The Make Jewelry Blog is a guide for those who wish to make jewelry of silver and other metals. It will introduce them to the jewelry making skills and processes of an ancient and honorable craft which has unlimited possibilities.

An interesting feature of this type of craft work is that from the beginning, with a few essential tools, materials, and simple working drawings, one can learn to really make jewelry that is beautiful and wearable. As in any craft, practice is necessary in order to acquire the workmanship which will give good results. To this end the processes used to make jewelry should be repeated many times.

If you peruse through the Make Jewelry Blog you will find a number of ideas which can be combined in various ways to make new designs. The transition from these jewelry projects to independent planning can be accomplished by experimenting with units of metal which vary in size, shape and texture until a good workable design has been arranged. Then the sequence of the processes can be determined and the working plan made. In this way, the beginner will build up knowledge of the craft which will inspire him or her to make finer jewelry and do more finished work.

All good jewelry designers, consciously or unconsciously, are influenced by the design of the past and by the art forms and practices of their contemporaries. The designer not only studies the objects made of the material in which he works, but also designs made in other mediums to make jewelry designs that are unique and unusual.

Natural forms also give him inspiration. As the fashion in dress changes through the years, so will the styles in jewelry change, but a beautifully designed and well constructed piece of jewelry is always good. It may be laid aside for a time in favor of a newer piece, but will be treasured and worn again, as we might wear our grandmother’s charms and lockets with pleasure and pride.

Visit some of the other posts in the Make Jewelry blog to learn how to make jewelry.

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South China native Jen Lisa remembers being fascinated by metal, jewels and shiny things from a very young age.

“I’ve always been dazzled by jewelry and shiny things,” said Lisa. “I would clean my grandmother’s diamonds. We had a sailboat growing up, and I remember being eight years old and polishing the brass cleats on the boat until they got their luster back. I thought it was so pretty.”

Now the creative force behind jewelry line Quench Metalworks, Lisa has come full circle in her career. She started out working in a jewelry shop as a teenager, moved on to high-end galleries in Providence, R.I. and now has her own line of fine jewelry.

Quench, seen in shops and at shows around the state, combines her love of metal work with a recycled edge, using antique buttons and porcelain to create a look that’s part old-fashioned, part contemporary. It’s for sale at shops around the state, including Spruce & Gussy in Bar Harbor, Roots & Tendrils in Belfast and the Center for Maine Contemporary Craft in Gardiner, as well as online at www.quenchmetalworks.etsy.com.

Lisa, 36, named her line Quench because that’s what you do to hot metal, once you’re done with it: you quickly submerge it in water to cool and harden it. Her studio is set in a room upstairs in the house she shares with her husband and daughter, and is full of well-organized cabinets stuffed with buttons, semi-precious stones, chains and bits of metal crafted into creative shapes.

Lisa began learning the art of jewelry making at the age of 16, while still a student at Waterville High School. She found a job working at Jeffrey’s Fine Jewelers in Waterville, now a Day’s Jewelers. For the next two years, Lisa learned some of the basics — not officially an apprentice, but something akin to it.

“I learned how to string pearls with silk thread the old-fashioned way. I learned the real way to repair a necklace,” she said. “And eventually, I learned basic metal smithing and how to do hot work. It was the best job someone like me could have had in high school.”

A teacher encouraged her to apply to Rhode Island School of Design, where she was accepted and attended in the late 1990s.

“I knew right off the bat I wanted to study jewelry design and metal smithing, though I was really into blowing glass, as well,” she said.

While there, she studied under renowned German jewelry designer Martina Windels, who operated a high-end gallery in Providence, at which Lisa worked for several years after she graduated.

She also worked with acclaimed designer Sam Shaw, who now runs a fine jewelry store in Northeast Harbor. By the time she graduated, she had gone from the most basic of skills to working with nickel silver, a notoriously difficult metal to use.

Lisa returned to Maine in 2005 having burned out trying to make a living making jewelry and looking for a more stable life. She went to the University of Southern Maine and earned a teaching degree, married her husband, John, and taught art in the Waterville area for three years. Eventually, she stopped teaching and devoted herself to her now 5-year-old daughter, Annabelle. After a year and a half of being a stay at home mom, however, the creative bug just wouldn’t stop biting.

“I needed to create again,” she said. “It was driving me crazy not to.”

That’s where Quench Metalworks began. Early on in 2008, Lisa was making felt playthings for Annabelle and wanted some embellishments for them. She found some old buttons stashed away by older family members, and was struck by how lustrous and beautiful the decades-old mother-of-pearl buttons were.

“That proverbial light bulb lit up in my head,” said Lisa. “What if I set this in a ring? Or this in a brooch? I decided to get my studio in working order again. I just knew that these buttons would translate into jewelry focals wonderfully.”

Lisa’s first piece was a simple pair of drop earrings with plain mother of pearl buttons. Her next piece was a rectangle pendant that framed two buttons. Both sold to friends. She kept making more, and in September 2008 opened her online Etsy shop. She’s since displayed her work at craft fairs and trunk shows all over the state, including a display at the Bangor Symphony Orchestra’s season-closing concert last May, which featured a small marketplace showcasing recycled goods.

The buttons Lisa works with come from a variety of sources. Some are those buttons she salvaged from her family, others she finds in vintage shops. Some are buttons that her growing fan base has given to her, especially older women with a surplus of sewing accessories at their fingertips.

“I’ve had people find my stuff online, or I’ll be at a show, and they’ll say, ‘I remember those buttons from a long time ago,’” Lisa said. “They’ll have huge collections of leftover buttons from years and years ago. People didn’t throw things away back then. They would save old buttons. We tend to throw things away nowadays. Customers bring my buttons now. I’ve got a seemingly never-ending supply.”

Quench appeals to a broad array of people, which is one of the reasons Lisa has found success is making and marketing her wearable art. It’s different enough to be hip, but it’s vintage, classic look makes it timeless.

“I really love that everyone from a 75-year-old woman in Texas to a young New York hipster likes my stuff,” she said. “It’s very contemporary, but it also is a throwback to another time. I think that’s why people like it.”

Source: Bangor Daily News (Bangor, Maine)) By Emily Burnham, Bangor Daily News, Maine

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Vintage jewelry is an ever-increasing trend and lots of women are going further than just bracelets and necklaces, and finding antique brooches and wonderful pendants to add to their personal style. The most popular places in the world for vintage jewelry are regions were indie music is most prevalent.

How Do I know something is Vintage?

For something to be considered vintage, it has to be between thirty to one hundred years old. Basically anything from the Victorian era to the 1980’s is considered vintage. Trifari, Haskell, Eisenberg, Coro, Hobe, Boucher, DeMario, and Weiss are some of the big names in vintage jewelry designers. Vintage jewelry can be purchased from an online jewelry store and the great thing about it: its one-of-a-kind.

Dorothy M. Kezar once said: “those who cannot remember the fashions of the past are condemned to buy them again, at retail!” The whole idea behind buying vintage is that vintage is crafted with better care.

Popular Vintage Jewelry
 
You can get your hands on so much interesting vintage jewelry and the great thing about it, is it doesn’t have to cost you an arm and a leg. Instead of buying pricy diamond jewelry or diamond stud earrings, you can go with a gorgeous pair of Trifari rhinestone earrings, which are only $32. There are also so many choices of Bakelite bracelets, lockets and bangles. Bangles are usually thin and make a pretty chime sound as they clang together on your wrist. 
There is a certain old-fashioned charm to men with pocket watches and old vintage wrist watches, so that could always be a good gift idea.

Silver art-deco rings and gold cameo rings are really delightful and original too.

You can also match your winter coat with a vintage brooch or vintage figure pins

Keep Your Vintage Jewelry Clean

Shouldn’t vintage jewelry look old because it is old? Well, yes, but it doesn’t have to look dirty. Also, vintage jewels can be very valuable so keep them in as good condition as possible. The first cleaning rule for keeping your vintage jewelry clean is to refrain from using soap, vinegar or water. It makes the stones and the metal dull. Make sure that after you clean your jewelry to keep it dry, using a hair dryer or a towel. Finally, use a proper jewelry cleaner and brush with soft bristles to remove stains. Cotton swabs can also work. The trick is to make sure to be delicate with your precious vintage jewelry.

Learn To Make Jewelry

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Contents

METALS 1
Copper — Brass — Silver — Iron — Tin
TOOLS 3
THE BASIC PROCESSES 8
Sawing, 8 — Piercing, 10 — Filing, 12
Soldering, 14— Cleaning, Polishing,
and Finishing, 16
DECORATIVE PROCESSES 17
Wire Work, 17 — Wire Twisting, 18
— Making a Round Wire Coil, 20
— Making a Flat Wire Coil, 22
— Making Disks and Domes, 40
— Cutting Disks, 40 — Punching
Domes, 40
JEWELRY MAKING    24
BARRETTES
Barrette with Flat Coils of Wire, 38
Bowknot Barrette of Metal, 51
BRACELETS
Bracelet of Twisted Wire and Flat
Coils, 37
Bracelet Band with Dangles of Flat
Coils and Beads, 39
Bracelet of Twisted Wire and Domes, 46
Bracelet Chain of Round Rings and
Shaped Units with Stone Charms, 25
BROOCHES
Butterfly Brooch of Copper and Brass
with Tapered Coil, 54
Butterfly Brooch of Silver with Crimped
Edge and Tapered Coil, 55
BUCKLE AND BUTTONS
Buckle and Buttons of Domes, 45
CHAINS
Chain of Round Rings, 24
Chain of Shaped Units and Round Rings, 26
Chain of Metal Strips and Round Rings, 31
Chain of Onyx Beads and Coiled Units, 33
Chain of Oval Links with Center Twist, 43
Chain of Tubes, Wire Units and Round Rings, 56
Chain of Onyx Beads Linked with Round Rings, 57
CHARMS
Charm with Identification Initial, 27
Charms Mounted with Stones, 28, 29
Charm for Good Luck, 30
NECKLACES
Necklace of Flat Coiled Units Linked with
Round Rings, 35
Necklace of Disks and Domes Linked with Oval
Ring with Center Twist, 42
PENDANTS
Pendant Cross of Tubing, Dome and Units, with
Chain of Metal Strips and Round Rings, 31
Pendant of Onyx with Chain of Shaped Units
and Onyx Beads, 32
Pendant with Metal Cup and Stone held by Cord
and Beads, 50
Pendant Foliated Cross of Tubing, Dome and Wire
Units, with Chain of Tubing, Wire Units and
Round Rings, 56
RINGS
Ring of Flat Coils, 34
Ring with Flat Coil, Dome and Bead, 47
Ring with Oblong Flat Stone, 52
Ring with Stone Irregular in Shape, 53
SCARF HOLDERS
Scarf Holder of Twisted Wire and Flat Coils, 36
Scarf Holder of Raised Metal, Domes and Wire, 44
SLIDE
Slide for Sport Tie of Metal with Stone, and
Tapered Coils, 48
DESIGNING    59
SOURCES OF SUPPLY    65
INDEX    67
 
Order Jewelry Making Guide – Click Here For Instant Download  $10.00

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A general utility tweezer for assembly, inspection, sorting, etc. Shanks are thick and have flat edges that enable the user to grip and hold the object with the edge as well as the tip. Points are honed and have blunt tips. Overall length is 4-3/4″ (121mm).

Tweezers are also one of the more easily adaptable tools at the bench. For example, they can be altered to hold together stone setting components, or heads and rings, while soldering. Here are a few of my favorite tweezers and modifications:

Normal hand-held tweezers for soldering are most useful if they consist of 8 inches of good, solid metal. My favorite pair are stainless steel bench tweezers from Germany. It might be noted that the Indian style soldering tweezer is excellent; it has a heavy, thick end to grip during use so your fingers don’t get hot.

One of my favorite tweezer tricks is done using a wide-jawed self-locking tweezer-the type that is normally chrome plated. You can alter this tool to pick up earring posts from a flat surface at a 90o angle. There is no skill required to snap the posts into place in the tweezer jaws, making production soldering of earrings much faster and more efficient.

To create this tool, open the ends of the tweezers and file a groove into each side of the jaw with a triangular needle file. Start close to the end of the tweezer. The grooves must be in the same location on both sides so they line up with each other. Also, the grooves should not be too deep-no more than 0.5 mm, and even that is probably a bit too deep.

Once the grooves are made, file the outside of the jaws. Form a beveled front end that slopes down toward the very top edge of the grooves. With the ends filed at such an angle, they can smoothly grasp an earring post lying on a flat surface and guide it into the groove in the tweezer ends. You can then use the post to pick up a solder chip, melt the solder onto the post, and solder it to the earring back.

Numerous grooves, slots, and holes can be made in tweezers to hold various assemblies together while soldering. If the tweezers are made of titanium, or if titanium ends are attached to self-locking tweezers, they cannot be soldered onto the piece you are working on, and thus make a superb soldering jig. (Note: If you are working with platinum, use tungsten welding rods to make tweezer ends, as other metals can contaminate platinum at high temperatures.)

To use these types of tweezers as soldering jigs, position them on a large, strong magnet on your soldering bench: Just clamp the backs of the tweezers to the magnet at a useful angle.

Source: http://www.ganoksin.com/borisat/nenam/ajm-tweezers.htm

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Diamond Files. Here’s a set of (5) tiny embedded-diamond files, just in case you have some tiny embedded diamonds that need filing. They are 3-1/8″ long OA, with rubber handles. The file portions are 1 mm to 2 mm wide, with assorted pointed-round, pointed-flat, and blunt-flat tips.

10 Reasons Why Everyone Should Own a Diamond Needle File

Author: Rosemary Brookes

Diamond Files are manufactured by electroplating diamond on to steel blanks using nickel. Providing this process is done correctly diamond needle files can offer a fantastic abrasive for a variety of applications. The distribution of diamond particles enables the diamond needle file to not only cut in all directions but also produce a much better finish.

Due to the hardness of diamond, diamond files can be used on a variety of materials that other abrasives will not have an impact upon.

Here are our top ten uses for diamond files:

1. Sharpening fishing hooks – one of the most important tools of an angler has to be his hook and in carp fishing in particular this has to be razor sharp (sticky sharp) The use of a Flat 900 grit diamond needle file is ideal for this due to its size and profile. It is very important that the very hard to find diamond escapement file is used for this operation, this allows dexterous filing all around the hook point.

2. Bevelling cut crystal glasses – we all know it is very easy to chip the rim of your precious crystal glass and due to the cost of replacing one in a set, using a diamond needle file can be far more economical to bevel the lip of the glass. It is essential that a 600 grit diamond file is used and half round shape is by far the most versatile for the contour of the glass.

3. Shaping precious stones for jewellery – precious stones can be extremely hard, especially quartz, sapphire and ruby, and when setting stones into jewellery small alterations may be required. No other abrasive will have such an effective impact as a diamond needle file. Fine grades such as the 600 and 900 grit are ideal for making these small adjustments.

4. Sharpening carbide cutting tools – over time tungsten carbide cutting tools will dull and it is often easier to have a hand tool abrasive that you can take straight to the cutting tool, rather than having to take a cutting tool to an electric grinding wheel. 600 grit diamond files are the best grade for this application.

5. Enlarging holes – round diamond needle files can be used for opening up a huge array of holes in hardened surfaces. Small screw holes in watches and clocks to holes in jewels and beads can all be opened up with a small diamond file. Choose small diamond files that are either 600 or 900 grit for the best results.

6. Fitting clock and watch glasses – sometimes when fitting watch or clock crystals the sizes need to be altered slightly, the use of a 600 grit diamond needle file will produce the required result in minimal time.

7. Refacing clock & pallets – clock and watch pallets are very hard and become burred and mis-shapen over time. The use of a fine diamond file can radically change the surface of the pallet for a more efficient movement.

8. Repivoting clock and watches – removing the burrs and wear from pivots is often difficult due to its hardness, especially in French clocks. The use of a 600 grit diamond needle file can have the pivot running smoothly in no time at all.

9. Sharpening household objects – scissors, penknives, garden tools, kitchen knives, small screwdrivers can all be sharpened to a razor sharp finish in very little time. You can use various sizes of diamond file for this application but a 600 grit is recommended.

10. Cross graining burnishing tools – over time burnishing tools lose their burnishing ability, only diamond files can re-address the cross grain of a sapphire burnished or hardened steel burnisher. Opt for the 600 grit for the best results.

Article Source: http://www.articlesbase.com/home-and-family-articles/10-reasons-why-everyone-should-own-a-diamond-needle-file-522090.html

About the Author

Eternal Tools are a worldwide specialist in diamond files and are the pioneer of a number of special sizes and grades. For a 20% discount and to view their complete range visit http://www.eternaltoolshorology.com/diamond-files.htm

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Hard. Natural, close-density slips with qualities that make them unequalled for sharpening tools such as gravers, knives, etc.

Mala beads, or ojuzu, are Buddhist prayer beads. Traditionally, a string of Mala beads has 108 beads and is wrapped around the left wrist. They are often used as a focus for meditation to many Buddhist traditions. In some traditions, the Mala is used to keep track of mantras as they are chanted. This article will explain how to make mala beads.

Read more: How to Make Mala Beads | eHow.com http://www.ehow.com/how_4841499_make-mala-beads.html#ixzz1C0B38fF5

Choose your materials, and lay them out before starting. Beads should be made from a natural material, not plastic or acrylic. Stone beads may be used, but keep in mind the weight of the finished Mala when choosing stone beads. Your large bead, also known as a Guru or Buddha bead, will need to be wood so you can drill a third hole in it.
Choose a color of embroidery floss that will work with your beads and the nylon twine you use for stringing. Black is a popular choice.

Start by creating the Buddha bead. To make this bead, using the locking pliers or clamp and secure the bead with the hole channel parallel to the workbench. Wearing safety goggles and gloves, hold the clamp steady. Drill a hole into the bead with the Dremel tool until it enters the existing hole channel. Be careful not to drill all the way through the bead. Set the bead aside for now.

String the nylon twine on the beading needle. String the first 10-mm bead and tie in place. Tie it on loosely as you will be untying it later. Continue stringing the remaining 107 beads onto the twine. Do not allow the twine to twist up as this will cause the Mala to tangle later.

Carefully thread the twine through one of the side holes in the Buddha bead and out the center hole you just drilled. Remove the needle. Untie the knot on the other end of the prayer beads. Attach the needle to the untied end and thread it through the other side of the Buddha bead then through the center hole. Finally, thread both ends through the 8-mm bead. Tie in a square knot.

Cut a 2-foot length from the embroidery floss. Take the 4-inch square of cardboard, and wrap the embroidery floss around it. Try and keep the floss smooth and neat as you wrap. Snip the looped floss at the bottom of the cardboard square, making a small stack floss that is 8 inches in length. Using the ends of the twine that emerges from the last bead, tie another square knot around the center of the bundle of embroidery floss.

Fold the floss back over the knot, hiding it in the center. To complete the tassel, take the remaining 2 feet of floss and wind it 1/2 to 1 inch down from the top of the tassel several times. Tie a knot, and push it under the wound floss. Trim loose ends from the twine and floss. Smooth the tassel and make sure the ends are even.

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Precision chuck in smooth wooden handle holds 5-1/2″ (14 cm) and 6-1/4″ (16 cm) needle files securely.

Needle files are usually sold in sets of 6 or 12 (or more) different shapes, packaged in a soft pouch, both for ease of handling and protection of the files’ teeth. They are small files that are used in applications where the surface finish takes priority over metal removal rates but they are most suited for smaller work pieces.

They are often used as pictured, however, like all files, they are safest when used with a handle. The handle is often designed around the collet principle which allows the files and handle to be interchanged quickly.

Files have forward-facing cutting teeth, and cuts most effectively when pushed over the workpiece. Draw filing involves laying the file sideways on the work, and carefully pushing or pulling it across the work. This catches the teeth of the file sideways instead of head on, and a very fine shaving action is produced. There are also varying strokes that produce a combination of the straight ahead stroke and the drawfiling stroke, and very fine work can be attained in this fashion. Using a combination of strokes, and progressively finer files, a skilled operator can attain a surface that is perfectly flat and near mirror finish.

Pinning refers to the clogging of the file teeth with pins, which are material shavings. These pins cause the file to lose its cutting ability and can scratch the workpiece. A file card, which is a brush with metal bristles, is used to clean the file.

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Folds to the size of a half-dollar. Measures round and baguette stones from 1/100 to 2 carats. Made of aluminum for long, durable service.

On a diamond grading report, you will see two different measurements of the diamond’s depth-the actual depth in millimeters (under “measurements” at the top of the report) and the depth percentage, which expresses how deep the diamond is in comparison to how wide it is. This depth percentage of a diamond is important to its brilliance and value, but it only tells part of the story. Where that depth lies is equally important to the diamond’s beauty; specifically, the pavilion should be just deep enough to allow light to bounce around inside the diamond and be reflecting out to the eye at the proper angle. Keep in mind, also, that a depth percentage that might be excessive for one diamond cut might be necessary for another type of cut. For example, a 75% or 78% depth in a princess cut diamond would be typical and quite attractive. However, a depth of even 65% would be unnecessary and even detrimental to a round diamond’s beauty.

A comparison of how much longer a diamond is than it is wide. It is used to analyze the outline of fancy shapes only; it is never applied to round diamonds. There’s really no such thing as an ‘ideal’ ratio; it’s simply a matter of personal aesthetic preferences. For example, while many people are told that a 2 to 1 ratio is best for a marquise, most people actually tend to prefer a ratio of around 1.80 to 1 when they actually look at marquises. And though the standard accepted range for the length-to- width ratio of a marquise generally falls between 1.70 to 1 and 2.05 to 1, there are customers who insist on having ‘fatter’ marquises of about 1.60 to 1 and other customers who want longer, thinner marquises of 2.25 to 1.

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Keep your drills working smoother and longer, while reducing heat buildup and friction to speed the cut. Easy and convenient to use. Leave it on the bench and just dip the drill in the lubricant at regular intervals while working. Comes in handy push-up 2 oz. (56.7 g) container.

Pro Cut Lubricant is just the thing that jewelers and watchmakers need around their workbench. This great lubricant can be used on burs, drills, saw blades, gravers, and most of your other cutting and abrading tools. It will keep them working smoother and longer. The lubricant works by reducing head build up and friction to speed the cut. It comes in an easy and convenient push up tube, so you can leave it right on your bench and just dip or run the tool through the lubricant every so often while working to keep it performing at its best.

Keep your drills working smoother and longer, while reducing heat buildup and friction to speed the cut. Easy and convenient to use. Leave it on the bench and just dip the drill in the lubricant at regular intervals while working.

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