the piece back and • Never hold the wire with your fingers; the wire gets extremely hot very
forth through the flame and then fast and you will suffer a serious burn.
concentrating on the end of the wire
you want to ball. • Always tie back your hair, roll up your sleeves, and wear safety glasses.

Two-sided balled
headpin
Make this headpin in the exact same
way as described above, except after
forming the first ball, slowly remove
the wire from the flame, give it just a
second to set, and then immediately
turn the wire over and ball the other
end. Since the wire and cross-locking
tweezers will still be hot, you will find
that the second end balls faster.
• Never use pliers to hold the wire. The heat will anneal the tips of the
pliers and in no time you will find yourself with pliers that do not meet up
at the end.
• Move slowly. Quick movements with the metal while it is in the heat can
cause the ball to misshape or drop off.
• Always work over a fireproof surface and follow the manufacturer’s
recommendations for filling your torch.

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 You Will Need
• 8 in. 18-gauge fine-silver wire for a
1-in. branch
• 3 ft. 16-gauge wire for a 2-in. vine

Branch
1 With the 18-gauge fine-silver wire,
make the largest ball you can at one
end (3mm). Place the ball on a steel
bench block and hammer it with a “J”
stroke to flatten and lengthen it until
it resembles a leaf. Avoid hitting the

Wirewrapped rest of the wire. Stamp a line down the

center of the leaf (a).

Branch and Vine

2 Make a wrapped loop at the midpoint
of the wire using the non-leaf end.
Wrap the wire tail until it ends (b).

4 Make a wrapped loop with the other

end (c). Wrap it all the way to the end.
The same technique yields a single branch or a large, winding vine. Both
work well for hanging individual flowers or connecting between flowers. 5 Wrap the wire tail with the leaf back
Instructions for the charm holder above can be found in my first book, over the wrap to meet the wraps made
in step 2. This wrap can be tight or
Spotlight on Wire.
loose, depending on the look you want
Position the leaf as desired (d).

TIP Connect dangles to a loop after

forming the loop but before wrapping.
Otherwise, use a jump ring.
a b
vine
1 Cut a 3-ft. piece of 16-gauge wire.
Make a wrapped loop (three wraps)
on one end and trim. Determine the
desired length of the vine and wire-
wrap a loop at that point. Do not trim.
c d
2 Loosely wrap the wire toward the
first loop and back again (e). Wrap
back and forth loosely and randomly.

3 Wrap the wire tail next to a loop and

trim. Use roundnose pliers to twist
e f curves and bends into the wire (f).

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 You Will Need
• 18-gauge fine-silver wire
• 7⁄8-in. diameter dowel

1 Cut a 14-in. piece of 18-gauge fine-

silver wire.

2 Make the largest ball you can at

each end. Place a ball on a steel bench
block and hammer it with a “J” stroke
to flatten and lengthen it until it
resembles a leaf. Stamp a line down

Wirewrapped
the center. Repeat on the other
end (a).

3 Place the dowel over the center of

Wreath
the wire and wrap each wire end, in
opposite directions, around the dowel
once to create a base (b). Remove
the dowel.

The following directions are for an approximately 11⁄4-in. diameter wreath.

4 Weave the wire ends around the
It is inspired by a project designed by Pam Brown in Spotlight on Wire. base in opposite directions, paying
attention to where the leaves will
ultimately end up. How you wrap will
determine the final look. Position the
leaves as desired (c).

5 Cut 3–5 3⁄4–11⁄4-in. pieces of wire and

ball each end (d). Wrap each piece
around the wreath, placing the balls as
desired. You can flatten the balls into
leaves or leave them as they are for a
different look (e).
a b

c d e
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Woven Leaf
and Clasp
Wire-woven leaves are full of
texture and look great when
darkened with liver of sulfur.
After polishing, the black remains
between the wires, defining all the
texture that you worked so hard
to achieve.
a b
c d
BKS-64438-03.indd 73
TIP To make a leaf instead of a clasp,
keep weaving in step 3 until you are
nearly at the end, and then finish off
the wire by wrapping it 10–12 times as
you did in step 2.
You Will Need
• 11 ft. 26-gauge dead-soft wire
• 33mm soldered hoop
• 3 in. 18-gauge half-hard wire
• 2 3.5mm 18-gauge jump rings
1 Using your fingers, shape the 33mm
soldered hoop into a leaf shape. Cut a
3-ft. length of 26-gauge wire and wrap
one end around the tip of the leaf 10–12
times. Trim the short end and use
chainnose pliers to tuck the end in (a).
2 Pull the 26-gauge wire through the
center of the frame and over the
opposite side, near the coils (b). Wrap
the wire around to the back of the
frame, and go back through the center.
Continue weaving until you have
weaved two-thirds of the frame.
Constantly push the wires toward the
tip of the leaf so that they are tight.
3 Coil the wire around the bottom of
the leaf (c) until you reach the other
side of the weaving. Trim the wire.
4 To make a hook, cut a 3-in. piece
of 18-gauge wire and a 2 ft. piece of
26-gauge wire. Wrap the 26-gauge wire
around the 18-gauge wire, leaving
½ in. uncoiled at each end. Bend the
wire into a “U” shape (d).
5 Curve the bent wire around a dowel
or roundnose pliers to make a hook
shape. Make a plain loop at each end
(e). Add patina with liver of sulfur.
e
73
1/2/13 8:24 AM
 You Will Need
• 24-gauge sheet metal
• 26-gauge wire (optional)

Single leaf
1 Cut down both sides of one stamen,
stopping at the first petal cutting line
(round line) to create a stem for the
leaf and a tab where a flower can be
riveted (a).

2 On the petal opposite the tab, cut

Triple Leaf with

along the line matching the shape of
the leaf you want. Extend the cut out-
ward and curve back in so it ends at the

Wavy Edge
base of the tab. Draw the shape before
cutting if it helps you cut evenly (b).

3 Apply the desired edge and surface

embellishments from Chapter 1. I often
use a rippled/wavy edge and a stamped
Make leaves using the same templates, edges, and surface treatments as the
line (c).
flowers. By starting with the three-petal template, you can create a single
leaf or multiple-leaf segments. multiple leaves
Cut down both sides of all the
stamen, tapering the cut at the base
into a triangle at the center circle.
Remove the stamen. This allows space
between the leaves, and gives more
definition (d). If you plan to rivet a
flower to the center of the leaves, use
the flower template with the same
number of leaves. If you are going to
a b create leaves that hang from a tab or
have a flower riveted to that tab, use
a template with one petal more than
your desired leaf count (use a four-
petal template for three leaves).

c d

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 5 Cut the leaves in the shape you
desire, and apply edge and surface
embellishments. If you want only two
leaves, cut one of the leaves into a
short tab.
6 An alternative surface
embellishment for leaves is to lace the
leaf with a contrasting color of wire.
Use the smallest hole punch you have,
preferably 1.25mm, to punch a path on
the leaf as desired.
7 Thread a piece of 26-gauge wire
through the end hole and pull it
through halfway.
BKS-64438-03.indd 75
8 Lace the wire on the back of the leaf
up through the next hole, and the wire
on the front down through that
same hole.
9 Repeat until the entire leaf is laced.
Finish the ends by twisting the wire
together and hiding the ends under the
flower that gets riveted to the leaf.
T his necklace is made of 13 11⁄2–2-in. single
copper leaves, colored with heat patina
and alcohol ink, and five, three-leaf, 2-in.
leaves, made from four-petal templates on
etched copper and colored with nail polish
and Vintaj patinas.
75
1/2/13 8:24 AM
 Metal Jewelry in Bloom

N ow that you’ve developed a repertoire of flower-, leaf-, and vine-making skills,

it’s time to display the fruits of your labor. While nearly all of the flora can stand
alone as earrings, pendants, or bracelets, some are better suited to specific jewelry
designs. In this chapter, you’ll review some basic jewelry-making skills, place flowers in earrings,
bracelets, and necklaces, and then learn how to incorporate flowers into designs using leather and
a product called Faux Bone.
The flowers—whether they are background accents or a focal star—combine wonderfully with
other materials. You can easily incorporate fabric, felt, polymer clay, metal, or just about any
material that you already use.
A final note: While all projects recommend specific flowers, this is the perfect time to try
creating some flowers of your own. Need a flower with an even number of petals but want it to
look like a passionflower? Create one with four or six petals instead of five. There are no rules.
The flower designs simply get you started; you can cut and layer the templates in unlimited
combinations. Go ahead and give it a try—create recklessly!

BKS-JWL-64438-04.indd 76 1/2/13 8:25 AM

BKS-JWL-64438-04.indd 77 1/2/13 8:25 AM
 Magnolia YOU WILL NEED
• 2 magnolia flowers made with a
11⁄2- and 1-in. template,

Earrings
unassembled
• 2 21⁄2-in. pieces of 24-gauge
1⁄4-in. strip wire

• 2 1⁄16-in. diameter rivets

• 2 7mm (ID) 18-gauge jump rings
• pair of earring wires

78

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 Cupped flowers, like the magnolia
and lily, droop if hung by a hole in
a petal. Riveting the bloom onto
strip wire keeps it facing forward.
1 Texture the strip wire, leaving the
last 1⁄2 in. on each end untextured. (My
earrings were textured using a nail set
and a center punch.)
2 Add patina to the wire and file the
ends round, as desired (a).
3 Punch a 1.5mm hole ¼ in. from the
bottom of each strip.
4 Construct the magnolia flowers and
rivet them to the strip through the
punch holes.
5 Roll the top of each strip into a loop.
String a jump ring through each loop
and attach to an earring wire (b).
b c
BKS-JWL-64438-04.indd 79
❀ Rapid Review
Creating consistent french earring wires
This trick was shared by my friend and jewelry artist Cristina Hererra. It uses a
ball-point pen with a cap.
1 Make a small loop at the bottom of a 11⁄2-in. piece of 20-gauge half-hard wire.
2 Place the wire underneath the cap of a pen, and pull the loop against the
cap peg to hold it in place (a).
3 Roll the wire around the pen until it nearly passes the loop (b). Remove the
cap, and slide the wire off the pen.
4 Trim the wire to the desired length and use chainnose pliers to place a slight
bend in the end (c).
5 Use a chasing hammer and steel bench block to very lightly hammer the wire
just above the loop, below the rounded part that goes into the ear.
a b
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1/2/13 8:25 AM
 Trillium Earrings YOU WILL NEED
• 2 11⁄4-in. trillium flowers
• 2 12–14mm shells
• 2 21⁄2-in. pieces of 2mm drawn
cable chain
• 6 2.5mm (ID) 22-gauge jump rings
• pair of earring wires

80

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 The trillium becomes a triangle
when hanging straight down. Use
chain to invert the triangle and
choose the hanging direction.
1 Using 1.5mm hole-punch pliers,
make a hole toward the end of one
edge of a petal. Repeat on the adjacent
petal (a).
2 Tab-set the shells.
3 Use jump rings to attach the chain
ends to the holes. Use a jump ring to
attach the center chain link to an
earring wire (b).
4 Make a second earring.
TIP These flowers have a heat patina;
I liked them both so much that rather
than trying to get them to match, I
worked their color differences into the
design by varying the center tab-set
stone color. I colored the shell with
alcohol ink and sealed it, so I could
match the patina on the other flower.
a 1 Hold the jump ring in chainnose or flatnose pliers
b
BKS-JWL-64438-04.indd 81
❀ Rapid Review
Jump Rings
Determine the gauge of the wire and size of the dowel you want to use to
create your jump rings. Remember that inner diameter (ID) measurements refer
to the size of the dowel, and outer diameter (OD) measurements refer to the
dowel size PLUS the thickness of the wire.
Making Jump Rings
1 Coil the wire around the dowel, making sure to
make more coils than you need rings, as you will
lose some of them during the cutting process.
2 Remove the coil and flush-cut one end (a).
a
3 Flip the wire cutters over and flush-cut the next
ring, so that once it is cut, this end will close
precisely with the first flush cut you made (b).
4 Flush-cut the end of the wire again, flip the
pliers, and cut the next ring so the end matches up b
with the flush cut you just made. Repeat until all
the rings are cut.
Opening and Closing Jump Rings
The trick to opening and closing jump rings is to never pull the opening
outward, but to always move the ends back and
forth. This protects the shape of the jump ring, and,
as you move the ends forward and back, the wire
is getting harder at the joint and will therefore resist
opening.
with the opening up.
2 Use another pair of chainnose or flatnose pliers to grasp the ring on the other
side of the opening. Push one end forward and pull one end back.
3 Close in the same manner. Use slight inward pressure as you go back and
forth, until the two ends of the rings graze each other as they pass. When you
hear a little click, you’ll know there is no gap between them.
81
1/2/13 8:26 AM
 Linked YOU WILL NEED
• 11 11⁄4-in. flowers (trillium, orchid, dogwood, or cherry
blossom suggested)

Collar
• 30 3mm (ID) 20-gauge jump rings
• twisted vine hook clasp (p. 87)
• 3mm (ID) 20-gauge jump ring (optional)
• 7mm 20-gauge jump ring (optional)

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 A collar is a short necklace that
falls at the base of the neck. It
is meant to lie rounded, versus
pulling into a “V” or “U” like a
traditional necklace, so it is the
perfect design for a necklace full of
flowers. When making such a
collar, it is important to consider
the balance of each flower.
If the flower has an even
number of petals (four or six) and
the connecting holes are placed at
the ends of the center petals, the
flowers will be weighted evenly
and will be likely to flop forward.
With even-petal flowers, punch the
connecting holes toward the top of
the flower, rather than the center
(figure 1), to adjust the balance just
enough to keep it from flopping.
It is easier to create a bottom-heavy
flower if the flower has an odd
figure 1
BKS-JWL-64438-04.indd 83
number of petals. A three-petal
flower has holes on two petals
and one petal hanging down,
preventing it from tipping forward.
A five-petal flower has one petal
pointing up, holes in the adjacent
two petals, and two petals hanging
down. This gives enough weight to
keep it from tipping (figure 2).
My favorite flowers for a collar
are single-layered flowers, such as
the trillium (opposite), orchid,
dogwood, or cherry blossom. The
daisy and narcissus are pretty,
but their petals are too pointy for
wearing so close to the neck.
figure 2
1 Determine where to place the
connecting holes on the petals of your
flower. Punch the holes with a 1.8mm
hole-punch pliers.
2 On one flower, use a large hole
punch, such as the Power Punch (see
p. 15) to create a large hole for
attaching the hook clasp (photo).
Alternatively, attach a 7mm jump ring
to the end flower with a 3mm jump
ring to provide a loop for the clasp.
3 Connect the flowers with three
jump rings. This will usually provide
enough space for the flowers to lie
nicely and not overlap. Consider using
a colored jump ring in the middle of
the trio. This jump ring is also a good
place for dangling beads on headpins,
if desired.
4 Wirewrap a twisted vine clasp to the
last petal so the hook faces upward.
83
1/2/13 8:26 AM
 Delicate YOU WILL NEED
• 2 1-in. flowers (orchid, narcissus, daisy, Agapanthus, or fuchsia suggested)

Lariat
• 1.5x9mm soldered double tube, .8mm hole
• 24 in. .6mm or .7mm foxtail stringing chain, snake chain, or beading wire
• 2 crimp ends to fit chain or wire
• hook-and-loop crimp end to fit chain (or crimp ends and a separate clasp)
• 2 22-gauge 2mm (ID) jump rings
• 2 4mm fire-polished beads or other bead that will fit on the chain

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 a b
A lariat necklace connects in the
front and has hanging ends. While
the flowers would look lovely on
the end of beaded ropes, ribbons,
or other knottable cords, you can
use silver chain to create a faux
lariat.
Almost any flower will work for
this necklace, but it is best suited
for delicate, small flowers. I prefer
flowers that do not have a
geometric shape (a trillium can
look like a triangle and a dogwood
can appear to be a cross).
Irregular flowers, like the orchid
(photo opposite), flowers with lots
of irregularly shaped petals, like
the narcissus or daisy, or tube
flowers make lovely lariats.
BKS-JWL-64438-04.indd 85
1 Determine the hanging position of
the flower and use 1.8mm hole-punch
pliers to make a hole in the center
edge of the top petal near the edge.
2 Cut the chain in half. Crimp a clasp
half to each end (a).
3 String a crystal or bead onto
each chain.
4 String a chain end into a soldered
tube and, keeping the clasp centered,
position the tube approximately
3 in. from the end of the chain.
Repeat with the other chain
piece. Gently squeeze the top
c
of each tube until it crimps against the
chain (b).
5 Trim the chain below the soldered
tube to the desired length, one longer
than the other. Crimp the crimp ends
onto each chain end.
6 Attach the flowers, using jump rings
if necessary (c).
TIP Save time by using a finished
18-in. chain and cut it, making sure to
leave one end longer than the other.
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 Charming YOU WILL NEED
• wirewrapped wreath

Display
• flower of choice
• 5–8mm jump ring
• wire

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 Small flowers make great charms,
hanging on their own or in
conjunction with other flowers,
leaves, or vines. This dogwood
hangs nicely from the
wirewrapped wreath (p. 72).
1 Attach the flower to the wreath with
a jump ring. (The balance of the
necklace works best if the flower is
smaller than the wreath.)
2 To make a bail in the same style as
the wreath, use a double-balled
headpin. Form a loop in the center
around the largest part of roundnose
pliers, connect the chain and the
wreath, and loosely twist the
ends together.
BKS-JWL-64438-04.indd 87
❀ Rapid Review
Clasps
S-Hook Clasp
This easy-to-make basic clasp can be
customized to any size. The size is
determined by how long the starting a
piece of wire is, the point at which you
work on the roundnose pliers, and how
far you bend the loops. Play with
different combinations to discover how
altering any of these variables changes
the clasp size. A jump ring makes a
good ending for an S-clasp to hook into.
b
1 Cut a 21⁄2-in. piece of 16-gauge wire.
Turn a tight loop on each end, going in opposite
directions (a).
2 With the pliers parallel to the table, grasp the wire 1⁄4 in.
from a loop, with the loop facing to the left. Roll the wire
to the right until the loop nearly comes in contact with the
wire (b). c
3 Repeat on the other end of the wire.
4 Hammer the clasp to texture and strengthen it. One end will remain
permanently closed and the other will be more open to act as the hook (c).
Twisted Vine Hook Clasp
Hook clasps are basically one-sided
S-hook clasps.
1 Create a hook on one end of a 9-in.
piece of wire as directed above. Make
a wrapped loop below the hook. You a
will have a lot of wire left over for
wrapping (a).
2 After securing the loop with 2–3 wraps, loosely
wrap the rest of the wire over the wraps to create a
twisted vine appearance (b).
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 Statement YOU WILL NEED
• 3 2-in. flowers (anemone, passionflower, or sunflower
suggested)

Piece
• 4 wirewrapped wreaths
• 6 7mm (ID) 18-gauge jump rings
• 3 ft. 13mm-wide crinkle silk ribbon

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 There is probably no better use of TIP Rubber O-rings connect the
the flora than a statement piece.
flowers and play off the color from
the anodized aluminum used to make
These large, showy necklaces the flowers.
display your work and become the
focal point of any outfit. When
making large pieces, think of the
design from both a construction
and an aesthetic point of view.
The construction must hold the
weight of the flowers and allow the
pieces to lie properly (see
twisting ribbon ends to hang freely,
introduction, p. 83). Make sure the
adding more interest without
flowers, vines, or wreathes are
taking away from the flowers. 1 Determine the hanging position of
bottom heavy so they do not flip the flower and use 1.5mm hole-punch
Knowing I wanted to keep the
(see figure, p. 83). pliers to make a hole in the center
metal shiny, I mixed the metals so edges of two petals.
The end result depends on
the flower did not blend together.
personal preference. While the 2 Connect a flower to a wreath with
Statement pieces work with any
focus of this book is creating metal a 7mm jump ring (a). Repeat to
flower or combination of flowers.
centerpieces, sometimes I find that connect all the flowers and wreaths.
The trick is to determine the mix Finish with a wreath on each end.
when displaying detailed work like
of textures, shapes, and colors to
flowers, an all-metal necklace can 3 String the ribbon halfway through
achieve your desired look. I prefer
be overpowering, and the flower an end wreath. Tie an overhand knot
simple layered flowers such as the using both ends of the ribbon, and
detail can get lost. Most of my
anemone, passionflower (pictured), snug it down toward the wreath (b).
more complex designs always
or sunflower. Complex flowers,
include beads, fibers or other 4 Place a ribbon end through the
such as the rose or dahlia, can
material to “frame” the flowers and remaining outer wreath and bring
become overwhelming if used in both ends together. Tie an overhand
ensure they remain the focal point.
multiples. Instead, mix these with knot, making sure you can pull
In this necklace, crinkled silk the necklace over your head (c).
smaller flowers or limit the amount
ribbon does exactly this. I tied Alternatively, tie the necklace after
of textures and colors you apply to you put it on, so you can adjust the
it toward the front, allowing the
these detailed blooms. length each time you wear it.

a b c
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 Stylish Slide YOU WILL NEED
• 11⁄2-in. 24-gauge slide flower (dogwood,
anemone, clematis suggested)
• 4 1-in. 24-gauge slide flowers (dogwood,
anemone, clematis suggested)
• 17 in. 16-gauge wire
• 8 ft. 24-gauge soft wire

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 A favorite bracelet technique is
turning flowers into slides. Two
stamen, rolled backwards into
parallel tubes, can be fed onto
beaded bracelets, wire bracelets,
or cords without having them flip
or droop. Consider how the lack
of two stamen on the face of your
flower will affect the overall center
treatment. Since the slides must be
parallel, they can only be
created on flowers with an even
petal number. This bracelet is a
two-strand wirewoven bracelet
with an integrated clasp.
1 Bend the 16-gauge wire in half around
a dowel or a pair of bail-making pliers
and cross the wire ends.
2 Using chainnose pliers, make a
bend in each wire so they are parallel
beneath the loop. This is the base.
a b
d e
BKS-JWL-64438-04.indd 91
3 Cut a 3-ft. piece of. 24-gauge wire and
wrap it around one of the base wires
twice, just below the large loop. Trim
the short tail (a).
4 Pass the 24-gauge wire between the
two base wires and around one wire.
Repeat, wrapping the wire around the
other base wire (b). Continue
wrapping for approximately 1 in.
5 String a 1-in. flower slide. Pass the
wire over the back of the slide (c) and
continue weaving for another inch
beyond the flower. String a 1 in.
flower slide.
TIP To add new wire, begin after
adding a slide. Wrap the old and new
wires twice around different base wires
and begin weaving again. The extra
wraps will be hidden under the flower.
6 Weave the wire for another inch
beyond the flower. String the 11⁄2-in.
flower slide and continue weaving.
7 Repeat until all the flowers are strung.
End with 1 in. of weaving and leave the
wire tail.
8 Trim the base wire ends to match, at
least 1 in. long. Use roundnose pliers to
bend the wires in half. Use chainnose
pliers to squeeze the bend tighter if
needed. Use the tail of the weaving wire
to wrap around the ends of the base
wire (d, e). Wrap back down toward
the weave and secure by wrapping it
twice around one of the base wires.
(Use an awl to open up a space to feed
the wire around the base wire. )Trim
the tail.
9 With roundnose pliers, bend the two
wires together into a hook (f).
TIP Embellish the center of
these flowers by hammering a
5mm seamless round bead slightly
flat. String the bead over two
11⁄2-in. balled headpins and wrap
each wire through one of the two
stamen.
c
f
91
1/2/13 8:27 AM
 Dapped YOU WILL NEED
•
•
3 3⁄4-in. flowers of your choice, unassembled
3 1-in. 24-gauge disks

and
• 4 ¾-in. 24-gauge disks
• 4 3⁄8-in. 26- or 24- gauge disks
• 8 5mm (ID) 18-gauge jump rings
• 7 3⁄32-in. rivets (1⁄16-in. rivets will work as well)

Linked • magnetic clasp

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 This design will work with any
flower that is not too directional or
dimensional, such as the trillium,
dogwood, daisy, and narcissus. You
can increase the size of the base
disks for flowers that have more
dimension or work best with a
a b
larger base, such as the anemone,
cherry blossom, or clematis. For
the sake of design, I often modify
a flower so it fits with the other
components in my piece. In this
bracelet, I made the usually six-
petalled narcissus with only five
petals so I could see more of the c d
patterned metal below it. I also
used 3 ⁄32-in. rivets for a large rivet 5 Punch a hole in the center of each 7 Connect the disks with jump rings.
head as a decorative accent. dapped base disk. Rivet a flower to Attach a clasp half on each end with a
the inside of each large base disk and jump ring.
1 Punch a hole in the center of each of a dapped cup inside each small base
your pre-made flowers to fit a rivet. disk (c).

2 Punch the edges of the 3⁄8-in. disks
and create four shallow domes by
dapping.
3 Using nail sets or other metal design
stamps, stamp a design on each of the
1-in. and 3⁄4-in. base disks (a).
6 Punch a hole on each side of each
disk (d). While this can be done
before step 5, sometimes it is helpful
to see how the flower orients itself
during riveting before punching
the holes.

4 Place the base disks in a large

impression on a dapping block,
and dap them gently into a shallow
cup (b). Add color if desired.

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 ❀ Rapid Review

Bails
Creating stand-alone bails is easy using strip wire.
Bails must be created at the time you are making
your flower so you can rivet them on when you
are assembling the bloom. Start by determining the
style of the bail (single or double wire), the length
as measured from the center of the flower, and the
desired wire width.

Bails can be hidden behind the flower or become

part of the design, as shown here.

Cut a piece of wire just over twice the desired

length. Texture the wire.

Using a dowel or bail-making pliers, bend the wire

in half. Use 1.5mm hole-punch pliers to punch
holes in each end.

Position the bail onto the rivet extending from the

back of the flower. Set the rivet.

For a two-wire bail, follow the directions for the

single bail, but make two. Alternate loading wires
from each bail onto the rivet rather than just stacking
them. Set the rivet.

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 Contrast with Leather
Leather is easy to work with and is readily available at local craft and fabric stores,
online, and at specialty stores such as upholstery shops. I like to pick through remnant
bins and buy small sections to add to my collection of colors, thicknesses, and textures.
I like the contrast leather offers metal; it is comfortable to wear, and I can use all of my
metal tools to work with it without having to buy too many additional tools.

Working with Leather
Metal shears work extremely well
for cutting leather, metal hole-punch
pliers pierce it, and the same rivets
you use with flowers work as long as
you place a tight fitting micro washer
on the back so the rivet does not pop
back through the leather. The only
additional tools you will need will be
a snap setter and leather or upholstery
needles, both available at your local
craft store.
Setting snaps
Snap sets have four pieces: the cap,
the back, the female snap, and the
male snap. Snap-setting tools have two
parts: a steel pad with concave
impressions that protect the snap cap
when setting the snap, and a punch
that flares the cap and back posts.
Both are sized for specific snap sizes,
so be sure to get the right tool size
for your snaps and be sure your
snap posts are long enough for your
leather (a).
Pierce a hole in the leather the size of
the post on the snap cap. Standard
hole punch pliers might be too small,
but you can stretch the hole with an
awl, use a Power Punch, or use
hollow or rotary punches meant
for leather.
Place the cap into the hole and
feed the female part of the snap over
the post.
Place the snap cap in the matching
concave impression on the snap
setter (b).
Place the punch on the end of the
post and hammer until the post flares
and the snap is tight.
Repeat on the other side with the back
post and male snap, making sure to
line up the female and male snaps (c).

a b c

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 Rose Cuff YOU WILL NEED
•
•
•
2-in. rose, unassembled
micro washer and rivet
11⁄2x81⁄2-in. leather or premade cuff
• 2 3x3-in. pieces (approx.) contrasting leather or felt
• thick contrasting thread, waxed linen, or pearl cotton

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 Nearly any layered, riveted flower
will work for this project. The rose
has the presence to compete with
the wide, embellished leather cuff.
1 Using metal shears, trim the cuff to
the desired size and round the edges.
Cut two leaves from the contrasting
leather, one smaller than the other (a).
2 On the small leaf, use 1.5mm hole-
punch pliers to punch a stitching
path (b).
3 Place the small leaf on top of the
large leaf as a template and punch
through the holes again, making a
path on the large leaf (c).
4 Line up the ends of the large leaf
with the center of the leather cuff,
and punch through the holes and the
cuff (d).
5 Stitch the stacked leaves to the cuff
in both directions so there is thread
between all holes (e, f).
6 Use the hole-punch pliers to pierce
a hole in the center of the cuff.
Assemble the rose and feed the rivet
through the hole in the cuff (g).
7 Place a micro washer on the back of
the rivet and cover with a small piece
of tape to prevent the washer from
coming off as you rivet (h). Rivet the
flower to the cuff (i).
8 Install a snap set.
Option
Use hole-punch pliers to pierce a
trailing vine on each side. Pierce holes
to make a small stitched leaf along the
vine. Stitch through these holes front
and back to ensure there is thread
between each hole. Use acrylic paint
to paint in the stitched leaf, if desired.

a b c

d e f

g h i
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 Leather Panels YOU WILL NEED
(Bracelet)
• 3 11⁄4-in. anemones, unassembled
• 3 3⁄8-in. domes from 3⁄8-in. disks
• 3 micro washers and 3 rivets
• 3 3x11⁄2-in. pieces of leather
• 3 ft. 14-gauge fine silver wire
• 10 in. 18-gauge fine silver wire
• 38 4mm (ID) 18-gauge jump rings
• lobster claw clasp
• 1-in. piece of cable chain
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 a b
d e
These fun little panels have it
all—flowers, leaves, and branches.
Tightly sew the slots for the leaf bars
so that the bars do not slide through
them. Also, consider the color of
your thread: Add an extra pop with
a contrasting color.
1 Fold a leather piece over ½ in. from
the end. Cut a ¼-in. notch in the center
third of the fold (a). Open the leather
and use shears or scissors to cut out a
rectangle (b).
2 Fold over the leather and use hole-
punch pliers to pierce a stitching path
beneath the cutout (c).
3 Repeat steps 1 and 2 on the other end.
4 Repeat steps 1–3 with the remaining
leather pieces. Set aside.
5 Cut six 3-in. pieces of 14-gauge wire
and make double-sided headpins,
forming the balls as large as possible.
BKS-JWL-64438-04.indd 99
Hammer the balls into leaves (p. 72) to
make leaf bars. Cut two 5-in. pieces of
18-gauge wire. Ball up one end of each
and hammer the balls into leaves.
6 Lay a piece of leather right-side down.
Place a leaf bar over the cut-out and
fold the leather over. Starting between
the two layers (to hide the knot) stitch
through the holes, going backward so
there are stitches between each hole and
around each edge (d). End the stitch in
a hole next to the starting stitch and tie
the ends together between the layers.
Trim. Repeat on both ends of all
leather pieces.
7 Use the balled wire from step 5 to
make wire-wrapped branches to
connect the leather panels. String the
leaf bar into a branch’s loop before
completing the wraps (e).
8 Connect three jump rings to each
leaf bar on each side of each branch to
keep the branches centered and to
add texture.
c
f
9 On one end panel, use a jump ring
to attach the chain segment (f). On
the other end panel use a jump ring to
attach a clasp. Attach three jump rings
to the leaf bar on each side of the clasp.
Attach three jump rings to the leaf bar
on each side of the chain.
10 Pierce the center of each panel with
hole-punch pliers and rivet a flower to
the panel (tape a micro washer on the
rivet before setting the rivet). Tab set the
domes in the center of each anemone.
Pendant option Make the pendant in the
same way except use a Power Punch to
cut out a circle. Outline stitch all four
sides to frame the flower, and string five
chain pieces with wire-wrapped beads
on the jump rings at the bottom. Bend
the leaf bars slightly in an arc to tighten
up the pendant and add more interest.
The top leaf bar serves as a bail.
TIP Consider including leather in your
layered flowers, alternating metal and
leather layers for a totally different look.
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1/2/13 8:28 AM
 Contrast with Faux Bone
Faux Bone is nontoxic, rigid, polyvinyl chloride (PVC) that does not outgas (produce
fumes) when heated properly. Because it is malleable at just below 250°F, it can be
heat-formed into just about any shape. It was developed as a craft and jewelry product
by artist Robert Dancik of Crackerdog Designs. It is sold in sheet form, shapes, and
strips, and in four different thicknesses. The material makes a great base for metal
flowers, and it can be textured and colored to suit nearly any design. The following
information will help you learn to prep, texture, color, and heat-form the product.

General Preparation
In this book, I use only the 1⁄16-in. thick material, as it can be
cut using metal shears. Thicker sheets require a jeweler’s saw
and Faux Bone blade (a). The first step is to prep the surface.
Use a scouring pad, such as a very fine, maroon Scotch Brite
pad (b), to remove the shiny “skin,” producing a more bone-
like finish and allowing for better color adhesion. The edges
can be filed with a metal file, sandpaper, or with the Faux
Bone shaping tool (c).

b c

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 Heat-forming
Before attempting to heat-form Faux Bone, be sure all
coloring agents are dry and non-flammable. Never heat
Faux Bone with a flame. There are two ways to safely heat
Faux Bone:
Method 1: Heat gun—Use a craft embossing heat gun to
spot heat. Make sure to work several inches away from
the Faux Bone to avoid burning the material. Burned
Faux Bone turns rusty brown.
Method 2: Toaster oven—Heat the material on a rimmed
pan in a toaster oven used for crafts at 245°F until it has
the consistency of a cooked lasagna noodle. Remove with
gloved hands and form.
It takes as fast as 30 seconds to heat the material to be
completely malleable. But it also cools as quickly, so
work fast. Once it is hot, you can wrap it around a can or
bracelet mandrel to form cuffs, press it in a dapping block
to cup it, or bend it in any shape you want. Hold it in the
shape you desire until the material cools, and then the
shape will be permanent.

Texturing
The Faux Bone surface can be
textured in many of the same ways
metal can. Most textures should be
applied to unheated Faux Bone as
textures pressed into heated material
will raise and disappear if the Faux
Bone is heated again. While there are a b
numerous techniques using barrel
sanders (a) and carving burs (b) on a
rotary tool or flex shaft, there are also
several options using the tools you
have already used to make flowers.
Use the tip of an awl (c) or a blade
to make scratches in the surface of
the material, mimicking aged bone
or porcelain. Or, use metal stamps to c d
stamp in letters and designs, nail sets
to stamp circles, a center punch to
stamp dots, and screwdrivers to stamp
lines (d).

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 COLORING
It’s easy to add color to Faux Bone, making it an exciting addition to your
collection of materials. Faux Bone is nonporous, so like metal, there are very
specific ways to produce long-lasting color.
Acrylic Paint: Acrylic paint will not
adhere to Faux Bone, but it is the
perfect medium to fill and highlight
textures. Using a used scouring pad,
spread paint evenly across the surface,
pressing into the recesses of any
texture. Let dry slightly, wipe off, and
then scrub the remaining paint off the
surface. You can then apply shoe
polish or ink over the surface.
102
BKS-JWL-64438-04.indd 102
Shoe Polish: This is Robert Dancik’s
preferred coloring method. Use a soft
cloth or a stiff paintbrush to apply
shoe polish (the kind in a round tin),
and buff. The polish can be applied
over sealed ink to achieve a “tea-
stained” look. Since it is a wax, color
and sealants applied over the polish
do not adhere well.
Alcohol Ink: Alcohol inks, Copic
markers, and Sharpies are permanent
on nonporous surfaces like Faux
Bone. Apply liquid inks using a foam
eye-makeup applicator. Alcohol ink
activates alcohol ink, so the more
layers you try to apply, the more likely
you are to get streaking. In most cases,
layered colors rub off over time no
matter how much you seal your piece.
Keep it simple and do not over-color; Other Color Techniques: Prismacolor
simply “stain” the surface for long- pencils, polyester fabric dyes, solvent
lasting color. plastic spray paints such as Krylon
Fusion, Gilders Paste, and the Copic
marker airbrush system are just a few
of the other tested coloring options to
use with Faux Bone.
Sealing: Since alcohol activates alcohol, almost all spray sealants cause alcohol
inks to run. However, Preserve Your Memories II will quickly seal ink without
damaging it. You can even heat-form your piece after it is sprayed as long as the
sealant is totally dry. Shoe polish can be applied over the sealant to achieve a
tea-stained look, but the sealant does not work well over the polish. Mod Podge
and other paintable water-based sealants also work, but will peel if applied too
thickly or on an untextured, ultra-smooth surface.
1/4/13 9:16 AM
 T he best thing about Faux Bone is that it can
serve as the star or the foundation of your design.
Here, the Faux Bone simply serves as a base to
display just about any flower you make. How
much you embellish the Faux Bone is up to you.

COLD CONNECTIONS
Faux Bone is nearly unbreakable, allowing you to drill, hammer, rivet,
and screw into it just as you would metal. It is best to use a screw-type
punch rather than a hole-punch pliers, as you are less likely to accidently
crack the material. Of course, drilling is always the best option. Some-
times you may find the hole is slightly smaller than anticipated. This is the
result of faux bone stretching as it is being punched and then springing
back inward. Simply use an awl to stretch it.

If you are going to heat-form your piece after you rivet, be sure to
over-flare the rivet or add a small washer on the back of the rivet
before riveting. This will ensure the rivet does not pop if the hole slightly
stretches when you heat your piece.

On a final note, use commonsense precautions such as safety glasses

when drilling and cutting, and consider using a mask when sanding and
texturing. Finally, do not heat the product above 290°F.

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 Faux Bone YOU WILL NEED
• unassembled flower of your choice—clematis or daffodil
suggested

Cuff
• center stone for flower (optional)
• 28mm Faux Bone cuff
• micro washer and rivet

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 The best thing about Faux Bone is
that it can serve as the star or the
foundation of your design. Here,
it serves as a base to display just
about any flower you make. How
much you embellish the Faux Bone
is up to you.

1 Scrub the Faux Bone with a scouring
pad until the surface takes on the look
of porcelain (a). Sand or file the edges
so they are slightly rounded.
2 Sand vertically and then stamp
using a decorative metal stamp and a
center punch (b).
the consistency of a cooked lasagna
noodle. Remove with gloved hands,
wrap it around a can or bracelet
mandrel, and hold until cooled, about
another 30 seconds (h).
TIP For the daffodil cuff seen on the
cover and here, create scratch marks
with an awl for texture, and add paint
(see p. 102). Add a topcoat of
brown shoe polish and buff with a
soft cloth.

3 Cover in brown acrylic paint, wipe

the paint off, and then scour, leaving
the paint in the texture recesses (c, d).
a b
4 Apply a coat of alcohol ink over the
entire bracelet (e).

5 In the center of the strip, make a

1⁄16-in. hole with a hole punch (f) or a

drill bit. Rivet the flower onto the strip

using a micro washer on the back of
the rivet. Otherwise, rivet the flower c d
on after heat-forming without
the washer.

6 To add a stone, place it in the center

of the flower while the stamen are still
standing. Curl the stamen in loose
curls and roll adjacent stamen in
opposite directions. After curling one e f
set, curl the set directly across from it,
and then two other sets across from
each other. This keeps the stone
centered as you are turning the
stamen into curled prongs (g).

7 Place the cuff in a toaster oven at

240°F for about 30 seconds until it has g h
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 Ribbon-Laced Pendant YOU WILL NEED
• 2 in. Faux Bone disk, 1⁄16-in. thick
• 11⁄2-in. flower of your choice
• 40-in. ¼-in. wide ribbon
• 1⁄16-in. rivet

• 3 in. 24-gauge craft wire

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 While this ribbon-laced focal
makes a beautiful pendant, you
can also use it for a cuff, make a
pin or hair clip with it, or use it as a
package or card embellishment.
This pendant works best with
flowers that do not have too much
a b
dimension. If you prefer a fuller
flower, consider riveting it to the
Faux Bone disk on the concave side
instead of the convex side.

1 Prep the Faux Bone.

2 Using 1.8mm hole-punch

pliers, pierce an even number of c d
holes around the disk, being careful
not to punch too close to the edge. If
the holes do not pierce completely,
use wire cutters to cut the extruded
Faux Bone from the back. For evenly
spaced holes, punch opposing holes
first and then fill in between them.

3 Texture the surface by stamping dots

or other patterns (a). e f

4 Cover the surface with acrylic paint,
making sure to push the paint down
into the texture. Wipe the excess paint
off the surface before it dries, and scrub
the surface with a scouring pad. The
paint is meant to fill the texture (b).
5 Use an awl or toothpick to remove
excess paint from the holes (c).
(Punching the holes after painting
leaves white halos. It is best to punch
before painting and then clean.)
it with a craft heat gun. Once warm,
press the disk down with a dapping
punch or other rounded item (such
as a small ball) and hold until cool (e).
8 Create a “needle” by stringing a
2–3-in. piece of 24-gauge wire
through the end of the ribbon.
Starting at the back of the pendant g
(the concave side), sew the needle into
a hole and pull the ribbon through, 10 Punch a hole in the center of the
leaving a 16-in. tail (f). pendant and rivet on a flower (g).

6 Color with alcohol ink (d). 9 Sew the ribbon around the pendant, 11 Add a clasp or simply tie the ribbon
using an awl to stretch any holes that in a bow for an adjustable necklace.
7 Place the disk, texture side down, in might have closed slightly when you
a large wood dapping block and heat dapped the disk.

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 Three petal Four petal

Templates

21⁄4"

2"

11⁄2"

11⁄4"

1"

⁄
3 4"

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 Five petal Six petal Seven petal

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 RESOURCES
As a former bead store owner, I can’t urge you enough to support
your local bead and jewelry supply stores. However, as a teacher,
I recognize that without the proper tools and supplies, your creative
endeavors can be limited. So I have compiled a list of resources for
those harder-to-find items.

Rio Grande
Metal sheet, wire, and tools
riogrande.com

Beaducation
Metal tools and disks
beaducation.com

LillyPilly Designs
Aluminum disks and sheet, etched sheets
lillypillydesigns.com

Metal Me This
Etched sheet and Color Me This metal patinas
metalmethis.etsy.com

Eurotool
Tools. Ask your local bead store to order or visit
jewelrytools.com

Halstead Bead
Silver beads, wire, findings, and chain
halsteadbead.com

Somerset Silver
Hill Tribe and silver beads, findings, and chain
somerset-silver.com

Vintaj
Metal patinas, available at your local craft store
vintaj.com

Precision Blue
Preserve Your Memories II sealant
precision-blue.com

Crackerdog Design
Faux Bone and Melissa’s online tool store
fauxbone.com

Create Recklessly
Melissa’s blog detailing new techniques and materials
melissacable.com
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 Acknowledgments
Thank you to my amazing husband and partner in all things, Chris. Thank you alone
just doesn’t seem sufficient to cover all that you do.

Thanks to my mom and the Cable clan who always support me in anything that I do.

Thank you to Dawn, Janeen, and Micha for all your assistance, including cutting out
flower, after flower, after flower—you girls have a knack for making my life easier and
more joyful!

A long-overdue thank you to my editor, Karin, who will likely try to edit this out but
deserves it for putting up with me for two books now.

Thank you to my mentor, Robert, and my teaching buddies and show staff on the road.
You are my constant source of inspiration, and I value having each of you in my life.

Gracias to budding young photographers Emi and Emma for sending me flower
photos and Judy, Donna, Angela, Jessica (aka Rosie Revolver), Janeen, and Micha for
sharing your work.

And finally, thanks to my little ones, Gwen and Aiden, who remind me how to create
recklessly—everyday!

Melissa Cable
Melissa Cable has been creating jewelry for over a dozen years. While running her
bead store near Seattle, Wash., she quickly recognized her passion for creating and
teaching projects that allow her students to learn sound skills while walking away
with a fun, finished project. Combined with the sound of happy students, jewelry
making leaves her complete.

Melissa has taught around the word and her work is regularly published in
magazines and books. Metal Jewelry in Bloom is her second book; her first,
Spotlight on Wire, was published in 2011. Her blog, Create Recklessly, documents
her experimentation with products and tools, and can be found on her website
at melissacable.com.

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 Make more inventive projects
from Melissa Cable! SPOTLIGHT ON WIRE

Wire
Spotlight on
Spotlight
Techniques
Twist
From the “Five Cs” of loop wrapping to a perfectly

on
engineered “Poor Man’s Rolling Mill,” you’ll learn links, spirals, and coils
instructor-perfected wireworking techniques for
Fold
excellent and professional results.
waves, ripples, and curls
Tools

Hammer
Focus your attention on creating fabulous wirework
Learn about the best tool for the job—both perennial
favorites and brand-new-to-the-market darlings.
textures, shapes, and patterns

old • Hammer
Tips
Weave
•F
Bring the classroom experience home to your worktable

t ave • Wrap
frames, grids, and globes
jewelry as Projects
with insider tips from experienced instructors.
you twist, fold, hammer, weave,
Wrap and wrap is • We
28 innovative projects use wire ranging from thread-
like 28-gauge to rugged 16-gauge; silver and copper
webs, nets, and enclosures
Tw
28 exciting projects in
strip wire; and a variety of chain. A sprinkling of

your way through

gemstones and crystals bring the perfect finishing
touches to this stylish jewelry.

Spotlight on Wire. Learn by doing as you experiment

with simple and innovative techniques, Melissa Cable

As the owner of beadclub bead store, she quickly recognized her
passion for creating and teaching projects that allow her students to

including texturing effects typically achieved only with

learn sound skills while walking away with a fun, finished project.
www.KalmbachBooks.com Pam Brown
CABLE

From the publisher of Bead&Button, Pam has a broad background including off-loom bead weaving,
BeadStyle, and Art Jewelry magazines wire, stringing, chain mail, and metalwork. She teaches locally and
at large national shows, and is published in beading magazines
and books.

expensive equipment.
64377 U.S. $21.95
ISBN 978-0-87116-437-7
CAN $28.95 Corinna VanKleeck
52195 Inspired by the “divine beauty that is in nature,” and naming texture,
movement, and color her vices, Corinna has never not been
working with her hands. Sharing her knowledge and skills is not
only a great pleasure and therapy for her, but also a rich reward.

Melissa Cable
9 780871 164377 0 64465 16437 0

64377 • $21.95

Buy now from your favorite bead or craft shop!

Or at www.KalmbachStore.com or call 1-800-533-6644
Monday – Friday, 8:30 a.m. – 4:30 p.m. CST. Outside the United States and Canada call 262-796-8776, ext. 661.
P18665

www.facebook.com/KalmbachJewelryBooks www.pinterest.com/kalmbachjewelry 2XBB

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