BTW: Studio Time!

Today's bead table: Keeping it simple and focusing on wirework. (I traded textbooks for sterling wire - thanks, Amazon!)

(I really need to scour my bench block.)

It's Bead Table Wednesday, and I'm doing wirework today (along with coursework and gardening, of course). I still haven't taken the initiative to teach myself metalwork, but as the weather warms up I'm spending a bit of time out in my little studio (which I still think of as Mom's studio), where I can do messy projects and leave stuff out rather than cleaning up every time I have to leave something unfinished. When I clean up, I lose things like tools and components and forget what I was trying to do, whereas if it's all spread out on the table, I know exactly what I was doing and where to start up again. It's really more efficient not to clean up.

(That's my story, and I'm stickin' to it.)


Gourd experiments in progress (note goggles & dust mask)

Last weekend we had howling winds that made gardening and hiking impossible, but I wanted to be outside so I stepped into the studio to start doing something with my gourds from two summers ago. I got a notion to make little bird baths and hanging planters with a few of them, so out came the Dremel (which was also Mom's) and paints, and when they're done I'll lacquer them and put them around the garden. Today I'm also making earrings for a custom order I have long neglected because I was out of the sterling wire I needed and couldn't get my hands on more at a reasonable price. My order finally came in yesterday, so I get to play with the hammer today!

BTW: Adventures in Metalwork (and a Giveaway!)

Studio space, wide view. Thanks to a kitchen re-do last summer I now have plenty of working space.
(It's only neat because I haven't started working in here yet!)

Time for Bead Table Wednesday! Now that the weather is warming up, I've decided to move my messier jewelry-making projects and tools out to the little studio in the back yard. This was my mom's painting studio, and last fall I moved my mosaic supplies out there just to free up space in the house and garage; now I'm ready to start working out there and want to make it the kind of quiet, creative space that it was for my mom. It's also a much more suitable space than the dining/family room for my new adventure: metalwork! So this morning I moved my Dremel, new microtorch and soldering accessories, patinas and supplies, metals, and other metalwork stuff out here, and it looks like I'll have plenty of room as well as light and ventilation to start working out here soon.



New studio metalwork area #1: Patina, soldering, and chasing

I've been wanting to learn how to do metalwork for several years now but have not had the time or money for supplies or training. I was on the verge of signing up for a local metalworking class when my dumb car accident last fall took away the money I'd been stashing away for it. Since then I've gradually been accumulating tools to get started, most recently the very affordable Blazer micro-torch shown at right, which (for now) is about as far as I want to go in the playing-with-fire part of metalwork. I was able to get that, a jeweler's saw, and two books (Soldering Made Simple and Mixed Metal Mania) thanks to an Amazon credit from turning in used textbooks, and this week I picked up some sheet copper and brass, shears, butane, heat-proof blocks, tweezers, and a few other supplies at Thunderbird Supply in Albuquerque so I can get started during my upcoming 3-week break from school.

Following suggestions from other metalworkers and common sense, I'll start with copper and brass given my total newbie-ness and the price of silver; this works for me anyway because a lot of my jewelry lately has included those metals. Once I've made a few things I can then play with the patinas I got from the wonderful MissFickleMedia, whose tutorial I also bought and have found really useful as well as readable. While I love the patinated components I've bought from her and other Etsy sellers recently, I also love the idea of making my own, not just to save money but really to experiment and see what I can come up with. Again, this little studio is perfect for that process, which thanks to my experience with Liver of Sulfer I know can become smelly and a bit messy.

So what new things have you all been up to lately? Tell me all about it in the comments section and, if you're also interesting in trying or refining your skills in soldering and other metalwork, I'll enter you in a random giveaway for a copy of Soldering Made Simple! I accidentally ordered two copies, and this fabulous book is a great way for me to thank both my long-time and new visitors and followers. I'll draw a number using a random number generator next Wednesday (March 16) and announce it in that day's BTW post. Good luck, and thanks as always for visiting!

Spring Fever Redux

Cherry Blossom Festival, Necklace in Shell, Glass, Sari Silk, and Oxidized Copper, Jan. 2011

Cherry Blossom Festival Bracelet

 I spent some time contemplating the necklace I made the other day and decided the copper needed to be oxidized after all, both for a more uniform look and because the darker copper contrasts better with the pink and white. First I bathed the copper in a solution of vinegar and baking soda (1/4 cup and 1 teaspoon, respectively), then soaked it for a minute in hot water, having just read that heating the copper helps it oxidize more quickly and uniformly. I then dipped it in a liver of sulfur solution for a few moments, till it was a dark greyish brown, then rinsed it thoroughly. After it was dry I rubbed all the copper components with a polishing cloth, being sure to hit the highlights a bit harder to bring out more texture. I love how it came out, especially the toggle, which I made myself (I probably mentioned that already because I am SO proud that I can make at least a few of my own components). And I added silk and flowers to the focal, just to fill it in a bit. I also oxidized some copper wire and components for a bracelet, which came out nicely; I should probably also do earrings, because of course everyone likes a set. I shot these on a silk shirt that a friend gave me, which I haven't worn yet (it's part of a summer suit, and it is hardly summer, nor am I needing to wear anything suit-like yet), and although I'm reminded yet again why I stopped shooting jewelry on fabric (the details become distracting and difficult during post-processing), I like the color contrast. More jewelry tomorrow; making this set made me want more flowers in my life, and since I can't grow them for a few more months, I seem intent on putting them in my jewelry...

Spring Fever!



Cherry Blossoms, Necklace in Shell, Glass, and Copper, Jan. 2011



Looking through my photographs two evenings ago I came across and just drooled over one of my favorites, a shot of blossoms on the tiny old apricot tree outside my bedroom window. I wish I could say I took this photo yesterday because that would mean it's spring (with our warm weather these past few days it sure feels like it), but I actually took it in March 2009. The image clearly stuck in my mind because when I went to Michael's yesterday (ABQ trip! Yay!) I was drawn to the shell focal above and then picked out coordinating beads and components, all of which are way outside my usual style. I don't dislike pink, but I don't use it very often in my jewelry because I tend towards cooler, earthier colors. Maybe participating in the Bead Soup Party is piqueing my creativity and curiosity; in any case, this necklace practically laid itself out as I played last night (instead of doing coursework; after almost 2.5 years of that I am TIRED). I was amazed to find a length of sari silk in my bundle that matched perfectly, and I love how the copper works with the pink. I am thinking of antiquing the copper to darken it a bit and match the chain (top); that would also bring out the detail in the toggle bar I made -- I love hammering copper and want to make more of these toggles! I'm not sure the necklace is finished yet; in addition to antiquing the copper I might add more of the little glass flowers, and maybe more sari silk. What do you think?

One Small Step

We have had some intense electrical storms the past two days -- this afternoon I got to drive the kids up the mountain through a totally cool 360-degree lightning show -- so I wisely kept the computer off and have been occupying my time with various mosaic-related tasks and experiments. Basic tasks (power tools again - RAWR): drill holes through Hardibacker for hangers, and sand edges for a more finished look. But my most pressing task is to figure out how to make my own word tiles. The Sculpey tiles I made a few weeks ago worked okay but were fairly labor-intensive and probably are not durable enough for outdoor or heavy use. I'll save that technique for ceramics or Precious Metal Clay, which will be kiln-fired and thus truly durable.

So here's my current, affordable and time-efficient idea: print (or hand-write, for a really personal look) some words on paper, glue the paper to the back of a clear glass tile or shard with a clear-drying clue, shellac the paper side (once completely dry) to make it waterproof, and use the tile as I would any other glass fragment in my mosaic. Seems way too simple to really work, doesn't it? Well, I'll put these rough trials to the test later this week. The cool part is that I can make any words I want, on any paper I want, any time I want, essentially for free. Come to think of it, this technique might also work for photos, pressed flowers and leaves, fabric scraps, bugs...

My other main experiment tonight: making hand-wrought copper hooks for my key holders. I used 12-gauge copper wire from my dad's workbench (I'll replace it, I promise) and my metal hammer and bench block. This was a definite success; pictures at 11 (tomorrow, if my lapidary day doesn't wear me out). (What a life, huh?)

Hand-Wrought

I do so enjoy making these earrings: cut wire, file ends, shape, HAMMER, adjust shape. I hammer out in back of the gallery, and as an experiment I left my metal bench block in the sun for a few hours to see how the sterling silver would hammer on a hot versus a cold block. I loved the results; the hammering went more quickly and the surface was a bit smoother, though I'm still going for a somewhat "roughed-up" look. Friend and gallery associate Nicole has a pair like these that inspired me; I went with a thinner-gauge wire (18-gauge instead of 12- or 14-gauge) so these would fit in more ears and be lighter. So that's all for now. Tomorrow, however, I will show a diminutive but fascinating piece of Smithsonite that I'm wirewrapping into a pendant. Not just any wirewrapping...

Turquoise and copper, again {all sold!}

This Mexican turquoise bead from Two Cranes has a lovely green-tinged hue and rich brown matrix that work very well with copper. I kept the necklace simple, using more Mexican turquoise along with some rough copper spacers and a copper clasp that I scratched up a bit on purpose so it will darken up more quickly during wear.

I love turquoise with copper (obviously) and have sold several pieces that I've been tempted to keep but, well, when I sell one, I can buy stuff to make more. The piece at left is another Two Cranes Mexican turquoise pendant that I put on an adjustable leather cord finished with copper wire and some handmade copper headpins. This pendant has a more striking green hue which, to be honest, I couldn't figure out how to match, hence the leather rather than beaded necklace. Turquoise with leather and copper seems a quintessentially Southwestern combination, though, and I'm surprised that I don't see it more often. I have one piece made in this style that I've kept for myself (despite the frequent temptation this is actually a rare occurence), and the leather has worn very well for well over a year, darkening along with the copper as I wear it. I use a high-grade Greek leather, which surely makes a difference.

The necklace at right uses a Chinese turquoise pendant (not Two Cranes) with a beautiful "cascading" matrix. Turquoise matrix features so often look like water features, which is apropos given how the stone is created. I set this one on 16-gauge copper with wirewrapped leather and a front clasp that I shaped and hammered myself. I've used this clasp style in several pieces (including the aforementioned piece in my personal collection), but I later found (after conferring with the buyer) that it doesn't work well with a smaller, lighter stone: it pulls it off balance. I re-balanced this necklace for the buyer by adding some small copper-wrapped turquoise "charms" to the other side; she was pleased, especially when I threw in some matching earrings for free.

Bangled up in blue

Here's an interesting wirewrapping technique I adapted from a tutorial I can't find now (I would like to reference it, of course): using 24-gauge sterling wire on a core of 16-gauge half-hard sterling wire, I wrapped high-grade lapis heishe and fancy Balinese silver rondelles around the edge of the bangle. This makes the bracelet sturdy enough to keep its shape, and it goes on and comes off easily with the integral hammered S-hook clasp. I've made several of these now, including one in mookaite and sterling, one in "African Jade" (actually a grossular garnet) and sterling, and one in black onyx and copper.

Rethinking the Clasp

Putting things on leather has challenged my ideas on how to finish a necklace because my usual crimping methods won't work on the leather ends. I've bought a few different kinds of end caps and crimp ends, but I haven't been happy with them, and some have turned out to be entirely unreliable. So, in yet another wire-wrapping experiment, I came up with the above solution... and since it's so interesting and works well with the organic nature of this piece, I decided to put the clasp in front instead of hiding it in back. The best part is that I make the whole end-cap-and-clasp configuration myself -- no purchased ready-made parts -- which makes my pieces just that much more personal.

An Experiment

From my "personal collection" (a.k.a. Not Ready for Prime Time Pieces), here's the woven copper cuff I mentioned the other day. I haven't polished it since I made it six or so months ago, and I wear it almost every day, so it's gradually taking some patina that gives the wirework more depth. When it gets a bit darker I'll buff the highlights to give it nice contrast and shine.

This was a fun piece to make -- pure experiment with only the vaguest notion of what I might end up with. Actually, I was trying for something else but couldn't figure the pattern out, and so I kept going with this and just loved it. Notes to self: don't cut wire down to size until the weaving is complete (the cuff ended up a bit too short, and uneven), and don't hammer the ends till I've scrolled them (scrolling flattened, hardened wire is much harder). That's it for now.

Fun with Copper

It all started with a simple suncatcher a few years ago, dangling in a shop window down in Seal Beach, California. Heavy-gauge copper wire, just like you see at the hardware store or on the job site, twisted into swirls and coils with some luscious glass beads dangling just so. I kept thinking about it, so one day I rummaged through my husband's tool boxes for some wire and started twisting -- I can't say I came up with anything artistic, but I had fun and filed that exercise away under "try again someday."

Behold my "someday" bangle, one that I sold a few weeks ago and will definitely make a new version of -- copper is "in" now in the jewelry world, so much so that I saw a whole table of copper findings at my favorite gemstone supplier yesterday, and even before that had managed to scrounge together a respectable collection of headpins, jumprings, earwires, and even crimp covers not to mention some amazing, very earthy-looking copper beads. This malleable metal makes for easy twisting and weaving, and although it's not for everyone, it offers a warm contrast to turquoise's cool blues and veiny matrix. It takes on a patina naturally and quickly but polishes up nicely, too, though I'm experimenting with a woven cuff I made just for me to see how cool a patina I'll end up with if I wear it every day and neglect to polish it.

Copper is showing up in more and more suppliers' inventory, but you can start easily and cheaply by picking some up at your local hardware store.