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100% found this document useful (3 votes)
637 views84 pagesWirework 2015-Spring PDF
Uploaded by
LepiildiCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as PDF or read online on Scribd
/ 84
ALL-NEW P
PCO] Hl Ee oath
Wirework
From the publishers of Bead&Button magazine
Learn 3 wire
weaving techniques
and more
¢ Viking knit with beads =
¢ Half-Persian 3-in-1
ele Rare Ta)
250
how-to photos!
¢ Wire netting
7 ways to add
color to your
wire jewelry!
Create your own
findings with wire 51.
Wrap your way to this
adjustable bangle p. 20
Make easy earrings” :
ina flash ».50
PLUS!
¢ How hammers can enhance your work p.s
« Easy stacked bangles p.ss
¢ New products for your studio p.12 Thisingenious too! makes beautiful
wire cones and bead caps
o
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aa W J new dimension X
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compeling tetued look
Attistic | Wires
The Largest Selection of Craft Wire € ©)
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Use these clever fixed peg jigs
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ear wires, and connectors Everything you need to start cutting metal Grank wire tomake
sheet, large gauge wire, wood, and plastics ) coiled springs & beads
‘Make iteasy to straighten wire
that has been worked —— CREATE ——
ONE-OF-A-KIND
JEWELRY!
Unite chain mail and wire techniques
into jewelry with an entirely new look!
SOM aOR Mae EU
ovals, twists, and more. These wire shapes will connect
eran ke eae ce ers are ran
glamorous and wearable for all occasions.
SURES ere seca en ea tlc
DeYoung include necklaces, pendants, and bracelets so
unique, you won't find them anywhere else!
1y now from your favorite
(ae at JewelryandBeadingS tore.com or 800-533-
Monday ~ Friday, 8:30 a.m. ~4:30 p.m. CT. Outside the U.S. and Canada, call 262-796-8776 ext. 661
|; Oy Jc a Projects
10 Quick Ease: Simple shapes earrings
By Suzanne Harrison
14 Technique Workshop: Custom cones
By Sandra Lupo
17 Book Excerpt: Chain Mail + Color
‘By Vanessa Wako
20 Drops of juniper bangle ®
By Nicola Boor
24 Byzantine bounty necklace
‘By Alison Jayne Layton
28 Dragonfly dreams pin
By Linda Harting
32 Sunshine lotus earrings
By Genea Crivelo-Knabse
35 A touch of flair ring
By Cassie Donlen
38 Wrap and stack Bohemian bangles
‘By Cassie Donen
44 Serendipity rings
By Jude Carmona
47 Sticks-and-stones necklace
BysJoan LaBue
50 Almost effortless earrings
‘By Samantha Siator
52 Mosaic rainbow fish pendant
By Inna Fustemova
56 Enmeshed earrings
By Ina Miech 58 SpiroNess pendant or pin
By Brenaa Schweder
61 Pendant-perfect bail
By Julio Huck
64 Braided ladder bracelet
By Rebaca Mojica
68 Beaded Viking knit necklace
By Stephanie Eady
73 Low-tide pendant
By Alson Jayne Layton
76 Nest egg ring
By Eva Mario Shaman
In Every Issue
6 From the Editor
8 Tooling Around: Hammer time
How hammers ean enhance your wireork.
By Barb Switzer
12 In the Loop
Check out the hottest books, tools, and
products for wire and chain mal artist,
13 Creative Minds: Getting a guide
Discover now a mentor can change your
pol of view.
By Brenda Scvecer
42 Gallery
Find insption in the perfect paling
of stones and wie,
78 Basics
Brush up on essential wirework techniques
‘and materas,
82 It’s a Wrap: Switching gears
Find out what's behind Lisa Niven Kel’
‘recent absence rom ner usual paces.
By Stacy Wekhsisar
76 From the Editor
A colorful
life
In the jewelry-making world,
Wirework.
tr dua Gertaeh
Manage Estor Kristen Seneuing
{tral Sia Mere Abeow, Casie Donte,
Naor ujmoto, Kesey Uno, Don
wirework can sometimes be a bit
‘monochromatic. Instead of the tile of a
book and blockbuster movie, “60 Shades
of Grey" could be a line of siver jewelry. Pesta
KALMBACH PUBUSHING CO.
Preset Charles Croft
eo Peer, tora Ravin 2 Keate
‘Sonor UP, Sls and Marking Dat R Lance
Of course people like to stick with the classic metal colors of gold, siver,
and copper because they're neutral and pair easily with lots of different apparel
options. And justified or not, color equals cratty for some people. But adding Bl
color to wie joweky is easy to do — and it doesnt have to end up looking gaudy. ‘ean Postn anna aay
This issue of Wrework is largely devoted to creating colorful wire jewel. Gp Creat nage Key Ste
‘Sng Cony Specks Kim Redmena
Probably the most natural way to add a pop of color is with beads, lke in
Nicola Beer's cover bracelet (p. 20), Cassie Donlen's stackable bangles (p. 38), Corporat Adverisng Drectr Ann E Sth
‘sertsing Ste Dina Johnston, Dawn
or Iryna Rustemova's adorable beaded fish pendant (above and p. 62) a
Youll also discover other methods for adding color, lke the WoolyWire floral
How To REACH US
earrings (p. 32}, a wire mesh dragonfly brooch (p. 28), and a pendant made from Er nen 2 76078
epoxy clay and sparkling crystal chatons (p. 73). And then there's loads of enamel PO. Box 1812
scales (0. 17), metal components (p. 47), jump rings (p. 64), and wire (p. 68). Ena wrenonitodhalnbach.com
‘vertising Ses (26) 550844 x a8
You can't help but see in this issue that wirework doesm't have to be drab! etl Wade Sale (600) 558-1544 press 3
utente US. ane Canaca
Break out of your comfort zone and add some splash — Wirework will be with career a
you every step of the way. gS. agt Conese
Fax 260 796-1616
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£2015 Karten Pitt os Arete mone
Smet wgenadenteseeoe re ocaen Poy
‘ete outing we what wen
Foradntot pose
cnn e
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‘he sna 9 rower Spin 2015 out
‘Beastie fh ota tt
Eg EUS Domaiar”
© Wirework Spring 2015, STEP UP YOUR Bina ess ‘
WIREWORK SKILLS [Eee Bel
WITH WIRE ARTIST siYice Wea RSE 8
LIsA BARTH!
In Timeless Wire Weaving,
Lisa offe xquisite
projects that combine wire
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Filled with how-to photos and cl
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ates Dace, prety Tooling Around
Hammer time
Hammers that help — not hinder — your work.
By Barb Switzer
an “economy hammer. There
is nothing wrong with an economy
hammer, except when repeated
attempts to glue its wigaly head fal,
and the owner insists on using it any-
way. My economy chasing hammer,
Shaky, has adequately served my kmited
needs, but | am able to see Shaky’s
flaws in comparison to better hammers.
Beyond the wobble, Shaky has a
1Yin. (82 mm) wide, curved head,
‘which makes ita bit large for any sort
of precise hammering. And, in its long
lf is been dropped numerous times
on the canerete studio floor, leaving
nicks in its face, especially around the
‘edges. Each time one of these marks
contacts the metal being hammered,
the flaw is transferred, making every
attempt to flatten an accidental foray
into texturing. A hammer with a
soratched, rough, or corroded face
is fine in the garage, but not a good
option for the studio. It is possible to
refinish hammer faces, but this is a
labor-intensive project | haven't yet
been willng to pursue.
| fam the sort-of-proud owner of
Not one to give up easly, | wondered
if Shaky and | could just stick it out
Alter testing some decidedly superior
specimens, I've come to the conclusion
that Shaky just isn't cut out for studio
work, Here are five quaities a good
hammer can provide that poor old
Shaky just can’t deliver:
Strength
Hammering work hardens wire and,
metal, making it stifer and stronger.
‘This &3 important, for instance, in a
clasp or an earring wire that needs
to maintain its shape. A rubber, nylon,
rawhide, or paper hammer can be used
to make wire strong without changing
the shape, or to strengthen fat wire
without marring the smooth surface.
‘There are a stunning array of different
shapes and configurations of these
shape-maintaning hammers, and many
of the muit-head convertible hammers
include at least one non-metal head.
Shape
Hammering changes the wire's
distribution around a curve or at
Unlike my dad's old in. (16 mm)
riveting hammer, this one is compact
and smooth.
8 Wirework Spring 2015,
a specific point, to give the ine a more
dynamic and interesting look. This is
an oftan-overlooked application for
hammering. Shape enhancements
around curves are both practical and
beautiful, draw the eye, and guarantee
that the curves will retain their shapes
‘over ime and with time and wear. Use
‘smaller hammers to shape points and
‘small sections of wire more precisely
on smaller wire gauges. Flattened wire
is more stable than round wire when
worked and can be mare highly reflec:
tive and visually appealing,
Texture
In our toolrich environment, this area
of design continues to be very popular,
Cross-hatching, dots, bubbles... all
manner of textures that are used in
findings and focal elements can now be
mirrored with the wire used to connect
them. The techniques to achieve these
effects have also grown. All sorts of
texturing hammer designs are now
avaliable, including several versions with
up to a dozen interchangeable faces.
Instead of using an expensive rolling
Chasing hammer with
a t-in, (25.5 mm) head, mill to add texture to wire and sheet
metal, a hammer offers great savings
and portability. An embossing hammer
can be used to make dots, dimples,
and scaly textures, Raising hammers
can make long, sharp irregular line
textures or organic ripples, and using
different hammers together provides
unlimited potential,
Rivets
Wireworking Is a skills- and experience-
based art form, and riveting is. an
essential skill. Many people consider
rivets to be metalwork, but since they
are made with wire, l regard them as
‘wirework. My first riveting hammer,
inherited from my dad, probably dates
back to the early 1960s and may not
have been intended for jewelry applica~
tions. It isn't terribly refined, but was
adequate for my early efforts —
although | could see my rivets were
rough, uneven, and unsophisticated at
times. Luckily, | was gifted with a beau
tiful German riveting hammer, which is
smooth and more compact.
Both sides of the
‘texturing hammer
provide a dynamic
pattern that plays
Perfectly with a
‘textured finding.
Therapy
Finally | would be disregarding a whole
dimension if | faied to mention the ther-
apeutic pleasure of hammering it is
pure fun; the ring of the bench block,
the chime of the hammer, watching the
metal change shape after each tap, or
picking up two pieces of metal joined
with a perfect rivet. Take a class that
includes hammering, borrow a hammer,
buy an economy hammer and a spool
of 1d-gauge copper wire: do whatever
it takes for an opportunity to wield a
hammer, chango the shape of a wito,
or just make some noise. Actually,
make a lot of noise, Hammer with
‘abandon; the rosults will make
the clamor worthwhile
Barb Switzer has taught
wire and beadwork
since 1998 at stores
and shows in the U.
Today, she edits, iftus-
TE rates, and creates wire
and beadwork instructions. Contact
her at [email protected].
;
A combination of different sizes of
embossing hammers gives the flat
wire in these earrings a texture
reminiscent of animal prints,
f\
f |
AL
Using the riveting head on the
riveting hammer and the back
of the chasing hammer creates
a unique pattern.
‘The extreme curves on the tips of an
embossing hammer make fantastic
dimples and bubbles.
‘The grid texture can be used lightly.
or heavily, depending on how much
‘metal you wish to move.
ww Wieworkdag.com Quick Ease
Simple
shapes
earrings
Discover the luxury of
simplicity with just a
few beads and bends.
By Suzanne Harrison
1 Cut a 7:in. (17.8 cm) piece of wire.
(On one end, make a wrapped loop
(Basics, p. 78) with an opening of
3-4 mm (a)
2 String a3 mm flat spacer and a
crystal bead, Holding the beads tight
against the wrapped loop, bend the
wire below the crystal at a 90-degree
tangle (b). Try not to allow any space
between the crystal and the bend.
Note Bend the wire away from the
“prettier” side of the wrapped loop,
so that the tucked end of the
wrapped loop will not be visible
when the earrings are worn.
3 Carefully curve the wire up and
through the wrapped loop (¢). Do this
slowly 80 as not to kink the wire. Form
the wire into a pleasing arc around the
back of the crystal, leaving about
% in. (6.5 mm) between the crystal
and the wie at the center of the arc.
4 Using chainnose pliors, make a
90-degree bend whare the wire exits
the wrapped loop (¢).
5 About 14 in. (13 mm) above the
wrapped loop, curve the wire around
2 Yin. (19 mm) round mandrel, fomning
half circle (e)
2
Note Pull the wire toward the arc
around the crystal, so that when
the mandrel is removed, the wire
springs back, leaving a 3-4 mm.
gap from the arc.
6 If necessary, trim the wire to
% in. (6.5 mm) below the crystal
Using roundnose or chainnose pliers,
bbend the last % in. (6.5 mm) of the
wire outward (f). Smooth the end of
the wire with a file or wire rounder.
7 Repeat steps 1-6 to make a
matching earring,
10 Wirework Spring 2015 ?D OD (
B] Suzanne Harison started
‘making jewelry more than
20 years ago when her kids
wore small She began with
stringing and then moved to
oft-4oom stitching, wronork,
and most recenty metalwork. She works
part time at her family’s insurance agency
‘and now has an Etsy shop or her jewelry:
wnsofterfejewely.etsy.com. Contact
Suzanne a [email protected].
design option
‘The gold earrings feature Swarovski
20 x 8 mm elongated bicone crystals in
topaz. The beads inthe silver earrings
are 15 x. mm crystals in sapphire.
if you don’t have access to olongated
bicones, try substituting Czech fre-
polished glass ovals or other beads
of similar dimensions. If you choose
a bead longor than 20 mm, start with
more wire in stop 1.
difficulty level
oO
materials
topaz earrings 1% in. (41 mm)
#14 in. 05.8 em) 20-gauge (08 mm)
Golcfiled wire, round, hat haec
2.20 x 8 mm crystal beads (topaz)
2.3 mm fat spacers (gold)
chainnose prs
roundhose pers
Yee (13 mm) oiamater round
rmandtol ko a permanent
marker
+ le or wie rounder
ace
ae ae
Mecca
Selection!
NEW - PRECIOSA Ripple" Bead
Plus over 12,000
other styles and colors
of Czech fire polished,
pressed glass and
» a
shipwreckbeads.com
Berard
COL
Ce ee ee
etd
8
Drreciosa
eel ety
217 PAGE CATALOG
om
eee
re sree rreree
wuw.WieworkMag.com 14 In the Loop
Lollipop stamp set
‘Anew font set from ImpressAt, Lollipop is @
4 mm uppercase sans-serif that is casual yet
classy. In a handy, stackable storage case, the
sot includes seven symbol stamps. Find out
more at www impressart.com,
‘Stamping blanks
‘Two new stamping blanks offer more
options than ever.
‘# ImpressArt’s Soft Strke pewter
shapes are designed to make a crisp,
deep impression with a single tap of
the hammer. Find out where to buy
them at www impressart.com.
‘ Beaducation's artisan stamping
blanks are just too cute. Available in
2 variety of metals and finishes, these
blanks feature sweet design elements
like raised shapes (think hearts anc paw
prints), textured edges, mock stitching,
{and even tiny bezels that are a perfect
fit for 2.6 mm flat-back crystals. Get
them at www.beaducation.com.
VN
8D bracelet jig New book
With Artistic Wire's new 30 Chain Met & Wire
Bracelet Jig, you can create Reimagined
a continuous wire bangle or
curved cuffs and components
without the need for extra
shaping. The jig is made of
hard plastic with 198 offset
holes,
are available separately. Ask
for the SD Bracelet Jig at your
local bead shop or anywhere
Beadalon products are sold
‘Some people love chain
mail, some love wie,
and the really lucky
‘ones lave both! For all
of those people, Karen
‘and comes with 20 Rakoski and Barbara
‘metal pegs and rubber fasten- | _DeYoung's new book
cers to keep the pegs in place | offers 18 projects and
as you work. Extra peg sets 29 design options that
‘combine wirework and chain mailfor distinct
Jewelry. As an added bonus, the back of the book
features instructions for 11 classie chain mall
‘weaves and a handful of useful wire techniques.
Find it at www. JewelryAndBeadingStore.com.
Now That's a Pliers!
Brenda Schweder’s Now That's a Piers!
features interchangeable pegs and pucks
= the same ones that go with the Now
that's a Jigl — in a convenient hancheld
‘format. The jointed jaws keep the pags
perfectly aligned for consistent loops.
Find it at www.brendaschweder etsy.com.
Wirowork Spring 2015
DIY kits
Wire crochet can be a messy affair, but not in the hands of Yae! Falk of
YoolaDesign, who creates lacy, ary wire jewelry and home décor items.
Now you can create pieces from Yoole's line with new DIY kits and video
tutorials. The work is done with a steel crochet hook and 28-gauge wire, and
the technique is actually more ike spool knitting than crochet, Some kits also
‘come with one or more “invisible spool Knitters" which serve as a base for
working your patlern. Get kits and inspiration at www. yooladesign.com. Creative Minds
Getting a guide
Teachers pass on skills;
mentors pass on aspirations.
By Brenda Schweder
In this world of celebrity
idolatry, | cing to having real peo-
ple who provide examples of a “place”
10 strive for. Robert Ebendortis at the
{op of the lst of those who personity
that place for me
“The Racine Art Museum (RAN) —
whose Executive Director and Curator
of Collections, Bruce Pepich, describes
Bob as “a national treasure" — built
an exhibit around him and his work,
ob sat for an interview whie at RAM,
and we talked about both finding and
ppassing on guidance.
Me: INe heard others in our fleld
refer to you as “The Pied Piper”
Bob: The Pied Piper effect is about
enthusiasm — | feel fortunate that I've
been able to create that enthusiasm,
|ity to make sure people come away
with more knowledge each time
we're together.
Me: Which mentors were influential
in your tte?
Bob: One was Hermann Junger,
who is German. His leadership in the
field of adornment was significant.
He gifted me very rich advice. Another
is Ron (Ronald Hayes) Pearson. He has
a quiet manner and solid grounding.
| ound it competing to be welcomed
Under his umbrella. | would write to him,
shal | say, as a sounding board,
It interesting that as | look back to
my early academic teachers, | gained
technical skils, but I didn't have nearly
the mentoring connections that | found
later in these two men. There was no
‘competitiveness in these relationships;
| respected them and got emotional
‘grounding and artistic experience.
Me: So there's a difference between
teaching and mentoring?
Bob: Teaching is about “This is how
you do it” step by step. I's shown by
‘example, siting down at the bench,
Mentoring is asking where are you
going, what community do you want to
{ind yourself in? How do you want your
‘work going out into the world?
Mentoring might be forged through
2 personal expatience ... sometimes,
mentoring is shedding light on a time
of challenge and restlessness, but with
professional guidelines.
Robert Ebendort
[above right with
the author), has.
ong been a pio-
reer in the use of
found objects in
jewelry. His Off the
Street, From the
Beach necklace
is shown left.
Me: How does a mentor/mentee
relationship begin?
Bob: Maybe is an instinctive sense
‘where you both become aware that
the door is open and you want more
time together. Perhaps you are called to
being a mentor by the mentee’s reach?
Perhaps the mentor emits warmth,
‘or a safe zone that the mentee can
step into.
Me: Is mentoring something that gets
passed along?
Bob: I'm very proud that a number
of students I've mentored now create
‘opportunities for going forth and lead
ing. it comes full circle. | see that with
those with whom | have been clase. It
might be not always putting their boat
first, but creating an arena for others to
have professional experiences.
This is the kind of goodness that
needs to be shared. Seek out mentors,
that support, encourage, and challenge
you, and then be that kind of mentor
yourself. Find your Bob. And be a Bob
to someone who looks to you for a
“place” too! 2
Brenda Schweder isthe author of Steel Wire
Jewelry, She has also been a guest on
“Beads, Baubles & Jewels,” wth Katie Hacker,
‘and Grafteast, with Alison Lee. Visit her web-
Site at www brondaschneder.com and catch
her on Etsy, Facebook, YouTube, and Pinteres.
www WireworkMag.com 13 PROJECT IDEAS
Technique Workshop
Custom cones
Is there a missing link in your jewelry?
Wire cones are great for connections,
a
closures, and so much more.
By Sandra Lupo
In my jewelry-making career, | have
found a place for cones in all kinds of
pleces — necklaces, bracelets, rings,
tassoled earrings, brooch dangles,
connectors, and terminals for multi
strands and ropes. Sure, there are
plenty of great-looking manufactured
‘cones out there, but it can be hard to
find the size and finish you need,
With the Constastic Cone Mandret
Tool Set, you can make custom cones
to fit your project for a fraction of the
cost of a ready-made cone, The set
contains three cone-shaped mandrels
‘that ft right inside the handle for sate-
koeping. You form the wire around the
mandrel of your choice, using as much
cr as litte of the mandrel as necessary
for the function you need the cone
to serve.
“ann 2 070
‘The solid-steel mandrels are ridged
0 that round wire hugs the mandrel
Other wire shapes (half-round, square,
twisted, flat, and even coiled) grip the
mandrels easily, 00. Thicker wires hug
more fmly than thin-gauge wires, but
both are appropriate for this tool
Basic cone
1 Insert the thinnest steel! cone mandrel
(2mm at the tip, 5 mm at the base) into
the top of the tool, and secure with the
included hex wrench.
2 Cut a length of medium-gauge wire
{18- to 22-gauge} Insert one end of the
wire into the guide hole in the mandrel
0 that afin, 25.4 mm) tall extends
from the hole. Bend the wire atthe hole
to secure
3 Holding the long end of the wire in
your hand, wrap the wire around the
thase of the mandrel, Keeping the wraps
lose together (a). Continue wrapping
to the desired length cone or unt you
run out of wire,
tip Hold the wraps down against
the mandrel with your index finger
and thumb to keep the wraps tight.
For a looser coil, wrap the wire with
less grip to deliberately create gaps.
This type of open coll reveals decora-
tive elements inside the cone, such as
1a beaded head pin (b).
4.Trim the wire extending from the
uide hole to release the cone, and
then trim the tip and base of the cone.
| _
Use two colled cones to neatly end
most thicknesses of fiber ropes,
multistand necklaces, Viking knit
pieces, and leather cords.
1 Work as in “Coiled cone” to make
‘wo cones with the following changes:
‘use the thickest cone mandrel
(2 mm at the tip, 11 mm at the base)
‘© make your coils 7 in. (178 om) long
* use 18-gauge wire for the core wire
and 24-gauge coling wire
14 Wirework Spring 2015
2 If you are finishing a fiber rope, lke
this kumihimo necklace (4), apply glue
to each end of the rope, Cut an 8:
(20.3 cm) piece of 18-gauge or thicker
‘wire, and make several tight wraps
‘round one end of the rope,
8 String the cone (wide end first) over
the wrapoed wie, and string an 8 mm
round crystal. Make the first hal of a
‘wrapped loop, attach the desired clasp
(e), and complete the wraps.
4 Use pliers to adjust the bottom wire
rounds of the cone 2s needed to fit
the rope and cover the wraps made
in step 2 (9). Tuck the end into the cone,
5 Repeat steps 1-4 at the ather end
of the rope. ® watch the demo Go to www.youtube.com and search for “Artistic Wire Conetastic.”
tip Make duplicate cones one
after another, since your hands
will remember the wire length and
tension you used for the first cone.
Coiled cone
1 Begin by making a coll of wire
(asics, p. 78). To do so, you'll need
a Coling Gizmo with a 1.6 mm crank
of a 14-gauge (1.6 mm) metal dowel
and a spool of coiling wire. The colling
wire should be at least two gauges
thinner than the crank red or dowel.
Without cutting the coiling wire from
the spool, wrap the colling wire around
the crank rod or dowel until you have
a G-in, (15.2 om) coil. Carefully slide the
coll off the crank rod or dowel
2 28tting,
ro
2 Insert the medium-thick cone man-
del (2 mm at the tip, 8 mm at the base)
into the tool as in step 1 of “Basic cone.”
3 Cut an 18-in. (45,7 cm) piece of core
wire, and slide the 6-in, (15.2 cm) coll
made in step 1 onto it. Insert one end
of the core wire into the guide hole on
the mandrel so that a 1-in. (25.4 mm)
tail extends from the hole. Bend the
core wire at the hole to secure,
4 Holding the coil away trom the tool,
‘wrap the core wire around the base of
the mandral a few times. Then push the
coll down to the mandrel (e). Continue
‘wrapping with the coilcovered core
‘wire until you have used up the coil or
are near the tip of the mandrel, Tim any
‘excess coil, and complete the cone by
wrapping the core wire around the
‘mandrel tip a few times,
5 Release and trim the cone as in
step 4 of “Basic cone:
‘Sandia tupo teaches
wire, bead, and metalwork
techniques at museums,
art workshops, and the
Bead&Button Show.
AS an inventor, Sandra
shares her creat with how-to projects
and demos of her Conetastic Cone Mandrel
Tool Sot and accessories, which you can
find at wwvmartistcwire.com or anywhere
Beadaion products are sold To learn more
about Sandra, vsit ww sandstones com.
oo
Make two basic cones with
18-gauge wire,
Make two colled cones using
20-gauge core wire and 26-gauge
coiling wire.
With 12-gauge half-round wire, form a tight
ccone on the largest mandrel. Remove the
ccone from the mandrel, and trim. Spread the
Coils in one of the middle rounds, and insert
a suitable lampwork bead. Spread another
larger round, and insert the next size lamp-
work bead. String an 18-gauge head pin
through the cone (narrow end first) and the
inserted beads. String the last lampwork
bead, wrap the end of the cone wire around
that bead and the head pin wire, and trim.
‘Make a wrapped loop with the head pin wire.
For each earring: Open the
oop of an eye pin (Basics),
and attach five chains of varying
lengths. Close the loop. String a
‘cone onto the eye pin (wide end
firs), make a plain or wrapped
oop (Basics), and attach an
ear wire,
For each earring: On a head pin,
string a 3-4 mm bicone crystal,
a coiled cone (narrow end first,
2 10 mm round bead, an & mm
round bead, and a 3-4 mm bicone,
crystal, Make a plain loop (Basics),
and attach an ear wire.
www WireworkMag.com — 15 Jewelry Projects For
ettesueman
ecb 20 Befduon
Discover step-by-step instructions, clear photos,
and detailed illustrations for every skill level.
Bead&Button magazine is packed with Bead Style magazine is loaded with In ArtJewelry magazine, you'll
Unique projects to inspire you. Learn stringing projects you can make discover new techniques and
how to design and create beautiful in one evening or less! See just how ‘expert advice for transforming metal,
jewelry using bead stitching and easy it can be to create necklaces, wire, stones, metal clay, and polymer
‘other jewelry-making techniques, bracelets, and earrings in today's into unique and stunning jewelry
hottest colors and styles.
fe taser Ingo drier
ia ting March dedi ax 20s any
plans essen Book Excerpt
e Four-leaf
a clover
bracelet
and.
earrings
Carry some luck wherever
‘you go with fun aluminum
shamrocks that come
together in just a few
simple steps.
By Vanessa Waliko
Chain Mail
Color =
This project originally
appeared in the book
Chain Mail + Color by
Vanessa Walilko. Vanessa
is an award-winning jewelry
and fashion designer from
Evanston, linois. See more
of her work on her website,
www.kalibutterfly.com, and buy the book
at www.JewelryandBeadingStore.com,
‘wow WireworkMag.com 17 ‘Supplies
+ 84 16-gauge “eID bright aluminum rings (large)
+ 6 16-gauge 11D bright aluminum rings (medium)
‘+ 22:18-gauge "IO bright aluminum sings (small)
+ 96% "aluminum seales
+ Rhodium-plated key-and-lock toggle clasp
+ Pair of surgical steel earring wires
+ 2 pairs of atnose piers
Bracelet 2B. Sandwich the four scales
4. Weavea large open ring between the two large closed.
through the concave side of rings by fipping one of the
four small scalesand two closed rings to the back
large closed rings. Before ofthe stack of scales. Fam
closing the open ring, make the top scale inthe stack
sure that the scales are counterclockwise. With a
nesting inside each other. ‘large open ring, weave on
the right-hand side of the
stack down through the front
closed ring, the four scales,
and the back closed ring
Close the open ring. This
will lock alone green scale
in place.
a
9
a eo
s¢ 2
ye!
Before you begin
*+ Close 18 large rings and open 36 large rings
+ Open all ofthe medium and emall rings
‘B. Fan the nest scale in
the stack counterclockwise
‘Weave a large open ring
through the center of the
stack of rings and scales,
and close, Make sure to leave
your ring between the scale
you just fanned out and the
remaining stack of scales.
1S. Repeat steps 1-4 to
seven clovers
es
44, Fan out the last seale
from the stack. Weave a large
‘open ring through the center
of the stack of rings and
scales, and close to lock the
last two scales in place.
@NoT
‘This can be tricky; you might
noed to wiggle the end of your
Fing to make sure you pass
{through the front closed ring,
‘and the
Ince you've
‘closed this ring, the four rings
Should look like four epokee
18 Wirework Spring 2015 6G. Connect the clovers: Weave a medium open ring through
the spoke on one clover and up through a spoke on the front
of another clover before closing. It doest!t matter which
spokes you choose in this step.
B. Atone end ofthe bracelet, weave a -in-t chain of
{ous small rings to connect the bas half of the toggle clasp
to the clover.
Earrings
40. ‘To make the earrings, repeat steps 1-4 of the bracelet
44. Weave a 1-in-L chain of four small rings on each end of
two adjacent spokes on one clover.
42, Weave a small open ring through the last ring on each
chain and the hole of an earring wire. Close the ing.
4. Wiggle the I-in-1 chains to the back of the earrings,
bbchind the convex side of the scale,
+444, Repeat steps 11-13 10 finish the second earring,
2a
‘7. Use medium rings to connect the rest ofthe clovers
together. To make sure you connect them in a straight line,
‘weave through spokes that are opposite the pre
you wove though, Never connect a new spoke to the previous
spoke at a 99-degree angle (unless you want to ereate a funky
Se
k 1
y
Decorative ends inward-facing open spiral (m). Repeat a 6-10 mm round bead, center the
6 Using the 10 mm step of your bail- for the top core wire on the other end bead in the loop, and make two wraps
nag pla, Gasp thelapoca wie) ‘ofthe Weepping around the 12 eock poston
near the andl of he wrapping, and form Continue coling clockwise around the
a loop (g). Grasp across the loop with 10 On one end, rotate the S shape loop until you reach the 6 o'clock posi-
hulonjaw plers, and pul he end ofthe and spiral toward each thor (a) unl ton (a). Feed the wie back through
wre nthe opposite drecton to form they ouch in the centr. Push the She bead, and col counter clockwise
the start of an S shape (h). through the spiral (0), and return the $ around the remainder of the loop.
and the spiral to thet previous postions ‘Tim and tuck the wire ends
7 Insert the 10 mm and 8 mm steps so they are now interlocked (p).
of your ball aking plore ino tha § 1 Repeat stops 10-12 atthe other
shape, and continve forming the wire 14. Bond the middle core wite down at end of ne bracolet,
to complete the S (i). Trim the straight almost a 90-degree angle to the wrap-
‘end to ¥ in. (18 mm), and form an ping (q). Using the 10 mm step of your Finishing
inward-facing open epral (Basie) (). _balmaking plers, tam a oop 1. Make 14 Form your workaround a bracelet
ute te opis 2 rn largertian your randkelocother large. cynical form
B Repeat stops 6-7 forthe bottom bead. Wrap twice around the base of Align the beads paral o each other
core wire onthe other end ofthe the loop, and trim and tuck the wire tal). and test he to! your bangle the
wrapping. Tha 8 shag shoul (8) Fle the end smosth big oo trgo, pul the end past
face opposte directions ( each other so thatthe bead on one end
12 Leaving a short tail, use your is aligned with the spiral on the other.
© Return to the end with the § shape remaining wrapping wire to begin coil
fon the top, and curve the bottom core _ing (Basies) around the loop (t). When 1 Leaving the bracelet on the
wire down and to the left (). Form an you reach the 6 o'clock position, place mandrel or cylindrical form, hammer
22 Wirework Spring 2015, the wrapped portion of the bracelet
with a rubber mallet to work-harden
and set the size. Tumble-polish
(asics) if desired. ©
editor's note
Make sure the 26-gauge wire can pass.
through your beads twice. Ifnot, you
will need to widen the holes, choose
different beads, or use a finer gauge
wrapping wire.
Nicola Beer's a meta-clay
‘and wit att ing inte
EDM i Sie ter nating
ph lew tor just to years
