Making Jewellery February 2015

making

The UK's best jewellery magazine

45

PATTERN INSPIRED PROJECTS

INSIDE GETTING THE BEST FROM INSTAGRAM

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Making Jewellery is published 13 times a year by GMC Publications Ltd, 86 High Street, Lewes, East Sussex BN7 1XN www.makingjewellery.com www.thegmcgroup.com 01273 477374 EDITOR Sian Hamilton [email protected] SUB EDITOR Sophie Harper ASSISTANT EDITOR Katie Holloway DESIGNERS Claire Stevens, Jo Chapman PRODUCTION MANAGER Jim Bulley [email protected] PRODUCTION CONTROLLERS Rebecca Howard, Clare Disano [email protected] CIRCULATION MANAGER Tony Loveridge PUBLISHER Jonathan Grogan PRINTER Precision Colour Printers DISTRIBUTION Seymour Distribution Ltd Tel: +44 (0) 20 7429 4000 ADVERTISING Sophie Marsh Tel: 01273 402819 [email protected] MARKETING Anne Guillot SUBSCRIPTIONS Helen Chrystie Tel: 01273 488 005 [email protected] Subscribe online at www.craftsinstitute.com 12 issues (inc p&p) UK £59.88, Europe £74.85, rest of the world £83.83. Cheques made payable to GMC Publications Ltd. Send to The Subscription Department, 166 High Street, Lewes, East Sussex BN7 1XU SEE PAGE 68 FOR MORE DETAILS Current subscribers will automatically receive a renewal notice (excludes direct debit subscribers) FIND US ON Follow us on Twitter at @MAKINGJEWELLERY To become a fan of our Facebook page search for MAKING JEWELLERY Find us on Pinterest at www.pinterest.com/ makingjewellery

Views and comments expressed by individuals in Making Jewellery magazine (ISSN 1756-4069) do not necessarily represent those of the publishers and no legal responsibility can be accepted for the results of the use of readers of information or advice of whatever kind given in this publication, either in editorial or advertisements. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form by anymmeans without the prior permission of Guild of Master Craft sman Publications Ltd.

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Editor’s letter

appy 2015! It’s a new year and I thought that at this time of the year we need a bit of cheerful colour and some really nice patterns to play with. I’m a sucker for gorgeous patterns and like it when there are a rainbow of different colours in a piece, as it makes it so easy to wear with everything. So with that in mind I thought a pattern and texture issue would work well to get the creative juices flowing in the darker months. In this issue we have a clever polymer clay technique to make your jewellery look like it’s been knitted (p10). We also venture into the world of beadweaving and have a stunning Cellini spiral bead (p58) that would make a lovely focal piece for any necklace. For the first time we are trying something new with James Ferris creating a wirework project that runs over three consequtive issues (p16). In this issue he starts with the framework for a pendant, next month he shows you how to create the bail and then in the third issue James will wrap it all up with how to finish to a high standard. Taking more time and giving extra steps to this project will mean that James has the space to really break down the steps and give you all the details you’ll need to develop your wireworking skills Have fun!

Sian www.craf tsinstitute.com

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16 Deliciously deco

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Short Bow

Avant Garde

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Contents

ISSUE 76 FEBRUARY 2015 Easy 6

Jewelled ripples Use peyote stitch to create this jewelled, beaded bracelet

10 Knitted heart Use scraps of clay to create a knit-effect brooch

22 Celebrity style Create jewellery perfect for Baby Spice!

26 Up and away Create a metal clay pendant with a whimsical design

32 Rose garden A simple but pretty rose focal wirework necklace

34 Multiple linking Create a stunning necklace in multiple shades of one colour

38 In Circular motion Pastel coloured polymer makes this geometric design

48 Double time Use polymer clay to create this changeable pendant

58 Cellini spiral bead necklace Use seed beads and peyote stitch to create beautiful spirals

84 Flower power leather cuff

48 Double time

92 Love Lines Beautiful dangling earrings with a romantic theme

Intermediate

58

44 Aztec adornment

Cellini spiral bead necklace

Carve your own texture into copper clay jewellery

56 Chaos heart Freeform wirework design with a romantic feel

62 Tiffany Lampwork bead inspired by Tiff any glass

64 Pastel flowers Learn a new technique using pearl resin and micro beads

70 Dazzling ring Metal clay ring with a sparkling fireproof stone

72 Textured pendant A focal piece to make using a simple cabochon setting

Advanced 16 Deliciously deco

64

Part one of James Ferris’ complex wirework design

Pastel flowers

52 Filigree earrings Use up wire scraps to create stunning soldered earrings

10

Make this simple bracelet in bright spring colours

Knitted heart

6 Jewelled ripples

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29 Designer profile Regulars

Features

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24 10 questions

Readers’ page Your letters, news and views, plus pictures of your work

13 News The latest jewellery trends, news and must-haves

15 What’s on Classes, workshops and shows not to miss this winter

20 Colour & Style Harriet Davies explores the latest fashion trends

37 Business matters Top advice for running your jewellery business

41 Book reviews Imogen Cooper reviews the latest inspiring craft and jewellery books

43 Web reviews Lauren Johnson discovers the best online stores, blogs and jewellery profiles

78 Ask the expert Joan Gordon takes a look at jewellery with different surface designs

95 Coming next month Find out what’s inside our March 2015 issue

96 Pearls of wisdom The latest instalment in Jackie’s jewellery column

51 Trends 4

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Lesley Rands interviews contemporary jeweller Cristina Zani

29 Designer profile MJ contributor Lizzi Holt answers our questions

20 Colour & Style

69 Inspirations Find out what inspires the team behind I Am Acrylic

Shopping 51 Trends Get loved up with these accessories

74 Discounts and giveaways Giveaway prizes to win and bargains galore!

81 Top five We take a look at our favourite heart products

82 Product review

30 Top technique

We discover the best texturing tools

Techniques 30 Top technique Learn how to emboss leather for great jewellery

76 Product test Clair Wolfe tests out a silver clay kit

94 Basic techniques

24 10 questions

69 Inspirations

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11/26/14 12:16 PM

Project Intermediate

JEWELLED RIPPLES Create undulating ripples of jewelled colours with even count Peyote stitch. By Caron Nosek

C

aron is a designer and owner of Nosek’s Just Gems. She often creates exciting designs and turns them into kits for her customers that are available on her website. This project will show you how to create beautiful undulating ripples using even count Peyote stitch. This effect has been created by using three different sizes of seed beads in 11/0, 8/0 and 6/0. Keeping the thread taut throughout your work will help to bring the beads close together, pushing the larger beads to the top.

MATERIALS

Size 11/0 Miyuki Seed Beads Dark Bronze Size 8/0 Miyuki Seed Beads Galvanised Champagne Gold Size 6/0 Preciosa Czech Glass Seed Beads Lt Ruby AB 2 loop gold plated clasp 6lb Fireline thread in Smoke.

RESOURSCES

All of the materials used can be bought from us at www.noseksjustgems.com

CONTACT DETAILS

[email protected] 01225 706222

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Intermediate Project

STEP 2

STEP 3

Pick up a size 11/0 and go through the last bead you threaded on in Step 1. This is now the first bead on the third row. You will place seven beads in total in between the gaps on each row from now to the end of the bracelet. Work a total of seven rows in size 11/0 beads. Keep your thread taut at all times so the beads sit together.

Now pick up a size 8/0 seed bead and continue in the same way for three rows using this size of bead. As before it is essential that you keep your thread taut. As you work you will use more than one length of thread. All loose ends of each length of thread must be woven into your work to secure before trimming to prevent your work from coming undone.

PHOTOGRAPHS: LAUREL GUILFOYLE, CARON NOSEK

STEP 1 Using 2m of 6lb Fireline, place a stop bead 250mm from one end. Pick up 14 size 11/0 seed beads. Pick up one 11/0 and go back through the second to last bead placed (no 13). Pick up another 11/0 and go through bead no 11. Continue this way, going into every other bead right up to the first bead threaded. You will have three rows of Peyote stitch.

STEP 4

STEP 5

STEP 6

Now pick up the size 6/0 and work one row only in this size. Then work a further three rows in size 8/0 and seven more rows in size 11/0. As you change to size 11/0 beads you will notice the ripple effect when you pull your thread taut. The size 6/0 beads should now sit prominently on the ‘top’ of the ripple. Repeat Steps 3 and 4 ten times.

Once you have reached your desired length you are ready to attach the clasp. Work your thread to the bead as shown in the photo, bringing the needle to the back of your bracelet and go through one of the loops on the clasp (in order for the clasp loops to be hidden, don’t add the loops to the end beads). Go back through this bead and the clasp two to three more times to o secure. Move across to another bead ead and attach to the other loop. op.

Finish off this end of the thread by weaving back through your work. To avoid any thread showing across the beads, only go into beads that are next to each other. When you are happy, snip the thread close to the beads. Remove the stop bead from the other end and attach this end of the clasp in the same way. You will now have a completed ripple bracelet.

EARRINGS EARR

Designer tips

Pick up 24 beads in size 11/0. Now work three rows ro of Peyote in size 11/0. With the size 8/0 8/ and size 6/0 only work part way either side as shown to create the on e “S” shape. Do three rows of 8/0 and “S one row of 6/0. o

Try to use only beads that have a uniformed shape so that they sit well together. Miyuki Delicas can be used for the size 11/0 beads. Always keep your work taut, especially as you go from the larger sizes to the smaller sizes so that the ripple effect is created. If using Miyuki Delicas 11/0 for the small beads then you will need to create extra ripples, as your work will be a little tighter.

RING For instructions to make a beautiful ring to complement your bracelet, visit www.noseksjustgems.com

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Extra Projects Make earrings and a ring

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Follow us:

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READERS’ PAGE R SLETTTAER

Swirling Mists

I made these pendants from James Ferris’ Swirling Mists of Avalon tutorial in Making Jewellery issue 72, October 2014. I am just fi nding my way in wirework and the wire is beginning to almost work for me and not against me! I love your magazine because it covers so many disciplines and gives me so much inspiration. Kathleen Woodhams

Favourite Make Friday On Facebook we run a competition over the weekend (launched on a Friday) where we ask you to upload a picture of something you’ve made that week, and our favourite wins a prize. Here are some recent winners.

GEORGINA BELLIS Metal clay feather pendant

SLETTTAERR PR IZ E

Kathleen wins this FIMO Professional colour pack, worth £22.50. The set contains six blocks of True Colours and a blending table. FIMO Professional is a new formulation aimed at serious artists; it is extremely pliable and holds fine detailing well.

MARIA BATESON www.mariamadeit.co.uk

Quick gift makes I wanted to thank you for the excellent Christmas issue of Making Jewellery, which was full of inspiration. I try to make a jewellery gift each year for every female member of my family; often this leads to a last-minute panic! This magazine, though, gave me some great ideas, and some of the ‘extra makes’ were really quick to put together, so I did manage to meet the deadline! I particularly liked the sparkling earrings that went with Linzi Alford’s Crystal chandelier drops project, as the toggle clasps mean that the wearer can swap the gems around whenever they like! I made several variations to give as gifts. Laura Collins, Bristol

Send your letters and pictures to: Katie Holloway, Making Jewellery, 86 High Street, Lewes, East Sussex, BN7 1XN or email: [email protected]. Don’t forget to follow us on Twitter at @makingjewellery or find us on Facebook by searching for Making Jewellery

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MJ76_P9 Readers' Page SHKHSD.indd 9

MICHELE TRAPICHE Copper owl pendant

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Project Easy

KNITTED HEART Make the best use of your scrap polymer clay and make faux knitted brooches. By Amelie Harrison

A

melie loves nothing better than having a great use for any spare scraps of polymer clay and this is the best way to usee up those scraps, and at the same me time make gorgeous pieces. s. Be warned, everyone will want one!

MATERIALS ALS 50g approx. prox. scrap polymer clay 25mm brooch rooch bar 40mm heart rt cutter Rubber pointed ed end clay tool Clay extruder with ith 1mm hole disc

RESOURCES All materials are widely available ilable from polymer clay stockists.

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STEP 1

STEP 2

STEP 3

Take any scrap clay and make a log to fit into an extruder. Don’t mix the scraps into one colour, you really just want to make sure there are no air bubbles in the log and leave all the colours jumbled up. As the clay extrudes through the small holes in the end all the colours will blend together and you get the look of a variegated yarn. I used the extruder disc that has 1mm holes. Extrude as much as you can.

Take all the extruded strands, fold each one in half and twist each one together. You need to be careful here as they do split if you twist too hard. You will need to twist them in opposite directions as well, so split your strands into two piles and twist one pile to the right and the other pile to the left. Save two strands untwisted for Step 5.

Make a flat sheet of clay with any complementary colour. I used purple, as that was the prominent shade that came through when I extruded the strands. Condition this sheet with a pasta machine and roll the final sheet at setting 3 or about 1mm thick. Lay the twisted strands down on top, placing a right twist then a left twist together. Press lightly to make them stick.

PHOTOGRAPHS: LAUREL GUILFOYLE, AMELIE HARRISON

Extra Projects Make a pendant and earrings MAKE A PENDANT To make a pendant, simply add an eyepin to the heart instead of the brooch bar. Bake the piece with the eyepin in place. If it comes out after baking then push back in with a little glue on the end to hold it in. Add a fine chain.

STEP 4

STEP 5

STEP 6

With shape cutters, press out as many pieces as you can. I used a 40mm heart shape to make the brooches and 10mm circles for earrings. To make best use of the sheet I cut as many shapes as I could from this sheet. Whatever is left over can be rolled back into a log with other scraps for the next set of strands!

Take the two saved strands and place them around the edge of the heart. You will need to make this a double layer as the thickness of the side of the heart takes a two-strand depth. So go around the heart once and then lay another strand on the top. Use a small rubber tool to gently push the strand against the heart so that it sticks. Start the strands at the point of the heart and cut the strands at an angle so the point still looks neat.

Turn the heart over and place the brooch bar in the centre, making sure that the pin opening is facing down. Make a small rectangle of sheet clay on setting 6 of a pasta machine or 0.5mm thick. I used a scrap of old patterned sheet. Cut the rectangle to fit exactly over the brooch bar with about 3mm on each side beyond the bar. Place down over the bar and push a pattern of holes around the edge to make sure it’s secure. Bake using the manufacturers instructions.

Designer tips This design works really well with thicker strands, I’ve used the extruder disc with 2mm holes for the ones on the left. I left these in the matte condition that they come out of the oven in as I think that looks the most like wool. But you could varnish them with (appropriate) gloss if you want them shiny.

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MAKE EARRINGS To make these earrings I used a 10mm cutter; they were cut from the same sheet as the brooch. After placing the strands around the edge, measure an eyepin against the side and cut it offff so that it’s about half the length ngth of the piece. Push into the e disc from the top, gently so you ou don’t distort the shape. Try twisting ting as you push so it goes in more easily. Bake then en add an earwire ire to the eyepin. yepin. Don’t add dd eyepins if gluing posts osts on the back. k.

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Find this FREE tutorial and many more online today! Scan me!

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Valentine, be mine...

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NEWS The latest jewellery making trends, news and must-haves. By Katie Holloway Celtic heart beads

New season Preciosa beads

Annie at the Celtic Beadshop makes all of her own beads without nickel or lead, to produce amazing, high-quality solid pewter beads, with Celtic knot designs. These hearts are beautiful, and are available in two different sizes. With Celtic knots symbolising eternity, these heart shapes are perfect for Valentine’s Day! www.celticbeadshop.com, 01559 384624

Hot for 2015, and perfect for Valentine’s day, Preciosa have launched some lovely new colours and shapes for their crystal components. New colours include Rose Opal, a lovely iridescent-effect pale pink, and Crystal Starlight, an opaque gold coating with plenty of shine. Plus, in the Maxima range are now square, baguette and heart shapes, so there are plenty of new products to add into your designs. www.preciosa.com

Popper jewellery The Crafty Beggar’s popper jewellery is perfect for Valentine’s Day. Choose from a range of rings, bracelets and pendants and add your choice of poppers. The poppers can be changed to create different looks. Prices start from just 60p. www.thecraftybeggar.co.uk, 01323 738745

Goldsmiths’ online directory The Goldsmiths’ Company have launched an online directory, www.thegoldsmithsdirectory. co.uk to encourage consumers to buy jewellery directly from UK jewellers and silversmiths. The directory will be made up of the best British artisans who have applied through the website and have made it past the panel. The highly visual design of the website will let viewers find exactly what they’re searching for. To be accepted onto the directory will be prestigious, and a mark of quality, reassuring the buyer. The annual fee for being represented is £70+VAT, plus £20+VAT for each additional section. www.thegoldsmithsdirectory.co.uk

Gallery of designs Have you had a look at the great gallery of designs on the Fire Mountain Gems website? They have lots of design inspiration, each showing you exactly what items were used. This stunning double-strand necklace and earrings set was designed by Jamie exclusively for Fire Mountain Gems, and uses new Swarovski components. To buy components, and to get more design inspiration, visit their website! www.firemountaingems.com

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MJ76_P13 News SHKHSD.indd 13

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Online Weekends Daytime Evenings Bespoke training Courses for under 19s Dual city and Study abroad Art, Design, Fashion and Performance www.arts.ac.uk

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Search: csm short courses

12/3/14 4:39 PM

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WHAT’S ON Want to get out and about? Here are some creative shows and classes not to miss.

Metal clay taster class The Cornwall School of Art, Craft and Jewellery are running a metal clay taster class on 7 February, perfect for making a Valentine’s Day gift for the one you love. Aimed at complete beginners, you will learn to work with silver clay in this half-day class and will leave with some lovely handmade jewellery. www.csacj.co.uk, 01208 264155

Necklace for an Elephant A heads up on a great jewellery exhibition coming up this spring, David Poston is showcasing his work at the Harley Gallery from 25 April – 21 June in an exhibition called ‘Necklace for an Elephant and Other Stories’. The show traces his life and achievements in jewellery, photography, engineering, invention, process design and international development. His work has been collected by museums across the world, as well as having been bought by individuals for everyday wear. Entry is free. www.harleygallery.co.uk, 01909 501700

Stitching, Sewing & Hobbycrafts

Craftworx classes

Don’t miss the great Stitching, Sewing & Hobbycrafts show at EventCity in Manchester on 6 – 8 February. With more than 100 exhibitors offering the latest craft inspiration and advice, there will be plenty to inspire your jewellery making. The show also incorporates Cake International this year, perfect if you want to take up another creative hobby (or you just want to gaze at beautiful cakes!) With plenty to satisfy jewellery makers, this is set to be a great show. For more details and to book, visit the ICHF website or give them a call. www.ichfevents.co.uk, 01425 277988

There are two great jewellery making classes happening at Craftworx this February, including a special offer! The Crystal Vision class is brand new and is taking place on Friday 27 February, plus the Balance Pendant is happening the next day on Saturday 28 February. Both classes run from 9.30am – 3.30pm and cost £135 each, but you can book both classes together for £235, saving you £35! www.craftworx.co.uk, 07961 883115

Having expanded her studio last year, Karen Taylor is hosting plenty of bead weaving workshops throughout 2015. Visit her studio in Port Solent, Hampshire, on Saturday 7 or Saturday 28 February to learn some new beading techniques and create beautiful jewellery. There will be a maximum of six people on each workshop to ensure maximum individual attention. www.preciousjewellery.glass, 07979 597471

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MJ76_P15 What's On SHKHSD.indd 15

Bead weaving at Port Solent

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PART 1

DELICIOUSLY DECO

3 PART PROJECT

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STEP 5

This 3-stage pendant tutorial runs over the next three issues. By James Ferris

Now bend your wires round the stone. Take your time and get it right; you may need to adjust the bends at the neck if you were shy with your measurements in Step 3 (if everything is perfect you should be able to pick the stone up). When happy, use some wrapping wire to bind the neck tight; no need to be tidy, this is a dummy wrap and will be removed later.

J

MATERIALS

ames is a cold-fusion wire jewellery artist from Glastonbury and co-owner of Minerva Beads and Crafts, where he teaches his wire crafts. James wanted to design a piece of jewellery that would enhance and build on techniques used by wireworkers. In this fi rst stage we look at gripping the stone; the cabochon used in this project is 3cm high, 2cm wide and 7mm deep but you can use this method for gripping any size or shaped cabochon.

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STEP 1 Take a strip of masking tape and wrap around the edge of the stone, making sure the tape overlaps by a few centimetres. Using a craft knife (or scissors) cut a straight line where the masking tape overlaps (towards the stone). If using scissors you may need to use your cutters for the last bit. You are doing this to find out the circumference of the stone.

0.8mm wire (20 gauge) 0.375mm wire (27 gauge), you can replace this with your own favourite wrapping wire Teardrop shape cabochon Masking tape Craft knife or scissors Flat nose pliers

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05/12/2014 11:24

Advanced Project

STEP 3

STEP 4

Using 0.375mm wire place six wraps on the centre mark, four for the next two, then five wraps at the ends (making sure the wraps at the end extend past the masking tape by two or three wraps – this is important). Also crimp the wraps with pliers to stop bunching. Trim the wire all on the same side (this becomes the inside).

Using your flat nose pliers, bend the wire at the centre wraps to about 90 degrees (you don’t need to do this if your stone is oval shape). Also bend the wires to about 45 degrees at the end two wraps away from the stone (this will help them to meet when gripping in the next step).

PHOTOGRAPHS: LAUREL GUILFOYLE, JAMES FERRIS

STEP 2 Stick the masking tape to your work surface (one pictured is 8cm). Mark the centre, then 2.5cm either side of the centre mark. Cut five lengths of 0.8mm wire at 40cm. Tape the wires flush and flat together a couple of times each end. Mark the centre of the wires, align this mark with the centre mark on your masking tape then mark the wires with the other points including the end of the tape.

STEP 6

STEP 7

STEP 8

Take off any remaining masking tape. Check your wraps haven’t moved and the side ones are opposite each other (be precise here or the symmetry will be out). Starting on what will be the back of the pendant, place your flat nose pliers next to one of the side wraps and with a turn of the wrist turn the first wire towards the centre. Do this on all four points.

The next two steps are one. Slide the dummy wrap up, place the stone in and slide the dummy wrap back down. Now it’s time to start bringing the wires over the front of the stone to grip it in place. Use your fingernail to separate the wire before gripping. Place the pliers next to one side wrap and again, with a turn of the wrist, bring the wire inwards and over the stone.

For this stage use three different sized flat nose pliers if you have them (6mm, 5mm and 4mm), although you can use just one pair. Take your time, pull the wires over the stone as much as you want and as many as you want (one wire will do the job). Always start at the bottom; if you start at the top they will be pulled out of shape when doing the bottom grips.

Designer tips

RESOURCES www.minervabeadsandcrafts.co.uk

CONTACT [email protected]

The masking tape when wrapped round the stone (Step 1 and 2) becomes a blueprint for your wraps; change the positions of the wraps between the end wraps for different designs. Add more or less wraps for odd shape stones. Just experiment and see what you come up with. Cut thin strips of masking tape when sticking wire together, making sure you don’t stick the sticky side to each other. This will make it easier to get off. When wrapping round your core wires (Step 3), crimp every two wraps with your flat nose pliers to stop the core wires from bunching. You can use this method to grip most stones but it works especially well with cabochons, just adjust the size and amount of wires for different sized stones.

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MJ76_P16-18 James Ferris SHKHSD.indd 17

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Project Advanced

STEP 9

STEP 10

Now do the top grips; pull in as many wires as you would like. Turn it over and tweak the back grips. Slide the dummy wrap up; you may notice the neck wires have a gap and have gone out of shape as the wires get pulled down. Use your flat nose pliers and give the neck a crimp to tidy it up – this also tightens the grip on the stone.

Time to bind the neck: slide the dummy wrap out of the way. Use some wrapping wire, about 15cm–20cm will do. Start wrapping down towards the stone three times (you could do more for a taller neck). Coming from the back, poke the wire through the gap at the top of the stone and pull tight.

Project variations This wirework technique can be adapted to suit yourr style. On the pendant with the green stone, e, instead of finishing the top front loops with a spiral either side, James has curved them around to the back. This simple variation ation makes the pendant unique. nique.

STEP 11

STEP 12

Take the dummy wrap off and separate the wires each side, making sure they don’t cross. Using your flat nose pliers, turn the wires each side 90 degrees to the pendant tight to the neck wraps, forming a T-bar. At the top of the neck wrap round once more, finishing at the back of the pendant.

To finish binding the neck and tidying your ends you may have to be inventive. If there is a gap between the neck wires, feed the wrapping wire through that gap pulling tight and wrapping once round the neck wrap, trim off. Or if you have no gap, just bring the ends up in the groove of the neck wires, trim off and tuck in neatly with no ends sticking up.

DON’T MISS!

Next month James makes the pendant bail 18

MJ76_P16-18 James Ferris SHKHSD.indd 18

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11/12/2014 16:11

See our fantastic range of beads, cabs and findings, all at amazing prices!

PJBEADS PJ beads is a limited company

Contact: [email protected] or call us on: 01704 575461

SPECIALWHOLESALEPRICES

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12/3/14 3:07 PM

Regular Colour & Style

PRETTY IN PRINT Printed fabrics and patterns are a fabulous way to express your creativity as we head towards spring. By Harriet Davies Seventies heaven

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his spring will see thee return of the 1970s. Acid colours lours and psychedelic patterns – and perhaps even bell-bottoms, tennis bands and jumpsuits – are ready forr a revival. This style is expressive and creative, with the flamboyance of the early ’70s reflected in free-flowingg materials and cuts. Patterns can be bold and bright. Of coursee you can employ elements of ’70s design with newer cuts and styles, like acid coloured d pumps or printed tight-fitting ng pantsuits. Carved jewellery pieces that reflect the designs of the era through their evocative shapes are a subtle way to wear this look.

Leafy floral jumpsuit jumpsuit, £35 www.dorothyperkins.com 1970s butterfly top, top £55 www.lovemissdaisy.com Orange, blue pumps, pumps £150 www.mychatelles.com City chic cuff gold rose gold, gold £74 www.cadenzza.co.uk

Great G reat gingham gingham

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o all aalll out out wi w with th th gingham gi ging ing ngha h m this ha thiiss spring. This geometric print is ggeeom eom seen seeen e in a number off designers’ de collections for coll co le ll spring spri sp rin n 2015, continuing its co cont on ntti longstanding popularity. longgs long lo Itt can can a be worn traditionally in a pleated p eaat skirt, culottes, dress or twin pl set. set. se t Or O it can be brought subtly into your outfi outfi ou utfi tfit with a headscarf, bag, slouch socks or headband. For a laid-back look, pair or h e gingham leggings with a loose sweatshirt ging gi ngh h or This style also allows you to wear or tt-shirt. -s -s vibrant vibrra shades of red – a great colour to vi refl reefl flec eect ec c the warmth of coming spring, and to to fight g off the chill of winter. Teal g gingham Nelly dress, £54 www.eucalyptusclothing.co.uk ww w ww Blonde & Blonde gingham check Blond leggings, £22 legg www.bankfashion.co.uk w www ww ww F&F g gingham bow Alice band, £2.50 £ £2 2.5 5 www.clothingattesco.com Green tartan satchel, £24.95 Gree www.dotcomgift shop.com ww ww

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16/12/2014 11:32

Colour & Style Regular

Artisan prints Tropical fantasy

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hink of heady parties in the Caribbean and sun-drenched afternoons ons for this look. Stripes of various us colours and sizes, as well as directions, can be combined with iconic tropical images, creating ng a modern spin on seaside chic. Blue and white – the yachting palette ette – can be mixed with colours of the tropics. Bold and oversized prints of tropical flora and fauna can be dark and foreboding or fun and bright. Be daring with jewellery; wearing larger items of dazzling metals and jewels, or even woodwork works with this festive and indulgent style.

Dress £34.99 www.newlook.com Dress, Untold floral clutch clutch, £55 www.houseoffraser.co.uk Lia kimono kimono, £69 www.phase-eight.com Flora flats ats, £150 www.mychatelles.com s.com

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he last two decades have seen a huge renaissancee for the artisan as a way of life, and now is the time to take ke this style to your wardrobe. Think of a mother’s lovingly made patchwork chwork quilt, sewn-on sleeve patches, orr appliquéd pockets. This style is all about pattern and texture. Patterns should almost be created through the textures, as well as within them. Colours can be eclectic ctic – mixing an array of subtlee and brighter tones. Natural and d bucolic imagery, such as woodland d flowers and leaf patterns, help bring the artisan feel to your outfit.

Patchwork print coat and brushed scarf, scarf £150 www.east.co.uk Definitions patchwork ffaux fur coat, £75 www.very.co.uk w Patched geo scarf, £22.50 Pa 0 www.whitestuff.com ww

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05/12/2014 11:27

CELEBRITY STYLE

Project Easy

Give it some heart, Emma Bunton style! By Tansy Wilson The inspiration for this necklace was finding these gorgeous heart charms and linking them to Emma Bunton to say she is no longer Baby Spice but a fabulous presenter on Heart Radio. The very long design gives the necklace versatility so you can wrap it round two or three times to create different looks, which is particularly handy for a busy mum on the go!

MATERIALS 30 x gold coloured heart charms (C3SG) 150cm gold coloured small link chain 32 x 3mm gold coloured jumprings 1 x 5mm gold coloured jumpring 1 x gold coloured bolt ring Snipe nose pliers

Designer tip It is cheaper to buy the heart charms wholesale and receive 50 than to buy the required amount of 30. Then you have more charms to make other designs too!

RESOURCES

CONTACT [email protected]

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Gold coloured heart charms: www.bijouxbeads.co.uk Chain, jumprings and bolt ring can all be sourced from advertisers listed throughout this magazine.

Extra Project Make earrings Matching earrings are simple to achieve by cutting 2cm of small link chain. Link on one end a 3mm jumpring and en attach it to the loop of a stud att tting. Then add another fitt 3mm jumpring to the other 3m end and attach a heart charm. en Repeat for the other earring. Re

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12/12/2014 10:15

Easy Project

STYLE PROFILE EMMA

STEP 2 Add to the other end of the 150cm chain another 3mm jumpring and this time link on a 5mm jumpring, then close.

PHOTOGRAPH: FEATIUREFLASH/SHUTTERSTOCK.COM

STEP 1 Cut 150cm of small link chain and attach a 3mm jumpring to one end. Before closing the jumpring link on a small bolt ring. Close the jumpring.

STEP 4 On this link measured in Step 3, open a 3mm jumpring and add to that link. It is best to use bent nose pliers for this step as the jumprings and links are so small it will give you more visibility.

Emma Bunton is an English pop singer and was one fifth of the biggest selling girl groups of all time – the Spice Girls, famously nick named ‘Baby Spice’ as she was the youngest member. Since their split she has had a successful solo career in music and had many appearances on TV. She is a devoted mother of two, winning Celebrity Mum of the Year in 2013 and has supported charities such as UNICEF, campaigning in the fight against maternal and neonatal tetanus. Apart from her passion for her children, she has become a presenter on Heart Radio, which she adores.

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

PHOTOGRAPH: FEATIUREFLASH/SHUTTERSTOCK.COM

STEP 3 Lay your chain out onto a ruler so it is nice and flat with all the links laying the same way. Starting at one end of the chain measure 5cm down and note what link is at this point.

STEP 5

STEP 6

Add your first heart charm to this link and close the jumpring, ensuring it is nice and tight.

Lay your chain flat against the ruler again and measure another 5cm down from the charm added. This time add the 3mm jumpring to the opposite side of the link, then add the heart charm. Keep repeating Steps 3–6 to add all the heart charms.

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05/12/2014 11:30

Feature

Who am I?

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I am Cristina Zani Influenced by the architecture of South Korea, Cristina Zani tells Lesley Rands how her designs reflect her personal experiences in Seoul.

Where did you train? I fi rst attended evening classes at Edinburgh College of Art where I also studied for my Master of Fine Arts (MFA) in Jewellery. As part of my Masters in 2011, I had the opportunity to live and study in South Korea for four months. With the support from the Incorporation of Hammermen of Edinburgh and the ACJ (Association for Contemporary Jewellery), I was able to travel to Seoul and study at Kookmin University. It was an amazing experience and has had a great influence on my work. Where is your studio? My studio is now based in Penrith, near the Lake District. It is a lovely room at the back of my house, which is so very convenient. It is a bit small, but with plenty of light. I managed

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MJ76_P24-25 10Qs Cristina Zani SHKHSD.indd 24

to fit in all my equipment and tools and the good thing is that I can access it at any time, which is handy when I am preparing work for exhibitions and running against the clock! It is usually fairly tidy, but I could do with more space for storage and drawing. The plan is to move to a bigger room at the end of the year, where I will hopefully be able to have a bit more space. What is the main inspiration for your designs? My work is influenced by the architecture of South Korea and reflects my personal experience of its cities. I was attracted by the contrast between somber modern buildings and colourful, ancient wooden temples and palaces. The juxtaposition of materials, shapes and colours of my work echoes the Korean urban landscape. Like those buildings, my pieces show the vulnerability of wood and metal when exposed to time and elements; the layers and colours that slowly transform with the passing of years. Simple in form, but rich in stories and complexities. What is your preferred medium? I have been working with wood for the past two and a half years. I use different types of wood which I facet, paint and distress to give a worn, ancient look which I then combine with precious and non-precious metals. Do you have a favourite tool? I have to say that I love all sorts of tools! I fi nd it hard to pick just one favorite tool; they are all useful in their own way. I like my soldering torch, although sometimes I have a confl ictive relationship with it! I also love my pendant

drill, as there are so many things it can be used for. What are your goals? My ultimate dream is to have a gallery of contemporary art jewellery where I can exhibit and sell my work along with other artists’ work too. I would love to have a big space so that I could have my studio in there and an area where I could run workshops and jewellery classes as well. Do you offer workshops and jewellery classes? Not at the moment, my studio is too small, however, I am planning to do this in the future, as soon as I fi nd a suitable space. Where do you exhibit/sell your work? My work is sold mainly through exhibitions in galleries around the UK and abroad. I also sell my work directly via private commissions and through selected craft and art fairs. A full listing of both past and present exhibitions is listed on my website. What has been your greatest achievement? Last year I was asked to design a limited collection of jewellery for the Matisse Cut Outs exhibition, which opened in April 2014 at Tate Modern in London. It was very exciting to create jewellery inspired by one of my favourite artists for such a great exhibition!

CONTACT www.cristinazani.com [email protected]

PHOTOGRAPHS: TAS KYPRIANOU

How did your interest in jewellery start? While I was working as a Marketing Manager for a bank in Edinburgh, I started attending evening classes in jewellery. I did that for three years and then I continued making jewellery in a small studio, which I rented. When I moved from Scotland to Spain I had to stop making jewellery, as I did not have a suitable workshop, but I never gave up on the idea. Four years later I decided to have a change of career. I left my job, applied to do a Masters Degree in jewellery and moved back to Edinburgh and to university to study for two years. After my graduation in July 2012 I spent a month in Italy working alongside a jeweller called Maria Cristina Bellucci, who also works with wood. On my return to the UK, I set up my own studio and started preparing work for exhibitions.

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12/12/2014 10:16

Feature

5 6

2 3

4

1 My Seoul blue square earrings, brass, silver, wood, acrylic paint. 2 My Seoul irregular bangles, wood and acrylic paint. 3 My Seoul orange and gold necklace, wood, gold plated brass, thread, paint. 4 My Seoul yellow and patina necklace, wood, brass, paint, thread. 5 My Seoul red and patina brooch, brass, wood, stainless steel, paint. 6 My Seoul turquoise and gold necklace, wood, gold plated brass, paint.

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05/12/2014 11:35

Project Easy

UP AND AWAY Lift your spirits with a quirky reminder that spring is on its way. By Emma Gordon

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mma owns and operates Bluebell Design Studio, which offers the largest variety of silver clay classes in Scotland. She has been working professionally with silver clay since 2007 and holds a full PMC certification, Level 1 Art Clay Certification, and is a proud graduate of the MCSJ Silver Clay Diploma. Emma loves working with PMC, given its versatility. This project uses polystyrene to make the texture sheet for the balloon. It is really simple to use and a fantastic way to design your own textures. This is especially true when you are adding colour because you can draw in areas to put either resin (as in this project) or enamel very easily.

STEP 1 Draw out your design on paper first to test that it works and you are happy with it. Cut a square of polystyrene from the A4 sheet (15cm x 15cm) and draw on your design using a ball burnisher, use the smallest one you have, or a ball point pen if you don’t have one. Draw over your design several times, taking care not to push through the polystyrene sheet.

MATERIALS Polystyrene (Safeprint foam sheets) Ball burnisher or ballpoint pen 16g of PMC3 Work mat Roller Playing cards or slats Badger balm or olive oil Square and round cookie cutters or stencils and needle tool Measuring spoon Rubber block Sandpaper or sanding pads Drill and bits Firing equipment Agate burnisher or tumbler Tin foil Cocktail sticks UV Resin (P2 Jelly) Mica powder UV lamp Pliers Jumprings

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MJ76_P26-27 Project Emma Gordon SHKHSD.indd 26

RESOURCES PMC: www.bluebelldesignstudio.co.uk Safeprint foam sheets: www.amazon.co.uk P2 Jelly: www.metalclay.co.uk

CONTACT www.bluebelldesignstudio.co.uk [email protected]

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05/12/2014 11:35

Easy Project Designer tips

STEP 3

STEP 4

Cut out your balloon shape with a needle tool. Use a circle template larger than the design, and then trim round the bottom part. It leaves a nice border around the edge, which frames the balloon. Put the balloon on the back of a round spoon to give it a slight curve. Set aside to dry. Once your pieces are ready, smooth and tidy the edges with sandpaper. Drill holes for the jumprings.

Fire your clay as normal. Your clay should also be polished, because once the resin is applied, it cannot be polished again. For this project use UV resin and Mica powder to add colour. Mica powder also has a lovely shimmer. Prepare your work surface, making sure it’s clean and dust-free. Use tin foil to mix your resin for a quick and easy way to clear up afterwards.

PHOTOGRAPHS: LAUREL GUILFOYLE, EMMA GORDON

STEP 2 Roll out your clay to four cards thick initially. Make sure you apply some release agent to the polystyrene foam sheet before rolling out your clay onto the texture at three cards thick. Make the basket part of the design by rolling out your clay to four cards thick and applying a basket-like texture (you could use a seed pod for this). Cut out a square that’s an appropriate size for your basket design.

Before curing the resin, agitate your piece and then apply an open flame from a candle lighter or similar. This should pop any air bubbles lying beneath the surface of the resin. You can use a 2-part resin or epoxy for this design, in place of the UV variety, but it needs a full 24 hours to cure. I like using the UV variety because it’s quicker and less wasteful. Instead of Mica powders to colour the resin, you can use glass paints, colourants for resin or glitter. Enamel can also be used.

Extra Projects Make earrings and a bead Try making a bead with two circles joined together. Textures made with these polystyrene sheets also look good when treated with Liver of Sulphur, p , it brings out the pattern beautifully. Or try reducing your pattern sheet and make little earrings to match. ttern on the polystyrene polyst

STEP 5

STEP 6

Put a small blob (size of a 5p) of resin onto the tin foil and put some mica powder on top. Use a cocktail stick to mix the powder and the resin together. Mix from the bottom to minimise air bubbles. The more powder you put into the resin, the deeper your colour will be. Mix each colour separately and use a new cocktail stick for each.

Put your piece back on the spoon and fix it with polymer clay to hold secure. The surface needs to be as flat as possible to apply the resin properly. Apply each colour with a cocktail stick separately because it will be easier to correct any mistakes. If you spill over the lines, wipe with a damp cloth or rinse under a warm tap. Once the colour is applied, cure under a UV light for a minimum of five minutes. Repeat for each colour. Finish with jumprings and a chain.

DON’T MISS!

Next month Karen Taylor’s lampwork beads

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MJ76_P26-27 Project Emma Gordon SHKHSD.indd 27

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12/5/14 11:58 AM

Feature

Designer profile Lizzi Holt Have you always been into jewellery making and crafts? I grew up surrounded by crafty people. As a teenager, I tried every craft I came across and regularly had a stall at local craft fairs. My crafting activities took second place once I started full-time employment, but when I got married I made all the invitations and wedding favours. I really returned to crafting once I became a stay-at-home mum. I joined a ceramic painting class and started taking orders for personalised plates and bowls. I crocheted some things for my baby and then friends asked for booties, beanies and jumpers. I wanted interesting buttons to go with them and it was then that I rediscovered some Fimo buttons I had made as a teenager and it rekindled my love of polymer clay.

antenatal yoga company, asked me to make meditation ‘pebbles’, for her clients, similar to one I had made for my son to take to school when he was feeling anxious. She showed them to other franchisees and I received my first bulk orders. I now supply my Peace Pebbles™ to two national franchises as well as to independent yoga and reiki instructors.

When did you decide to turn your jewellery making into a business? About three years ago, a friend started a social enterprise helping small creative businesses. I signed up to learn about business planning, marketing and sales strategies. I then decided to concentrate on further developing my skills and product range in polymer clay. My ‘break’ came when another friend, who was a franchisee for an

What is it you like so much about polymer clay? It is such a versatile material. I love that it can imitate other materials, such as bone, wood, glass and textiles. It can imitate embroidery and be used like paint. I’m in awe of artists who create flowers and fruit that look realistic. My favourite technique is cane-work, where a pattern or design is created like a ‘stick of rock’ which is then sliced to create inlays or pattern sheets.

Where do you look for inspiration? I admit to being a bit of a maths geek and love patterns in numbers and symmetry, especially in nature. I find I’m mostly drawn to bright colours, swirls and circles. I recycle and upcycle used items, such as electronic components, in my designs. We now have our own ‘treasure box’ of collected materials in our house, just like my grandma had!

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MJ76_P29 Designer profile SHKHSD.indd 29

How would you describe your personal jewellery style? I love bold and bright statement pieces. The bigger the better! Do you have a favourite piece that you’ve created? Apart from my wire-wrapped pebbles, I am most proud of the first tutorial I did for Making Jewellery, which featured my eastern-inspired necklace on the front cover of issue 69. I felt honoured when I wore it to The Handmade Fair and was recognised by fellow crafters and received several compliments. What is your top tip for working with polymer? It is really important to condition (knead) the clay really well before creating your piece and to check with an oven thermometer that you are baking at the correct temperature. I bake all my pieces for an hour, regardless of the size. You can’t over-bake clay as long as it is the correct temperature. Under-baking results in a brittle end product and disaster! If I wasn’t a designer I would be… A weather girl or an astronaut!

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12/12/2014 10:18

Tips & techniques Top technique

STEP 1 DAMPEN LEATHER STRIP Dampen the leather strip that you will be embossing. Use a sponge and water and dab lightly – you do not want to soak it, just soften and make it more pliable.

DECORATIVE LEATHER Emboss patterns and textures onto leather using a die-cutting machine. By Linzi Alford

A

simple way to emboss patterns onto leather to incorporate into your designs is by using a die-cutting machine and the embossing folders marketed for card or metal. You can enhance your designs with colour, permanent ink pads or acrylic paints. This technique works best on thinner, plain sections of leather as the more sturdy, thicker type will get stuck in the machine – if the handle does not turn readily then try wetting the leather more to soften further or use a thinner piece instead.

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MJ76_P30-31 Technique Leather embossing SHKHSD.indd 30

MATERIALS

RESOURCES

Die cutting machine Vintaj Moonlit Night DecoEmboss embossing folders Leather strips Premade leather cuffs with popper snaps (or make your own) 4mm TierraCast rivets cap and post set Hammer Steel block Leather punch plier tool 4mm TierraCast rivet setter StazOn permanent ink Midnight Blue Brass button stamping Double-sided tape or glue

22cm x 3.5cm Slate Blue leather blank cuff, leather piece for embossing: www.elsilverjewellerysupplies.uk TierraCast rivets, rivet setter tool, and leather plier punch: www.thebeadstore.co.uk

CONTACT www.magpieinthesky.co.uk www.facebook.com/ magpieinthesky [email protected]

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12/12/2014 10:18

PHOTOGRAPHS: LAUREL GUILFOYLE, LINZI ALFORD

Top technique Tips & techniques

STEP 2 PLACE IN EMBOSSING FOLDER

STEP 3 ACRYLIC SHEET SANDWICH

STEP 4 WIND HANDLE

STEP 5 OPEN FOLDER

Place the embossing folder between the two acrylic sheets provided with the machine to make a ‘sandwich’, with the hinged edge leading into the machine first.

Gently and steadily, turn the handle, pressing lightly onto the acrylic sheets with your hand as they lead into the machine. If you encounter great resistance the leather is possibly too thick – thinner pieces work best.

When the folder sandwich appears on the other side, remove the acrylic sheets and open the folder. Note how the embossing is different on each side of the leather.

Position the leather piece in the embossing/etching folder. Remember you will get a positive and negative impression if using a twosided folder, so make sure the leather is the right way up accordingly.

STEP 6 INK RAISED PART OF DESIGN

STEP 7 PENCIL MARKS FOR HOLES

STEP 8 RIVET SETTER TOOL

STEP 9 ADD RIVETS AND BUTTON BLANK

To enhance the design and make the details stand out, brush lightly over with a permanent inkpad to colour the raised areas. Alternatively apply stains, acrylic paints or Mica powders to highlight or to darken the recessed areas.

Position the embossed strip of leather onto the cuff base. You can use glue to secure permanently or double-sided tape while you set the rivets if they will hold the leather in place. Use a pencil and mark where the rivets will go. Punch holes using a leather punch plier tool.

Place the cuff onto a steel block and pop the longer part of the rivet up through the holes. Position the top cap part of the rivet over the end of the bottom – there should be a tiny click as they engage. Place the concave end of the rivet setter tool over the cap and give a few taps with the hammer. Check it is fastened securely.

Add all the rivets through the holes that you punched. Add a brass button stamping embossed with the same folder as the leather and use the rivet backwards to attach it to the leather.

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MJ76_P30-31 Technique Leather embossing SHKHSD.indd 31

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05/12/2014 11:39

Project Easy

ROSE GARDEN Unleash your girly side with this pretty, but simple, rose garden necklace. By Sue Mason-Burns

STEP 1

Cut three 30cm lengths of 1mm wire and hold them parallel. Form a loop in the bottom of all three wires at the same time by crossing the ends over each other until loops form. Work from the reel of 0.4mm wire and weave as follows: coil three times around the lower two wires, pass the wire around the centre wire and coil three times around the upper three wires.

S

ue is a wirework designer and maker, originally from New Zealand, now living and working in Birmingham where she creates her unique range of wirework jewellery from her home studio. The star of this necklace is the beautifully detailed and textured polymer clay rose, made by the very talented Elise Canning of Beadazzled by Elise. The soft pink is infused with a vibrant green pattern to make a stunning centrepiece. Sue has simply made a wire frame for the rose to sit in and embellished it with a ‘bead soup’ of beads matching the tone of the pink and green as an accent. The basket weave frame is very simple to achieve and adds another texture to the necklace to match the rose.

Designer tips The loops formed in the bottom of the oval section of the necklace do not need to be round or identical; they are meant to be loose in form so don’t worry if they don’t match each other. If you would prefer more uniform loops, you can always form them with round nose pliers, or a mandrel. When adding the beads as embellishment, any beads can be used, but a mix of sizes will help you to hide the wire you use to add them and fill gaps between them.

MATERIALS

1mm (18 gauge) Vintage bronze wire 0.4mm (26 gauge) Vintage bronze wire Pink and green polymer clay roses Various beads in tonal colours Antique bronze heart chain Antique bronze bolt ring clasp 4mm Antique bronze jumprings Flush cutters Round nose pliers Flat nose pliers Chain nose pliers

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Easyy Project

STEP 3

STEP 4

Fold one set of three wires over the other, and then fold the second set over the first. You will now have three vertical wires and three horizontal wires. Trim the horizontal wires at the rear of the design with flush cutters and use flat nose pliers to gently secure in place, taking care not to mark the wires at the front of the design with the pliers.

Bend the set of vertical wires to a 90 degree angle and form around the widest part of round nose pliers, from front to back of the design. Trim these wires to a length 5mm below the horizontal wires trimmed at Step 3. Bend the tips of the wires so that they sit flush below the horizontal wires. Use round nose pliers to secure the wires in place.

PHOTOGRAPHS: LAUREL GUILFOYLE, SUE MASON-BURNS

STEP 2 Pass the weaving wire behind all three frame wires. Repeat this weave up one side of the oval shape, gently forming the bend as you go. Repeat for the opposite side using a 1m length of 0.4mm wire. Incorporate the polymer clay rose into the weave by passing the wire at least once through the bead as you weave. Weave until the oval shape is formed. Trim and secure all tail wires.

Extra Projects Make a charm bracelet celet and earrings e

STEP 5

STEP 6

Add a length of 0.4mm wire to the frame behind the rose by coiling three times around the frame wires. Use this wire to add beads to embellish along one side of the oval frame. Coil the wire around the frame between additions to secure. Use smaller beads to hide any wires showing between the beads. Secure and trim this wire when you have finished adding beads.

Use flat nose pliers to separate the three wires in the upper loop. Attach a jumpring to the highest loop. Add two equal lengths of chain to this jumpring. Add a bolt ring clasp to one length of chain and a larger jumpring to the remaining end. Add a length of chain three heart connectors long to the lower loop of the design with a jumpring.

CHARM BRACELET

EARRINGS S

Add a toggle clasp to a length of chain. Thread polymer clay flowers onto headpins and form a wrapped loop. Attach them to the chain, together with an assortment of tonally matching beads and charms with jumprings.

Thread a 14mm m bead onto an eye pin n and form a wrapped loop. Add earwires to the looped end and a length of three hearts of the chain to the lower loop.

RESOURCES Polymer clay roses: www.beadazzledbyelise.com Wire: www.alchemyandice.com Chain and findings: www.ebay.co.uk

CONTACT www.wonderfullywired.co.uk [email protected]

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MJ76_P32-33 Project SMB SHKHSD.indd 33

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16/12/2014 11:33

Project Easy

MULTIPLE LINKING Create a chunky link necklace with complementary beads in varying shades of the same colour to wear for any occasion. By Tansy Wilson

F

inding a chain with an unusual link and using a complete mixture of beads that are from the same colour palette can create a very effective result suitable for any item of jewellery. Focus on the same joining technique used to attach the beads to give continuity to the design.

MATERIALS 9 x Green faceted electroplated drop beads (54/13) 9 x Turquoise mottled cube beads (163/05) 8 x 3mm copper beads (MB10AC) 4 x copper daisy beads (MB13C) 2 x Green glass melon beads (57/10) 1 x copper toggle clasp (DC10AC) 2 x copper bird beads (C315AC) 39 x copper head pins (F88AC) 2 x 5mm copper jumprings (F42AC) 2 x Turquoise and Copper glass beads 6 x Lucite flower beads 5 x Jade freshwater pearls 1 x length of copper chain 1cm of small link copper chain

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MJ76_P34-35 Project Tansy linking SHKHSD.indd 34

RESOURCES www.bijouxbeads.co.uk Some beads (listed without codes) were designers own

CONTACT [email protected]

www.craf tsinstitute.com

05/12/2014 11:41

Easy Project Designer tip You can keep the symmetry of your design by mirroring the order of how you attach the beads to each corresponding opposite link.

STEP 2

STEP 3

Take one of your beads and thread a copper headpin through it. Hold the wire directly coming out of the top of the bead between the jaws of flat nose pliers so the bead is tight to the head of the pin. Bend the wire at a right angle then using round nose pliers at the bend, form an almost complete loop, which looks like a hook.

Thread this hook onto a link on your feature chain and gripping the back of the hook in a pair of snipe nose pliers, start to wrap the excess length of headpin around the upright stalk of headpin coming directly out of the top of the bead. Work all the way down to meet the top of the bead and cut away any excess.

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

STEP 1 Ensure you cut your feature chain so it is approx. 40cm–43cm in length but more importantly that it is symmetrical from the central link to either end. Add a 5mm jumpring to each end and before closing them add a toggle clasp bar to one and the actual toggle clasp loop to the other.

STEP 4

STEP 5

STEP 6

Repeat Steps 2 and 3 to continue adding a completely random selection of beads to the large links on your feature chain.

With some of the leftover links removed at Step 1, take one and gently prise open the copper linking wire with a pair of pliers.

Add this now opened wire to the middle link on your chain and reclose so you have formed an integral pendant. Add more beads to this hoop to create a central focal point to the necklace.

Extra Project Make a pair of earrings ngs Use up any extra links of necklace by utilising them to make into earrings. Remove any linking wire to obtain two matching hoops. Make an earring hook out of a copper headpin and before fully forming it, add a turquoise square bead. Add onto the eye of the earring hook a 1cm length of copper chain and one of your large links and close. Add a selection of beads onto headpins and wire one onto the end of the chain and one onto the bottom of the large link. Repeat for the other earring.

www.craf tsinstitute.com

MJ76_P34-35 Project Tansy linking SHKHSD.indd 35

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12/12/2014 10:23

Fusion Beads, Inc.

Where your jewellery begins. Now available at Fusion Beads! Keep your jewellry on the cutting edge of fashion with the hot new Swarovski Crystal hues: Crystal Paradise Shine, Smoky Mauve, and Crystal Iridescent Purple Pearl.

FusionBeads.com/BeadUK

fine art & craft supplies from

george weil

Tools and mediums for the experimental jewellery designer including Art Clay Silver clays, Fimo and Sculpey polymer clays, DAS and Newclay air dry clays, Milliput epoxy putty, Gedeo Resins, paints, Merino wool and silk fibres, silk yarns, silver findings, cubic zirconia and more at: www.georgeweil.com

George Weil & Sons Ltd, Old Porsmouth Road, Guildford, Surrey, GU3 1LZ § 01483 565800  [email protected]  www.georgeweil.com

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Showroom open ff to visitors Mon-Fri 9.30am-4.30pm Sat 9am-5.00pm FREE PARKING

12/5/14 12:00 PM

Business matters Regular

INSTAGRAM With so many social media sites, why use Instagram for your business? By Sian Hamilton

T

here comes a point when you take a look at the expanding world of social media and wonder which, if any, you should be using for your business. Instagram has become a familiar name but maybe it’s one of the options that you keep saying you are going to try but then just don’t get time to look at. Well it really is a site that you should be engaging with, as its popularity is growing steadily, with around 200 million users across the world. Currently it’s the younger set that love Instagram, with nearly 40% of users in the 18-30 age bracket and 23% of teens saying it’s their favourite site (blog.instagram.com). So with over 20 billion photos shared so far on Instagram where does your business fit in?

WHAT IS INSTAGRAM? Instagram is a mobile photo and video sharing app for iOS, Android and Windows phones. With the ability to add digital fi lters to images, it makes a standard lacklustre photo look far more appealing. You can also caption the image and add hashtags.

SET UP AN ACCOUNT AND FIND FRIENDS Instagram is an app so after downloading it, you need to create an account (currently it’s free). Like many other apps, after creating an account you can opt to import friends from your device’s contact list or you can find them

by searching names and usernames. Simply click the ‘follow’ button to add someone to your list. Instagram gives you the option to require authorisation before others can follow you and view your posts; if you want this then you’ll need to find the ‘Photos are private’ tab and click ‘on’. One thing to think about if setting up an Instagram account for your business is to make up an appropriate username; this isn’t necessarily your own name. If you want to use this app for personal images as well, you would be wise to create two accounts and keep one to just business; after all you don’t want future customers to see your drunk selfie from a night out with friends! It is good to share some personal images, though, with your jewellery. For instance, the occasional picture of your cat sitting on your workbench will build followers and likes.

POSTING PHOTOS. When the account is set up and ready, you simply take a photo using the icon that is in the centre at the bottom of the screen (square with a circle in it) or find one from your device’s photo album, then apply a fi lter and add a few words, this is where you need to add hashtags to help others find your post. Then publish.

HOW DO HASHTAGS WORK? First introduced by Twitter and now working across many social media sites, a hashtag is the hash symbol # in front of words. Tags are used to help organise searched-for content and categorise images. For example, a jeweller posts an image of a diamond ring and uses the hashtags, #diamond, #ring and #wedding. When anyone searches for the term wedding they will get that picture in the results and can then choose to follow the jeweller. That person can also ‘like’ the image, which then spreads the image to even more people. One thing to remember with hashtags, if you have made your account private then only your followers can find your hashtags when they do a search.

BE HASHTAG SAVVY. The statistics show that the hashtag #jewellery has over 2 million search tags, so that means

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MJ76_P37 Business matters.indd 37

your post will come up somewhere in that 2 million, so your post is unlikely to be seen. Try to make your tags more specific but general enough that they will be used as search terms; ie #wirework, #polymerjewellery etc. Instagram allows up to 30 hashtags per post, but it’s not necessarily a good idea to add tags just because you can. Potential customers could be put off if you are tagging every possible word that relates to your image.

SHARE YOUR IMAGES ON OTHER SITES. Instagram allows you to share your posts on other sites. So if you have Facebook or Twitter accounts for your business then it’s a great idea to share all of your images across all of them for maximum exposure. Any hashtags attached to the post will also work across the other sites too.

TO CONCLUDE Behind-the-scenes shots of what you are doing and making is a great way to build a relationship with your followers instead of bombarding them with retail pics of what you have for sale. So try to post friendly, interesting images that engage people to follow, comment and like the post. Comment on other images you like and be relevant (so no commenting from a business account on your friends latest evening out). Remember to keep posting as regularly as you can to help build a following and try to make it fun for you as well as others; if you enjoy doing it then you are far more likely to continue!

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05/12/2014 11:43

Easy

STEP 1 Take your four colours of clay and condition each one until supple and easy to roll. Roll out a sheet in each colour on the thickest setting on a pasta machine or to about 2mm thick. With the 20mm circle cutter, cut out as many discs as the clay sheet will allow (in all colours).

STEP 6

IN CIRCULAR MOTION Matt icy white and pastels make up a gorgeous wintery palette for this polymer pendant. By Sian Hamilton

T

his pendant brings together polymer clay and seed beads in a marriage of old (beadweaving) and new (polymer clay, well relatively new!) techniques. Beading has been around for centuries as decoration on clothing and accessories, whereas polymer clay is marked in bare decades. I like the idea of mixing design ideas together to cross style barriers!

38

MJ76_P38-39 Polymer pendant Sian SHKHSD.indd 38

When you can see all the clay discs have stuck together, gently lift the piece off the Teflon sheet and check it doesn’t fall apart. Lay back down and with a little straw cut a hole in the middle of one of the discs. Bake the clay using the instructions on the packet. Allow to cool. I left this piece matt as I like the way it looks but if you prefer then coat with an appropriate varnish at this stage.

MATERIALS 20g each of white, pink, pale blue and green polymer clay Size 11 white, pink and green seed beads Push button clasp 15mm and 20mm circle cutters Clay extruder and 5mm hole disc Teflon sheet and 5mm acrylic rod (or pen with a smooth end) Beading thread and needle

www.craf tsinstitute.com

16/12/2014 11:37

Easy Project

STEP 2

STEP 3

STEP 4

STEP 5

Stack all the discs into a log. You don’t need to stack them in any particular order; it’s nicer to mix it up a bit so different colours sit side by side. Gently squash the roll together so all the discs stick together, then roll on a hard surface until the log fits into the tube on the extruder.

Place the log into the extruder. You want to use the biggest round disc you have in the end to extrude a log about 5mm in diameter. This technique only works with extruders; you cannot create this effect by simply reducing the log. Extrude a log as long as you can. Take a tissue blade or craft knife and cut sections off the log about 3mm thick. Cut as many as you can.

Take a small circle cutter (mine is 15mm) and place a bit of spare clay in the middle to anchor it to a Teflon sheet. Build up a design all around the cutter using the disc pieces, aim for a random pattern. You will need to squash them together so you don’t have too many gaps. This pendant is three rows deep.

Take a small acrylic rod and with the end of the rod against the cutter in the centre, roll around the pattern, keeping the circle cutter in place until you can see all the pieces have squashed together. Take the cutter out of the centre and roll over the whole piece again in different directions. Make sure there are no gaps between the discs.

PHOTOGRAPHS: LAUREL GUILFOYLE, SIAN HAMILTON

RESOURCES All materials are widely available from advertiser in this magazine

STEP 7

STEP 8

STEP 9

To make the seed bead chain, thread a beading needle with a long length of thread. Bring the needle through the hole in the pendant and thread on 16 white seed beads to make a loop. Take the thread through all the beads twice and knot the two ends of the thread together. Cut off any excess from the short end.

Thread four pink seed beads, take the thread through all the beads again and pull tight to form a circle. The thread should be exiting the bead closest to the white loop. Take the needle through the next two beads, so it’s up at the end of the chain. Add three green beads, go through the pink bead on the end of the chain, pull the thread tight to form the circle and take the needle through the next two green beads.

The aim is to have the thread coming out of the last bead on the chain as you thread on the next colour. Continue adding bead links rotating the colours until you have a chain to your desired length (for a 16”/40cm chain, you need to bead a length of 20cm). On the last beaded link thread on a bead, the loop on the clasp, a bead, and go through all the beads twice, secure the thread with a knot. Repeat with another piece of thread for the other side of the chain.

Extra Projects MAKE A BRACELET

MAKE EARRINGS

For the bracelet, make a pendant piece with two rows of polymer discs and cut three holes with a straw in opposite sides. Bake and then use 3mm ribbon in complementary colours to braid a band. Either knot the ends together and leave to use to tie the bracelet on or thread the ribbon through the loop on a clasp and sew the ends together. Add a large jumpring to the other if using a clasp.

Use the same process as the main project to make two smaller polymer pieces with just one row of polymer discs. Make a beaded loop for each and hang from earwires.

www.craf tsinstitute.com

MJ76_P38-39 Polymer pendant Sian SHKHSD.indd 39

39

12/12/2014 10:26

The ultimate stitching, knitting & crafting shows! SPRING SHOWS SPRING SHOWS SPRING SPRING SPRING SHOWS SPRING SHOWS

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SAVE UP TO £2 OFF!

EACH ADULT & SENIOR TICKET IF ORDERED AT LEAST ONE WEEK BEFORE THE SHOW. 040_MAJ_076.indd 40

11/26/14 12:17 PM

Regular

BOOK REVIEWS This month Imogen Cooper reviews three books to spark your creativity.

EARRINGOLOGY

ULTIMATE BEADING BIBLE

RESIN JEWELLERY

CANDIE COOPER LARK JEWELRY & BEADING, £19.99 ISBN 9781454708186

C&B CRAFTS COLLINS & BROWN, £25 ISBN 9781909397187

CLARE JOHN THREE GABLES PUBLISHING, £16.99 ISBN 9780992647308

If you love your jewellery to be perfectly matched for every occasion, look no further than Candie Cooper’s Earringology. Its contents page is organised by the style of the earrings so, from ‘chic’ to ‘playful’, you can make whatever takes your mood. A helpful techniques section covers the basics, but also includes more advanced skills like creating custom finishes on your earrings. This makes it a brilliant gift both for those who are just starting out in jewellery making, and for those who have the confidence to customise Cooper’s designs. Each project is stylish yet classic; from a smart party to a casual walk, you’re sure to find something to suit the occasion. One thing that separates this book from many others is the extensive range of materials for your jewellery – if you’re not a fan of gold, try making a pair with crystals or shells instead. Although each pair of earrings is so different, they all share one thing – they’re designed beautifully. With 50 different projects to choose from, you’ll be looking glamorous everywhere you go!

C&B Crafts has introduced the newest edition of its bestselling Ultimate series, which has to date brought us every craft from woodwork to quilting. A must-have guide for those looking to start using beads in their creations, Ultimate Beading Bible provides the instructive, easy-to-follow style we have come to expect from the series. The book contains a multitude of different techniques to help you get into beading – with chapters on weaving, looming and wirework, you have everything you need to get started. As well as being able to make beautiful jewellery, Ultimate Beading Bible covers other uses for beads such as card making and crochet. Not only will you be amazed by just how many skills this book has to offer, you can learn about the different types of beads available to buy – or, to get a little more creative, you could even take inspiration from its suggestions of found objects to use in your jewellery. Although some techniques require a little practice, the clarity of Ultimate Beading Bible allows it to be used by crafters of all abilities. It goes without saying that any maker, regardless of skill, will be able to find a new way to create beautiful beaded jewellery in this essential book.

A must-read for those who love to add a little colour to their outfit, Resin Jewellery teaches you how to make eye-catching accessories using epoxy resin. Suitable for both beginners and more experienced resin-handlers, there are thorough, step-by-step instructions and clear photo diagrams to help you along the way. Each of the 16 projects is helpfully labelled with the skill level and amount of time needed, so you can choose a piece that completely suits you. Personally, I love the Double-Sided African Necklace, a ‘starter’ piece that looks striking yet is surprisingly simple to make. Resin Jewellery covers every technique a maker could possibly need – from the basics of mixing resin to working with moulds, you are taught everything to create your own stunning piece of jewellery. What’s more, the book also contains a list of resin suppliers, saving a considerable amount of time when stocking up on materials. Author and regular MJ contributor, Clare John has been teaching resin workshops for ten years and as we well know is an expert in her field. Whether you’re making the recommended pieces or admiring the gallery of her own stunning works, Clare’s experience and enthusiasm makes Resin Jewellery a truly inspiring read.

www.craf tsinstitute.com

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05/12/2014 11:49

THE website for all your Beading & Jewellery needs

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~ top quality cast and lead-free metal beads, clasps, charms and findings, all made in California, USA.

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www.thebeadstore.co.uk Great products | Low prices | Fast service! + FREE SHIPPING on UK orders over £35

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12/5/14 12:01 PM

Regular

WEB REVIEWS Lauren Johnson trawls the web for the latest online trends, stores, blogs and jewellery profiles. CANDY SHOP VINTAGE www.candyshopvintage.com American designer and vintage jewellery collector, Deidre Zahl, has put her design nous from ten years of fashion industry experience in New York to good use with jewellery company Candy Shop Vintage. With a simply beautiful collection of classically designed statement jewellery, you can expect to fi nd exquisite pieces inspired by their original counterparts from most decades throughout the 20th century. Also re-imagined by Candy Shop Vintage is the whimsical collection of Charleston rice beads: a dainty range of necklaces and bracelets that hark back to South Carolina’s economic foundations, which Deidre fell in love with when she moved to the area.

JEWELRY FROM HOME

JILLYBEADS

GEM-A-PORTER

www.jewelryfromhome.com

www.jillybeads.co.uk

www.gem-a-porter.com

The team at London Jewellery School have come up with a fantastic concept to bring their workshops and courses straight to your desktop – without the need to fi ll in forms or attend classes in central London. With their new website in full swing, you can log on, select a course and view tutored videos online consisting of four, five, or six lessons. For a small fee (currently £19.99), you can sign up for a course with an expert jewellery maker on wirework, silver clay, fashion jewellery or silver ring making, with the option of viewing a beginner’s course with LJS founder and MJ contributor Jessica Rose completely free of charge! This website is a great resource for anyone looking into taking up the jewellery habit, so go and tell all your crafty friends about it, or sign up yourself to learn a new skill.

JillyBeads is a familiar name for many and the website has had a refresh! With such a huge range of beads in their collection, the site helpfully points you in the right direction by giving clear search categories designed to make finding what you’re looking for a synch. In fact the whole website seems geared up to making jewellery addicts’ lives easier by offering not only a mesmerising selection of gorgeous beads and charms, but also playing host to a healthy stock of findings, tools and stringing materials; giving you no excuse to go anywhere else. If that’s not enough to keep you hooked, check out the generous discounts and savings that have become a regular feature on the site, or take some time to test out some of their great projects.

A what’s what and who’s who of the world of jewellery design (think big fashion), blogger Liza Urla has compiled an impressive source of information in interview, review and photographic form. More akin to an online magazine than a blog, Gem-APorter reports on fashion industry insiders including models, designers, and makers to give the reader a glimpse into the jet-set lives of the overly embellished. With gorgeous photography of some of the most ludicrous, but in equal measures fantastical jewels from around the globe, it’s impossible not to feel inspired (if a little envious) at the sheer brilliance of the people behind the designs. A must for every jewellery lover, peruse at your leisure, making sure you’ve ticked everything off your to-do list beforehand.

To feature your website or blog email [email protected] www.craf tsinstitute.com

MJ76_P43 Web reviews SHKHSD.indd 43

43

05/12/2014 11:49

Project Intermediate

AZTEC ADORNMENT Make beautiful and bespoke textures for unique chunky copper jewellery. By Jade Cameron

J

ade is a jewellery designer in her own time whilst working as the stock manager for Metal Clay Ltd. She loves working with copper and creating on-trend pieces. Express your creativity time and time again by carving your own texture mats to create bespoke rustic copper jewellery. Combined with colourful patinas you can easily enhance your copper designs and really make your jewellery stand out.

44

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MATERIALS 50g art clay copper Art clay work surface 3mm spacers Acrylic roller Rubber texture sheet V shaped carving tool Cool slip Non-stick balm Xl gel Brass brush Sanding pads 3M polishing papers 2.5mm drill bit Pin vice 2 x copper jumprings Niobium copper earwires

RESOURCES www.metalclay.co.uk

CONTACT www.metalclay.co.uk [email protected]

www.craf tsinstitute.com

12/12/2014 10:33

Intermediate Project Fashion Inspiration

STEP 2 Get your workspace set up; you will need your non-stick work surface, spacers, roller, rubber texture sheet, Cool Slip, balm and Art Clay Copper. Cover your tools with a light coating of Badger balm; this will stop your clay from sticking. Place the 3mm spacers either side your work surface and roll out your clay. Make sure your clay is completely smooth when you have rolled it out.

PHOTOGRAPHS: LAUREL GUILFOYLE, SHAYNA BOWLES

STEP 1 Take your rubber sheet and carving tool, you can either pencil out your design first or create a freehand design. Place your rubber sheet on a non-slip surface. Hold your mat still as you start to push the carving tool through the surface of the sheet. (Be careful, the carving tool is extremely sharp). You will need to apply some downward pressure, but not enough to pierce the other side of your mat. If you do not apply enough pressure when carving your texture will be too shallow.

STEP 3

STEP 4

Now your clay is rolled out, you are ready to prepare your texture. Spray a light mist of Cool slip onto your texture, the fine mist will reach all intricate areas and stop your clay from sticking. Decide which part of your texture you would like to use for your piece and gently lay it on top of your clay, do not push down onto your texture at this stage.

Gently roll your roller over the texture sheet. Do not apply too much forward pressure, as you do not want to distort your texture. The depth of your imprint is dependent on the depth of your carving; take this into consideration when applying pressure. Peel the texture sheet off and you should be left with your imprinted design.

Designer tips If your rubber mat is too tough to work with, you can warm it slightly and this will make it softer and easier to carve. When carving, if you do not apply enough pressure your carving tool can skim across the mat and ruin your design. For matching pairs of earrings, use the same section of your texture mat to create a more uniform look.

www.craf tsinstitute.com

MJ76_P44-46 Project Metal Clay SHKHSD.indd 45

Leopard print top, £18 Bronze midi skirt, £35 Knee-high boots, £59 All www.dorothyperkins.com

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12/12/2014 10:33

Project Intermediate

STEP 5

STEP 6

STEP 7

Take your cutter and apply some Badger balm to it, this will give you a smooth cut and will stop the cutter and clay from sticking. Cut two shapes and remove, store any excess clay in an airtight container. While the clay is still wet try not to handle it too much as it may distort the shape, but if you see any imperfections now is a good time to smooth them out. Leave your clay to dry – air dry for 24 hours, on a hotplate or oven (150oC) for approx. 10mins. Make sure your piece is completely dry.

When the piece is dry you are ready to drill the holes for the earwire to go through. Take a pin vice and a 2.5mm drill bit and hold the pin vice completely vertical to the piece. Rest the head of the vice in the palm of your hand to keep the drill steady. Turn the drill with your fingers, until you have drilled all the way through. Be gentle; applying too much pressure at this stage may crack your piece.

Refine the pieces. This is important, as this is the easiest time to get rid of any imperfections and sharp corners. Use sanding sponges to gently sand the sides, making sure you don’t sand away any of the texture. Don’t forget the back of the piece. You may only need to use the softer grits. Once you are happy with your piece you are ready to fire.

Extra Project Make a pendant

STEP 8

STEP 9

Art Clay Copper can be fired with a torch or straight on a kiln shelf (I prefer to cover in carbon on the kiln shelf). Fire the pieces in the centre of a pre-heated Kiln at 970oC and hold for 30 mins. We always recommend you follow the manufacturing instructions. Once the pieces are fired, safely remove them from the kiln and quench in cold water immediately. The piece is now ready to brush and add patina. Brush with a brass brush or if you have any fire scale try using a stainless steel brush.

Take the brushed piece and drop it into some warm water with a couple of drops of liver of sulphur; it will turn black almost immediately. Once you have got the depth of patina you want, take the piece out, rinse and dry. You can now brush or polish the piece to the preferred shine, leaving a lovely dark patina in the grooves of the texture. With pliers add a jumpring through the pre-made hole and attach earwires.

Make a template for the size you wish to make your pendant. When the clay has been rolled out, place the template on top and cut around it using a clay pick or craft knife. Texture only part of the piece with the mat and when wet add a bail to the back. Dry and refine. After firing, brush and add liver of sulphur, you can then apply a coloured patina to your piece with a soft cloth and work the colour into your indentations. Buff and polish to finish.

DON’T MISS!

Next month Karen Caine’s musical treble clef wirework 46

MJ76_P44-46 Project Metal Clay SHKHSD.indd 46

www.craf tsinstitute.com

16/12/2014 11:37

Flux’n’Flame Jewellery School

At Flux n Flame we offer silversmithing DQGMHZHOOHU\PDNLQJFRXUVHVZRUNLQJ with sterling silver, gold and precious stones using WUDGLWLRQDOMHZHOOHU\WHFKQLTXHV Small groups, friendly, informal atmosphere and superb tuition from SURIHVVLRQDODZDUGZLQQLQJMHZHOOHUV 2XUEHDXWLIXOZRUNVKRSLVDIXOO\ equipped, purpose built jewellery ZRUNVKRSLQWKHKHDUWRIWKH 'RUVHWFRXQWU\VLGH ‘Humour, patience and creativity Jess and Al have in abundance. Nothing is too much trouble, and everyone is treated like family. One of the nicest places you could wish for to learn and express yourself, comforted in the knowledge that each piece will be made to their exacting standards. I can’t praise them highly enough.’ Susan, student

For a brochure contact us at Flux’n’Flame Milton Abbas, Dorset DT11 OBD Tel: 01258 881690 Mobile 07785 550771 (PDLOVPLOHDORW#ÀX[QÀDPHFRXN

ZZZÀX[QÀDPHFRXN

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12/3/14 2:48 PM

Project Easy

DOUBLE TIME Two looks, one pendant; this easy−to−make piece is perfect for when you just can’t decide what to wear. By Michael Mitchell

M

ichael is a designer who loves to create individual pieces in polymer clay. Mainly self-taught, he has also worked with some of the fi nest teachers in many creative fields. The inspiration for this changeable piece came from the need to pack light. Jewellery is always a concern when travelling and this simple elegant piece allows you two looks and more scope to complement different outfits. The silk screen kit inspired a more feminine look to this piece; bold colours complemented with a subtle, intricate design allow you to change your style easily.

MATERIALS Polyform Souffle clay in Turnip and Lagoon Polyform silk screen kit Polyform hollow bead maker Swellegant clear sealant Sterling silver eye pin 38mm Sterling silver closed jumpring 6mm

RESOURCES www.palmermetals.co.uk

CONTACT [email protected]

48

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www.craf tsinstitute.com

12/12/2014 10:51

PHOTOGRAPHS: LAUREL GUILFOYLE, MICHAEL MITCHELL AND LAUREN PURDON

Easy Project

STEP 1

STEP 2

STEP 3

First condition your clay and roll out with a pasta machine on the thickest setting and place onto your work surface, ensuring no air bubbles are created underneath. Take your chosen design from the Polyform silk screen kit and place onto the clay (shiny side down). Apply just enough pressure to fix the sheet to the clay but not enough to distort it.

Using the gold paint provided, draw a line at one of the edges of the design, then using the squeegee gently drag the paint across. Repeat on any side where the paint does not reach then gently lift the design sheet off the clay in one smooth motion. Allow the paint to dry completely before touching the clay.

Take your Polyform hollow bead maker and circle cutter, making sure the cutter matches the size of dome you have chosen. Centre the design onto the middle of your chosen dome then take the cutter and cut the clay directly onto the bead maker, then repeat with an alternative pattern paint and clay.

STEP 4

STEP 5

STEP 6

Once you have baked the clay, following the manufacturer’s instructions allow to cool and remove. Sand the domes in a circular motion to create a smooth edge. Repeat on your second dome being careful not to sand too much away so that you sand away the design at the edges.

Bend the end of your eye pin into a zigzag shape with flat nose pliers, then with your scrap clay fill both domes and sandwich the eye pin between the clays and re-bake; by bending the eye pin you won’t need to use glue to secure it.

Once baked, use Swellegant matt finish sealant with a small paintbrush to protect the pattern. Once dry, attach a jumpring to the pendant then attach to your chain of choice.

Designer tips Try using Mica powders on the silk screen sheet with a paintbrush to create some really interesting effects. Experiment with different clay techniques such as mokume gane before silk screening onto it. You can just use one dome to soutache around.

Extra ideas Make earrings and a brooch EARRINGS Matching earrings would be easy to create by using smaller cutters to create smaller domes.

BROOCH Use one dome and a brooch back to make a cool simple brooch. Remember to pack the back with scrap clay so the pin has a flat area to sit against. Glue the brooch bar on after baking.

www.craf tsinstitute.com

MJ76_P48-49 Project Palmer metals SHKHSD.indd 49

49

12/12/2014 10:51

FINE BEADS AND FINDINGS

kin’ b ead

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oc

r

THE CURIOUS GEM

ADDING A LITTLE LUXURY TO YOUR DESIGNS

- ToHo seed beads, gemstones, Czech Crystals, Ceramics - Lampwork beads made in our Lampwork Studio - commissions taken - Top quality findings, plated and Sterling Silver - Large selection of stringing materials - Knitting wool and patterns, Crochet classes and supplies - One to one tuition available in jewellery making, lampworking, Silver Clay, knitting and crochet - Unique gifts. Made to measure jewellery, locally made soaps & Yankee candles

Specialists in top grade gemstones, beads, pearls, sterling silver, gold vermeil, gold and rose gold filled findings

So much more than ‘just beads’

www.thecuriousgem.co.uk Tel: 0131 661 6632

050_MAJ_076.indd 50

Find us in: The Red Lion Yard, Okehampton, Devon, EX20 1AW 01837 657614 [email protected]

www.rockinbeads.co.uk

12/5/14 12:04 PM

Trends Shopping

HEART CHARM

PATTERNED TIGHTS

WARM SCARF

£295, www.linksoflondon.com

£8.44, www.legslove.ie

£20, www.debenhams.com

HEARTS GALORE February is full of love, so cover yourself in hearts and enjoy! By Sian Hamilton PINK EARRINGS

GLITTERY BAG

£55, www.boticca.com

£29, www.debenhams.com

HEART BUCKLE BELT

BIG HEART JUMPER

SWALLOWS AND HEART RING

£22.50, www.whitestuff.com

£45, www.whitestuff.com

£180, www.boticca.com

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Project Advanced

FILIGREE EARRINGS Make these fabulous filigree earrings using up your wire scraps! By Tansy Wilson

A

ll those offcuts of wire are invaluable when shaped and soldered together to make the repeat pattern of these beautiful fi ligree earrings. This is a great project for mastering simple soldering skills and obtaining a professional fi nished result.

MATERIALS 1.5mm round Sterling silver wire (or scrap) 2 x 5mm Sterling silver closed jumprings Pair of crystal studded earrings

RESOURCES All materials available from: www.cooksongold.com www.palmermetals.co.uk

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Designer tip Cut lots of paillons ready to keep adding to your piece whilst you are still soldering, just in case the solder initially runs onto the surface of the silver and not along the joins.

www.craf tsinstitute.com

05/12/2014 11:53

Advanced Project Fashion inspiration Lace dress, £49, www.very.co.uk

STEP 1

STEP 2

Whether you are using wire scraps or 1.5mm wire from the roll, grip the very end of the wire in between the jaws on your round nose pliers and bend into simple shapes.

Make at least 10 wire shapes. These can be all the same or several similar patterns and then make the mirror image of these shapes so you end up with 20 pieces in total.

STEP 4 File the wire ends (if necessary) to smooth out any jagged edges and to create a flowing curve.

PHOTOGRAPHS: LAUREL GUILFOYLE, TANSY WHEELER

STEP 3 Using a small ball end hammer, hammer the very tip of the wire shapes, cold forging it to splay out. Then gently hammer the rest of the wire and splay the other end. Repeat this step for all the pieces.

STEP 5

STEP 6

Polish all the shapes to a high shine, front and back and then separate into two piles so you have 10 shapes in each that mirror each other.

Using the shapes from one pile start to lay them out to create an overall large filigree pattern. When you are happy with the finished layout, recreate it using the mirror imaged shapes thus creating a left and right earring.

www.craf tsinstitute.com

MJ76_P52-54_Filigree Earrings SHKHSD.indd 53

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Project Advanced

STEP 7

STEP 8

STEP 9

Transfer one of the earrings piece by piece onto your soldering block, gently rubbing some emery paper along each edge then placing down so that all the wires are touching. Paint flux along all the touching joins.

Using tiny paillons (squares) of easy silver solder, place one each on every join. Very gently heat the entire piece so the flux bubbles and sticks. Then concentrate the heat at the top of the earring until the first paillon runs. Move the heat down so eventually all the paillons have melted and soldered the entire piece together.

Finally add another paillon to the very top of the earring along with a closed 5mm jumpring and solder this on. Place the piece in an acid pickle until all the fire stain is removed and rinse. Repeat Steps 7–9 for the other earring.

STEP 10 Polish each earring to a final finish. Ensure you support the piece on a piece of flat wood so the polishing mop does not catch in between the wires.

STEP 11

STEP 12

Use a toothbrush and silver polish to remove any polish residue on both pieces and finally finish with a silver cloth.

Open the loop on the stud earring fitting and link to the 5mm jumpring you soldered on in Step 9. Close the loop on the stud. Repeat for the other earring.

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Wires.co.uk

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Set your own stones, ceramics, resins etc into our silver 925 mounts. We have a very large selection of silver settings and mounts including pendants, brooches, cufflinks, rings, lockets, earrings, bracelets, stick pins ns and tie bars etc in many different styles from modern, classic and celtic c all all polished and easy to set.

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www.caverswallminerals.com

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Project Intermediate

STEP 1 Take the 175mm (7in) length of 1.6mm round wire. Allow 25mm (1in) for the bail and divide the rest of the wire in half and mark the wire. Place flat nosed pliers on the mark and bend the wire to a 90 degree angle. Close the bend together and flatten down with pliers to create a fold in the wire.

STEP 4

CHAOS HEART

The longer end will become the bail. Bend the wire back up so that it is at the top of the heart. Grip the cut end firmly in round nose pliers and curl. Keep going until you have a nice round loop. It does not matter if this overlaps, this can be trimmed later if needed. Now you have your heart frame.

Make a freeform, organic pendant where no two will ever be the same. By Rachel Murgatroyd

R

achel has been making and selling wire jewellery for approximately 20 years. Teaching at In The Studio for the last 10 years and runs Wire Guild, an online teaching site. The chaos heart pendant follows a strict outline with the frame of the heart but the flow and style is all from the chaotic curls and twists that create the surface texture of the heart. Every heart that you make will turn out differently giving a unique quality to each one you make.

MATERIALS 175mm (7in) x 1.6mm (14 gauge) bare copper round wire 2 x 600mm (24in) x 1mm (18 gauge) bare copper round wire Ready made copper chain

RESOURCES www.wires.co.uk

CONTACT [email protected] www.wireguild.com

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www.craf tsinstitute.com

12/12/2014 11:25

Intermediate Project

STEP 2

STEP 3

Using something round, I have used the large end of a ring mandrel but a thick felt pen or similar would work. Slide the circular form between the two wires, so that the wires spread out. This will decide the size of your heart so make sure it is pressed well against your circular frame. Wrap each wire over the circular frame.

Remove the wire from the circular form and separate your two pieces of wire by holding onto the curved top and pull apart to create a heart shape. Take the shorter of the two ends and wrap around the other wire where they cross. Tighten down with pliers and snip off any excess. If you want, you can adjust the shape with your fingers.

PHOTOGRAPHS: LAUREL GUILFOYLE, RACHEL MURGATROYD

Extra Projects Make earrings and a beaded pendant EARRINGS Make matching earrings using 1mm wire and a pen to create a smaller heart. Add a little loop to attach earwires. Use 0.8mm wire to create the curls.

BEADED PENDANT STEP 5

STEP 6

Take the remaining wires and pass through the heart frame. At the middle point (300mm or 12in) wrap around any part of the heart frame and tighten down with pliers. Now you can work with either end of the wire but halving the length to make it easier to pass through the frame. Work with pairs of wires to add body to the curls.

Create irregular curls and swirls with the wire, wrapping around the frame or other wires to ensure the strength of the piece. When you have enough curls or you run out of wire, work with the other end. Ensure that all ends are secured to the frame, trim and press down tightly. Oxidise it with Liver of Sulfur to bring out the detail if desired.

If adding beads to the pendant shapes, remember to circle each bead with a little extra wire. This will make it melt into the rest of the design.

Designer tips Add a little copper to silver earwires for decoration as many people cannot wear copper in pierced ears. Other shapes can be created for your frame and the decorated with the chaos curls. When using copper to create jewellery it is a good idea to seal with a wax or sealant product to prevent further tarnishing.

www.craf tsinstitute.com

MJ76_P56-57 Project Rachel Murgatroyd SHKHSD.indd 57

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Project Easy

CELLINI SPIRAL BEAD NECKLACE Create these complicated looking Cellini spiral beads simply with tubular peyote stitch. By Clair Wolfe

C

lair is a jewellery designer based in South Wales. She has become completely smitten with seed beads, and is always on the lookout for new ways to use them. The beaded Cellini spiral looks so complicated to achieve, it is however a really straightforward process. If you can thread a needle and pass that needle through a bead, you can create these fabulous little beads.

MATERIALS

Seed bead selection in sizes, 15/0, 11/0, 8/0 and 6/0 KO beading thread Beading needle Snips Glue Leather cord Spacer beads

RESOURCES:

All beads and tools for this project are available through Beads Direct. www.beadsdirect.co.uk 01509 218028

CONTACT

[email protected] www.etsy.com/shop/ClairWolfe

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www.craf tsinstitute.com

Easy Project

STEP 1

STEP 2

STEP 3

Once you have chosen the colour scheme for your beads you will need beads in the following sizes; three colours in size 15/0 (A, B, C), two in size 11/0 (D & E), two in size 8/0 (F & G) and finally one in size 6/0 (H). Take a beading needle and thread it with a manageable length of colour co-ordinating thread.

Pass the needle through the beads in the following order: two A, two B, two C, two D, two E, two F, two H, two G and finally two E. Leave a long tail of thread to help you hold the beads and then secure the beads into a ring, with a couple of knots and a dab of glue.

Pass the needle back through the first two A beads, and then add an A bead to the needle, pass it along the thread. Pass the needle through the second B bead and then add a B bead to the needle and pass it along the thread. Pass the needle through the second C bead and then add a C bead to the needle and pass it along the thread.

PHOTOGRAPHS: LAUREL GUILFOYLE, CLAIR WOLFE

Designer tips

STEP 4

STEP 5

Repeat the previous step through beads D, E, F, H, G and then E again. The needle then needs to be passed through the A bead added in the first round. This is the technique for the whole process. As you stitch the remaining rounds, always pick up the same type of bead as the bead that your thread is coming out of.

Holding on to the long tail of thread as you add the beads will help. Keeping a relatively tight tension, pull each bead tight as it is added, this will make the beads begin to form into a spiral tube. As the tube forms, you will be able to hold the spiral tube as you add more and more rounds.

Lay the beads out on a bead mat and label them with the right letter so you can easily see work through the steps in the project. Experiment with bead size placement, making notes so the beads can be remade. The spiral can be made to run both clockwise and anticlock wise, depending on the way the tube is pulled.

www.craf tsinstitute.com

MJ76_P58-60_Cellini Bead SHKHSD.indd 59

05/12/2014 11:54

Project Easy

STEP 6 Once you have reached the length needed for the bead, both of the ends will need to be made slightly narrower. Continue to stitch rounds in the same way, but this time not adding new beads, miss out bead H for a round then G for a round etc. Continue until the end has narrowed to the desired size. To secure, pass the needle through the final round of beads a few times and pull tight.

Extra Projects Make a pendant and a lariat PENDANT Simply thread one of the beads onto a chain, so it’s easy to switch them out to match your outfit.

STEP 7

STEP 8

Pass the needle down through the bead to the other end and through the first A bead, add an A and then pass the needle through the B bead, continue until the bead hole has narrowed to the desired length. To secure, pass the needle through the final round of beads a few times and pull tight and then knot it to the tail of thread from the beginning. Add a dab of glue to finish.

Create more beads, mixing up the colours and size order. This is the fun part; experiment with the number of each size of bead and in different orders, just make a note of what beads and which order when you start, so they can be recreated. The spiral can also run in the opposite direction, depending on the way you pull the beads into a tube in Step 5.

LARIAT Thread the two ends of thick leather cord down through a bead, making sure you can slip the lariat over your head and then add a knot above and below the bead. Add knots to the ends of the leather to complete.

STEP 9 Once all the beads have been made they can be used in so many designs. For this design, thread the Cellini spiral beads on to a length of colourful leather cord and space them out with a selection of chunky spacer beads. Leave nice long lengths of leather, so that the necklace length can be adjusted to suit.

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www.craf tsinstitute.com

05/12/2014 11:55

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12/12/14 10:40 AM

Project Intermediate

TIFFANY D

onna owns Rockin’ Beads – a spacious bead and craft shop on the edge of Dartmoor, Devon. Although she teaches jewellery design, silver clay, knitting and crochet, her first love is lampwork. The thing that hits you fi rst in Donna’s shop is colour. Her Tiffany beads come from a love of colour and she often uses frit as a simple way to paint a riot of colour onto her beads. The frit can be left slightly raised or can be melted in fully depending on preference. The lovely big flower adorning the lentil is very tactile and a reminder of its unique handmade quality.

MATERIALS 2mm dipped mandrel Effetre Opaque Light Pink, Black, Lemon Yellow and Light Sky Blue 4mm Czech firepolish 50mm eye pins 75mm headpin Amethyst faux suede ToHo 8/0 silver lined crystal seed beads

RESOURCES Glass, mandrels, Czech firepolish, faux suede, findings and ToHo seed beads: www.rockinbeads.co.uk

CONTACT www.rockinbeads.co.uk 01837 657614

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STEP 1 Prepare the Opaque Light Pink stringer by heating the rod’s end to create a gather of glass the size of a large pea. Use pliers to pull a 2mm–3mm stringer. Do the same with the Black rod, pulling slightly thinner for a narrow petal outline. Heat your mandrel and using your Light Sky Blue rod wind on two small beads far enough apart so that they sit approximately 2mm short of the lentil press.

PHOTOGRAPHS: LAUREL GUILFOYLE, GARRY YEOMAN

Recreate the arts and crafts era with your own Tiffany glass inspired lampwork beads. By Donna Tombs

STEP 4 Fill the petal outline with your full rod of Opaque Light Pink. Don’t worry about keeping within the lines as this is not supposed to be a precise design. You can use a knife to flatten the glass and also to tidy up the petal outline if things go wrong.

Designer tips Change your base bead colour and frit, maybe try Effetre Pea Green or Grass Green so your bead is backed by grass rather than sky! The flower looks great with layered glass to make up the petals. Use a base of Effetre White then top with Effetre Rubino Oro. Try placing a pattern of small dots using a stringer rather than the big dot in the centre of the petals.

www.craf tsinstitute.com

12/12/2014 11:28

STEP 2

STEP 3

Add glass within the two small beads, building up an olive shaped bead that fits comfortably inside your chosen lentil press shape. Build the size slowly, adding a little glass at a time, checking the size frequently. Once your bead is the correct size, cover it in frit. Warm the frit through thoroughly; more so if you want it to sit smoothly on the finished bead. You can press again if you wish to encourage the frit to melt smooth.

Making sure that your bead is warm enough to accept the stringer, use your Opaque Light Pink stringer to ‘paint’ on the outline of petals. Keep your stringer out of the flame while you work. You should be close enough so that the stringer can be laid onto the bead without it breaking or balling up. You can use tweezers or a knife to push the stringer around once on the bead if necessary.

STEP 5

STEP 6

Making sure that your bead is warm enough to accept the second stringer, use your black stringer to ‘paint’ on the outline of the petals. This time you need to try to prevent your stringer from breaking, so work just outside the flame. Remember to keep your bead warm while you work, warming both front and back so there is no chance of the bead breaking.

Using your full rod of Lemon Yellow, place a fairly large dot in the centre of your flower. Warm the dot and use a blunt ended tool to make a dimple in the centre of the yellow dot. Carefully warm your bead all over before putting it in the kiln. You do not want to lose stringer definition so don’t heat it too much.

Extra Project Make earrings You can make a selection of coordinating beads, simply by rolling the Light Sky Blue in the same frit mix and teaming with Opaque Light Pink spacer beads, Czech firepolish and ToHo silver lined crystal seed beads for a bit of sparkle.

www.craf tsinstitute.com

MJ76_P62-63_TiffanySHKHSD.indd 63

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Project Intermediate

PASTEL FLOWERS Learn a new resin technique with this pearl resin bracelet that is set with micro beads in a floral design. By Clare John

C

lare loves the colours and textures you can achieve with resin and is always playing with things to add to resin to create new effects. She was inspired to try out this technique after taking home some jewellery with uncured resin in it and it fell face down on a textured silicone mat. The next day she could peel the silicone off the resin and the pattern from the mat was imprinted on the jewellery. Clare began to wonder how this technique could be used and came up with this bracelet.

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MATERIALS Floral patterned silicone icing mat Duct/gaffer tape Large acrylic (Perspex) sheet Pink pearl resin and hardener Digital scales Mixing cups and sticks 25mm round silver-plated bracelet kit 25mm round circle punch (optional) White card Scriber Respiratory mask Piercing saw and blades Wet and dry paper 280 grit 5 x small acrylic blocks Blu tack Standard epoxy resin and hardener Contrasting colours of pearl micro beads

RESOURCES Resins, digital scales, mixing cups and sticks, wet and dry paper, 25mm silver-plated bracelet kit, 25mm paper punch, micro beads: www.resin8.co.uk Floral patterned silicone mat – search for Textured Fondant Rolling Impression Mat (Floral Fantasy) on: www.ebay.co.uk Tools: www.kernowcraft.com www.cooksongold.com

CONTACT [email protected] www.resin8.co.uk

www.craf tsinstitute.com

05/12/2014 11:57

Intermediate Project

STEP 1

STEP 2

Cut a strip of silicone icing mat so that you have at least seven flower sections to use. Fix the mat to the sheet of acrylic with duct tape. This is to make sure that the mat is as flat as possible and will not slip around. Remove any dust or fluff off the silicone.

Weigh out 5g of pink pearl resin and 2.5g of hardener. Mix well. With a cocktail stick add a thin line around each flower shape to get into all the crevices. Leave to set in a warm place. Mix 10g of pink pearl resin with 5g of hardener. Cover the flowers and the line of resin. Leave to set.

STEP 4 Punch out a circle in card to make a template or draw one and cut it out. Using a scriber, draw circles around the card onto the resin sheets. Wear a respiratory mask and cut out the circles with a piercing saw.

PHOTOGRAPHS: LAUREL GUILFOYLE, CLARE JOHN

STEP 3 The set resin will peel off the mat really easily. Resin does not stick to silicone, which is why moulds are made from it. The resin will copy the surface of the silicone so, if it is shiny, resin will be shiny. Choose the best five sheets of resin as you may find you have bubbles in some of them.

STEP 5

STEP 6

Wear a respiratory mask and rub down the resin circles with wet and dry paper to make sure they fit the bracelet unit. It is best to use the wet and dry paper wet to minimise the dust. Wash the wet and dry paper when you have finished to remove resin dust.

Fix five bracelet units to small acrylic blocks with Blu Tack. Weigh out 4g of pink pearl resin and add 2g of hardener. Mix well and spread a thin layer in the bottom of each bracelet unit.

www.craf tsinstitute.com

MJ76_P64-66_Pastel Flowers SHKHSD.indd 65

Fashion inspiration Rose print dress £85, www.peopletree.co.uk

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Project Intermediate

STEP 7 Push each cut-out circle into the thin layer of resin, which will act as glue. If resin squeezes out around the edges, wipe it with kitchen paper. Put a tester of resin on one side so that you can check when it is set.

Extra Projects Follow all the steps but substitute a silverplated ring and a silver-plated pendant for the bracelet units in Steps 5 and 6.

STEP 8 Weigh out 2g of standard resin and 1g of hardener. Put a little resin into the depressions of the flower petals, centres and stems. Sprinkle contrasting coloured micro beads into the depressions and move into place with a cocktail stick so that you have an even layer. Put a tester of resin on one side and leave everything to set.

Designer tips STEP 9 Weigh out 5g of standard resin and add 2.5g of hardener. This is for the final doming layer to cover everything. Add a high layer of resin to each unit and leave to set for 24 hours. Assemble the bracelet with jumprings and large bolt ring clasp.

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MJ76_P64-66_Pastel Flowers SHKHSD.indd 66

You may find that the micro beads will change colour inside the resin. Mix micro bead colours in each flower. Only use pearl micro beads as glass ones will loose their ‘beadiness’ inside resin. It is an optical illusion.

www.craf tsinstitute.com

05/12/2014 11:57

067_MAJ_076.indd 67

11/25/14 1:55 PM

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12/12/14 10:41 AM

Feature

Trebarwith necklace

Mouse & cheese necklace

What inspires

I Am Acrylic Brendan Fan and Ruth Williams are the partnership behind I Am Acrylic. Here they tell us about what inspires them. By Kira Withers-Jones WHAT INSPIRES US Inspiration for our stuff comes from everywhere really. It’s a bit of a cliché but it’s so true! We can be having a conversation, walking through Spitalfields vintage market near where we live, visiting a museum, taking a train ride and an idea might pop into our heads. We both like to sketch things down roughly on whatever is to hand and then these may be revisited months later to be worked up into a final design. On a recent trip to Cornwall we were really inspired by the coastline where we were staying and ended up making a Trebarwith-inspired necklace. For brainstorming for a specific project we like using random words to see where that leads us, or word association games as well – these can lead to interesting mixes of material and subjects. I had an idea to make jewellery loosely themed around crisp flavours, but during a

conversation about the cheese and onion flavour and whether anyone would ever want to wear an onion, we came up with our cheese and mouse range which is a surprise bestseller!

OUR STYLE We use a mechanical fretsaw to hand cut each of the components in our jewellery designs. It takes some time drawing around our templates before we cut them out to prevent waste and use as much of the sheet of acrylic or wood as possible! After the piece is cut out we then clean up the edges before putting the components together. We mainly still work in acrylic and wood. We like to combine the two where possible! We’ve been experimenting with aluminium too and incorporating painting and embroidery into our pieces as well. We try to make fun conversational pieces,

PHOTOGRAPHS: BRENDAN FAN, RUTH WILLIAMS

Sketchbook - Trebarwith

OUR DESIGNS We both studied Fine Art at Winchester School of Art, which is where we met 15 years ago, so we aren’t ‘classically trained’ jewellery makers! We fell into jewellery making by accident really. We found some acrylic that someone was throwing away and Brendan used the fretsaw that we had borrowed from my Dad (a retired CDT teacher), to cut out a bird-shaped keyring for my birthday! I was working at Magma (a design shop) at the time and the buyer there said that we should try selling some of the keyrings and it went from there! That was ten years ago now! It was Brendan who continued to pursue the jewellery making, part-time, for the first seven years of I Am Acrylic. Three years ago I quit my job and we decided to make a go of I Am Acrylic full time together. Since then we’ve expanded the range and got quite a few more stockists and started to run our regular market stall.

RESOURCES Trebarwith

www.craf tsinstitute.com

MJ76_P69 Inspirations SHKHSD.indd 69

things that make people smile hopefully! If we hear the word ‘cute’ when people are looking at our stuff on the market stall then we’ve done our job! Subjects currently range from birds to bees, mountains to seascapes, cheese and mice and outer space, among others.

www.iamacrylic.co.uk [email protected]

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16/12/2014 11:38

Project Intermediate

DAZZLING RING Add a flash of dazzling sparkle to your fingers with this amethyst and fine silver ring. By Joan Gordon

T

he fireproof stone featured on this ring was set into a small daub of PMC 3. The clay was moulded around the stone. Once it had dried it was sanded into shape. This technique allows the stone to sit proud of the band. The band was made on a ring mandrel and when it was almost dry Joan syringed around the ring to create a Baroque style pattern. If you prefer, you can roll the clay on a texture mat to create a flat surface pattern. This isn’t a difficult ring to make but care should be taken when pasting the stone to the band.

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MJ76_P70-71 Project Joan SHKHSD.indd 70

MATERIALS

RESOURCES

10g packet PMC3 Syringe clay Silver paste Ring mandrel Ring sizer Memo notepaper Pencil Teflon sheet Perspex roller 3mm spacers Rubber shaping tool Thin blade Badger balm Fireproof gem Paintbrush Baby wipes Fine jeweller’s sanding papers in various grades Brass brush Burnishing tool Rubber block

All materials widely available from advertisers listed throughout this magazine.

www.craf tsinstitute.com

12/12/2014 11:40

Intermediate Project Designer tips

STEP 1

STEP 2

STEP 3

Prepare the ring mandrel and tape the memo paper in place. Mark the placement of the ring band, ensuring that the ring measurement is three sizes larger than the desired finished ring. Rub Badger balm on your roller, work surface and hands. Open the packet of clay and quickly condition it in the palms of your hand. Roll it into a long coil using the Perspex rollers. Place the coil between two 3mm spacers and roll it out into a flat band.

Place a dot of syringe clay onto the memo paper and drape the flat band of clay around the mandrel. Overlap the join slightly then cut the excess off using a sharp blade. Work the join smooth using a rubber shaping tool and paintbrush. Leave the ring to almost dry. Pinch off a small daub of clay and press the gemstone into it so that the top of the stone sits just below the edges of the clay. Carefully shape the clay into a cone shape. Leave to dry, then sand and smooth with sanding papers.

When the band is almost dry and can be handled without damaging the shape, slide it from the mandrel. Paste a layer of clay around the outer band and then syringe the band. You can syringe the band on or off the mandrel. Place it back onto the mandrel to dry completely. Don’t worry about sanding it at this stage, as that may be done once the stone has been set.

To highlight the syringework, give the ring a patina using liver of sulphur. Create the ring using bronze or copper clay for a more antiqued look and fire with a hand torch on a firebrick. Only use fireproof gems that have been pretested and are guaranteed to withstand high temperatures.

Extra Project Make a charm CHARM

PHOTOGRAPHS: LAUREL GUILFOYLE, JOAN GORDON

To make a matching charm for a bracelet. Roll out clay to about 1.5mm thick and press a texture into the clay. Use a clay or mini cookie cutter to cut out a shape and create a hole for the jumpring whilst the clay is soft. Fire in a kiln or use a torch. Polish to a shine and hang from a bracelet chain using a jumpring.

STEP 4

STEP 5

STEP 6

Place a good daub of paste and a little bit of syringe clay onto the band. Press the base of the stone onto the band and hold in place for several seconds. Slide the ring back onto the mandrel and leave it overnight to dry completely. Use a shaping tool to tidy the join between the stone and the band. Syringe around the base of the stone to further enhance the pattern.

Once the ring is completely dry, sand the inside of the band with jeweller’s fine grade papers. Support the ring on a rubber block. Work through the fine grades of sanding papers until the band is as smooth as possible. Fill in any indents with silver paste, allow it to dry and then sand again. Carefully sand around the stone and check that there aren’t any gaps between the syringe clay and the band. Use the burnishing tool to smooth the inside of the band to check for any flaws. Clean excess clay from the face of the stone.

Fire the ring in a kiln set to 720°C, supporting it on a fibre mat. Hold for 10 minutes and then allow it to cool naturally. Do not immerse it in water, as the stone will craze. Once cool, support the ring on a rubber block, brush with a brass brush and then burnish with an agate burnisher. For a matt finish brush it again or for a high shine place it in a tumbler filled with shot and polishing soap and tumble for several hours.

DON’T MISS!

Next month Clockwork Jewel’s steampunk brooch www.craf tsinstitute.com

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Project Intermediate

TEXTURED PENDANT Make a textured pendant with a simple cabochon setting. By Hayley Agar

A

fter completing a beginner’s silversmith course at her local college, Hayley soon became hooked on making and designing jewellery in her spare time. Fortunately, working for a family-run jewellery business allows her to cherry pick beautiful stones to use within her designs and to have the opportunity to utilise the workshop during the day to create more jewellery pieces. Crinkle sheet is clever and immediately reticulates with a lovely crinkled texture as it is brought up to temperature – without the need for any surface preparation. This is such a great way to create beautiful texture on your pieces. It consists of 80% silver and 20% copper reticulation alloy on a fine silver (99.9%) back.

MATERIALS 0.7mm x 2cm x 2cm Sterling silver sheet Sterling silver tube (id 2.5mm) 0.3mm x 3mm x 4cm bezel wire 1cm x 1cm Sterling silver sheet Piece of crinkle metal sheet 10mm x 8mm cabochon stone

RESOURCES All materials: www.kernowcraft.com

CONTACT [email protected]

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Intermediate Project Extra Projects Make a pair of earrings

STEP 2

STEP 3

You now need to solder the tube to the back of the square sheet using hard solder. Place onto the soldering area, add some flux and a small paillon (square) of hard solder to the join. Slowly heat the area and then after the flux has stopped bubbling, concentrate the heat until the solder melts. Pickle and rinse.

Make a 10mm x 8mm cabochon setting using 4cm of 0.3mm x 3mm bezel wire and 0.7mm Sterling silver sheet. Using the stone as a guide, measure a length of bezel wire, cut and solder the two ends using the technique in Step 2. Solder the collet to the piece of silver sheet. After soldering, use a saw to pierce away the excess metal from around the collet. File the edge so the solder line disappears.

PHOTOGRAPHS: LAUREL GUILFOYLE, HAYLEY AGAR

STEP 1 Use a piece of 2cm x 2cm Sterling silver 0.7mm sheet and 1cm of 2.5mm tubing (inside dimension). File the edges of the sheet and tube so that they are smooth and rounded.

Cut out two identical sized pieces of 0.7mm Sterling silver sheet, file the edges so they are smooth. Create a texture on the sheet with a jeweler’s hammer holding the pieces on a metal surface to get the best results. Solder earring posts using 0.8mm Sterling silver wire to the backs and polish with wet and dry papers.

STEP 4

STEP 5

STEP 6

Mark the shape you require on the crinkle metal, cut and file. Next you need to reticulate the crinkle metal by placing it on a heat-resistant block and then bring the piece slowly up to heat with a moving flame. When the metal reaches the proper temperature the surface will start to form waves and then start to crawl as it crinkles up. Pickle and rinse.

Solder the piece of reticulated metal and the cabochon setting to the square Sterling silver sheet using easy solder and the same soldering technique used in Step 2. Pickle and rinse.

Place the stone into the setting and using a pusher start pushing over the top edge. Push one side, then turn the setting around and push the opposite side. Continue pushes from opposite sides, until the collet sits neatly around the stone. Use a burnisher to polish the edges.

Designer tips Make textured stud earrings using Sterling sheet. Create textures using hammers, satin wheels and burrs. When texturing with a hammer, hold the work on a metal surface to get the best results.

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Shopping

DISCOUNTS & GIVEAWAYS To take advantage of these great offers, visit www.craftsinstitute.com/making-jewellery. Follow the instructions given below and enter to make sure you don’t miss out! For closing dates see individual competitions. EARRINGOLOGY This is the latest title from Candie Cooper, following the popular Necklaceology book. Featuring clear step-by-step projects on how to make a variety of different earrings, this is an excellent book for any jewellery maker, no matter your level of ability. We’ve got five copies to give away. www.thegmcgroup.com, 01273 488005 CLOSING DATE 12 FEBRUARY 2015

HEART RIBBON Add a romantic flourish to your jewellery designs, or add something extra to your packaging when you’re creating Valentine jewellery. Berisfords have got some lovely 15mm ribbon in assorted colours, and we’ve got one reel to give away to five readers. For stockists email [email protected] CLOSING DATE 12 FEBRUARY 2015

BUSINESS STARTER KIT If you’ve ever wanted to work from home whilst doing something you enjoy, then why not make and sell your own jewellery? This carefully crafted starter kit from Beads Direct will get your business going and is ideal if you want to start selling your jewellery via shows, craft fairs, jewellery parties or online. We’ve got one to give away. www.beadsdirect.co.uk, 01509 218028 CLOSING DATE 12 FEBRUARY 2015

DON’T MISS YOUR CHANCE TO WIN THESE FABULOUS PRIZES! To enter just visit our website www.craftsinstitute.com/making-jewellery, click on Features, then Competitions, then February 76 Giveaways, tick the competitions you would like to enter and type in the code MJ76TEXT For closing dates please see individual competitions. See www.craftsinstitute.com for full terms and conditions

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Shopping

VALENTINE CRAFT BUNDLE Get crafty with Valentine’s Day approaching (or keep the kids busy during half term!) with these fab red and heart-themed craft accessories from Trimits. They have put together a bundle for five readers to win, which includes buttons, feathers, beads and pearls, worth £10 each. For stockists email [email protected] CLOSING DATE 12 FEBRUARY 2015

CELTIC BEADS The Celtic Beadshop hand make their own solid pewter beads with Celtic knots. They’re beautiful on their own and make stunning components as part of your jewellery designs. We’ve got this set of four beads, two heart and two star designs, to give away to one reader. www.celticbeadshop.com, 01559 384624

DISCOUNTS CRAFTWORX COURSES Craftworx jewellery school are running two great classes in February, the Balance Pendant and Crystal Vision classes. The classes cost £135 each, but if you book both classes together, you can save £35! Turn to p15 for more information on the classes. www.craftworx.co.uk, 07961 883115

CLOSING DATE 12 FEBRUARY 2015

ULTIMATE BEADING BIBLE Calling all beaders! This fantastic book has everything that you need to know about beading, with step-by-step techniques and a comprehensive reference. We’ve got four copies of the book, worth £25 each, to give away. www.pavilionbooks.com CLOSING DATE 12 FEBRUARY 2015

RULES OF ENTRY The competition is open to UK residents only. Only completed entries received by the closing date will be eligible. No entries received after that date will be considered. No cash alternatives will be offered for any prize. The judges’ decision is final and no correspondence can be entered into. The winner will be expected to be in possession of a copy of this issue of Making Jewellery. One entry per giveaway, per household. Please note you can apply for more than one giveaway – please apply for each giveaway separately for sorting purposes (posting entries in one envelope will save on postage). Employees of GMC Publications, their associated companies and families are not eligible to enter. By entering the competition, winners agree that their names may be used in future marketing by GMC Publications unless you mark your entry otherwise. Entries can also be sent via post to: Making Jewellery Giveaways, 86 High Street, Lewes, East Sussex, BN7 1XN.

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Tips & Techniques es Product Test

ART CLAY KIT: A HEART OF SILVER This month Clair gets to test out a really fantastic Art Clay kit from the lovely people at Metal Clay. By Clair Wolfe THE PRODUCT The Heart of Silver Art Clay kit comes with everything you need to be able to create a beautiful fine silver heart pendant and a set of matching earrings.

WHAT DOES IT DO? The kit shows you how to use basic clay skills to create really wearable jewellery. If you are new to the world of silver clay and think you will need a whole load of new and expensive tools, think again, if you have a gas hob or camping stove, you can use this kit.

WHAT IS INCLUDED? The kit comes with nearly everything needed to get started straight away. A very generous sachet of Art Clay 7g, a two-sided acrylic work surface (one smooth, one textured), a paintbrush, firing mesh, a brass brush, a waxed length of necklace cord, stainless steel earring hooks and full instructions.

on firing times. However the website has a fantastic education section, where you can find out everything you need to about art clay.

WHAT ELSE WILL YOU NEED? The other things needed are a small pot of water, a Badger balm or similar, or a drop of oil for your hands, and a heat source. The clay can be fired in a kiln, on a cooker hob (gas) or with a blowtorch.

HOW EASY IS IT TO USE? It is really easy, surprisingly so. I didn’t think I would be able to create a heart so easily; it is a really well-thought-out design, which will allow beginners to create something beautiful.

CAN IT BE ADDED TO? This is a stand-alone product, but it will really open up the world of silver clay, making it not such a scary product to try. To continue creating you will only need to buy more clay.

would be a wonderful gift for someone crafty in your life. It has taught me a new way to look at silver clay and think of new designs I can try out with it. The only negative point I can fi nd with this kit is the instruction booklet, Step 5 directs you to the fi ring instructions that come with the clay, however these don’t describe the hob fi ring method either. But I did fi nd all the fi ring instructions that I needed on the website. Also Step 7 directs you to assembly instructions, which I couldn’t fi nd. If the instruction leaflet had a little tweaking the score would be a defi nite 10/10

SCORE

COST £19.50 (Inc. VAT)

RESOURCES www.metalclay.co.uk

HOW GOOD ARE THE INSTRUCTIONS? The instructions are easy to follow and straightforward, but did lack information

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OVERALL SCORE This is a really fabulous kit, the heart design looks impressive, but it is very achievable, even by a complete novice. It is well priced and

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Product Test Tips & Techniques

2. Instructions

3. Silver clay

4. Measuring clay

5. Prepping clay

6. Rolling clay

7. Rolling clay

8. Shaping clay

9. Earrings

10. Drying

11. Firing

12. Brass brush

13. Results

PHOTOGRAPHS: CLAIR WOLFE

1. Contents

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14. Results

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Regular

TRAVELLING PATTERNS February can be a depressing time of year, especially if you don’t have a Valentine to share the 14th with! So we decided to look towards travelling to brighter climates and jewellery designs to suit. By Joan Gordon

J

ewellery pieces that are light and can fit into a jewellery roll or small pouch are always popular with travel junkies. If you’re looking for inspiration this month, include travel-themed pieces to your collection or experiment with unusual materials. Embed maps and stamps into resin, fret work silhouettes in fine silver, bronze or copper or make interchangeable pieces that link into necklaces and bracelets so that they offer dual use as an accessory and may be purchased as a holiday souvenir.

Travel Jewellery Cases Set, £300 www.stowlondon.co.uk

CONTACT Joan Gordon [email protected] 07545 225753

WOODEN PENCILS These stunning cuffl inks are an ideal gift for any arts and crafts lover! Each pair is handmade in the UK from upcycled Derwent® artist colouring pencils that were ‘leftovers’, from the industry! The pencils have been treated and smoothed to transform them into quirky, wearable cufflinks. These cufflinks are an unusual gift for art teachers, crafters or just about anyone who loves something a bit different. This is certainly an example of thinking outside of the box – an innovative concept. Artist Colour Palette Pencil Cufflinks, £29.50 www.ellieellie.co.uk

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Regular FACETED BEADS Here’s one for the beaders or wirework jewellers; a necklace that can be worn for both casual and special events. Each flower cluster on this necklace is linked to form the petals with a diamante centre. Always follow the basic rule when grouping elements together. Cluster three, five or seven elements rather than even numbers into your designs. Multi faceted beads are beautifully light reflective, so if you have your pieces on display make sure you make the most of your spotlights. If you are working with wire to link your beads together, ensure that it is nickel-free.

Designer tips For unusual souvenirs, fill miniature bottles with collectables from your local beach or forest, seal with a cork and link to a chain or earring findings. Explore flower-pressing methods to make jewellery accessories truly unique. Write a ‘fact note’ about each piece and attach it to your jewellery so that the purchaser knows why it is so special and specific to your local area.

Faceted Beads, £29.50 www.oliverbonas.com

PORCELAIN Porcelain is becoming a very popular media for jewellery makers, as it is inexpensive and light. Set on an expandable band this ring is available in stainless steel or Sterling silver. The company who make these rings is based in Australia and their designs are both affordable and very appealing. They hit the mark for producing casual jewellery that can be easily packed into a travel case and will co-ordinate with a variety of outfits. Blue Spire Ring, $49 www.countryculture.com.au

ACRYLIC PERSPEX

PLYWOOD

Laser cut acrylic sheets of Perspex are ideal for making a wide range of accessories. These pineapple earrings are typical of current trends in Australia with pineapples being an iconic fruit grown on the Sunshine Coast, near to Joan’s home in Queensland. Nearly every souvenir on the East Coast is embellished with pineapple motifs! These earrings are emotive; they evoke memories of tropical beaches, palm trees and pina coladas. They just make you want to escape the damp dark days of winter and search for sunnier climes.

This pear brooch makes an ideal accessory for a jacket or bag. It has been individually handmade in Catherine Green’s Yorkshire studio. Laser cut plywood is screen printed with her hand-drawn designs. Screen printed cotton fabric is inserted to complement the design, which contrasts beautifully with the finish of the wood. All of the images used in these individual prints are unique Catherine Green designs, inspired by rural and urban areas around Yorkshire.

Pineapple Earrings, £45 www.etsy.com/shop/jenniferloiselle

Pear Brooch, £10 www.catherinegreen.co.uk

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Missed an issue YOU CAN STILL OBTAIN BACK ISSUES DIRECTLY FROM US! A back issue of Making Jewellery magazine costs £5.99 in the UK and £6.49 overseas. To check availability and to order: CALL OUR SALES TEAM ON +44 (0) 1273 488 005 OR VISIT OUR WEBSITE: WWW.THEGMCGROUP.COM

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12/8/14 2:36 PM

Regular SEMI PRECIOUS

BEADS

Desirable and glamorous, hearts in all varieties plated in gold, rose gold and in solid Sterling silver with sparkling accents. Why not have a single heart pendant on a chain for a sophisticated necklace?

Heart beads are available in so very many colours and materials it is impossible to include them all here. Here are a select few contrasting examples from handmade ceramic to lightweight laser cut wood, and intricate resin to brightly coloured polymer clay.

Prices start from around 97p per piece. Available vailable from www.beadsdirect.co.uk www.be

40p for a wood laser cut heart from www.the-beadshop.co.uk

£1.49 for a two-hole ceramic heart from www.beadsdirect.co.uk

METAL FINDINGS These metal hearts again vary from clasps and toggles, small heart charms to a Steampunk heart with cogs.

TOP 5

Prices start at £2 from www.bigbeadlittlebead.co.uk

HEARTS Heart themed findings come in many different variations and styles. Here we take a Valentine-inspired look at five of the most popular types. By Linzi Alford For a Valentine’s edition what else would we have but hearts? There are so many variations for jewellery making to incorporate into your designs – included here are as many as would fit on the page, which have been broadly categorised into five groups.

There are all different types of metals and plated finishes available, and styles from bejewelled to classic. Price-wise they are available for every budget from pence for plated charms and aluminium blanks up to £’s for precious metals.

STAMPING BLANKS

CRYSTALS

What could be nicer and more personalised than a heart hand-stamped with your own message? Aluminium blanks are cheap and cheerful but can be tumbled for a great shine. Handmade pewter hearts are buttery soft and tactile or why not try a gold-plated blank for a romantic occasion?

Valentine’s Day wouldn’t be complete without some sparkly crystal red hearts, although these come in other colours as well. The classic favourite for earrings and pendants! Prices start at 65p for a 10mm Xilion heart pack of 2 from www.beadsdirect.co.uk

Aluminium hearts £3.10 for a pack of 10 from www.elsilverjewellerysupplies.uk

DON’T MISS!

Next month’s top five when we look at specialist pliers

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Shopping Product review

TEXTURING TOOLS Whatever your favourite medium, a bit of texture adds interest to your designs. Here’s a selection of tools to help you add texture to your jewellery pieces. By Sue Mason-Burns

POLYMER CLAY TEXTURES If you’re looking to add pattern and texture to your polymer clay creations, then look no further than the Craft Cellar. They offer a vast array of texture sheets to add pattern to your polymer clay. Their range includes a multitude of manufacturers, including Fimo, Sculpey, Makin and the Lisa Pavelka range. The patterns available will provide you with boundless choice to suit your project. Ranging in price from as low as £2.75 to £14.45, you will find something suitable for every budget. www.craftcellar.co.uk

ROLLING MILL This Combination Rolling Mill comes with five rollers: two smooth, two textured, and one wire roller. It’s the perfect tool for adding texture to metal to give your jewellery pieces a 3D effect. It can also be used to give your metal pieces a super smooth and flat appearance. Let your creativity run wild adding a multitude of textures to your metal jewellery. Before you know it you will be looking at the world in a different way: seeking new materials to add the next texture sensation. Many people are put off splashing out on a rolling mill by the price, but the beauty of this mill is that it is part of the Cookson Value Range so is a very affordable £167 (plus VAT). www.cooksongold.com

ADDING TEXTURE TO RESIN There are many different paints and media on the market to add texture and colour to resin pieces, but none quite like the spectacular effect of Kroma Crackle. Used with colour, Kroma Crackle is an opaque gel that forms a fine cracked pattern as it dries. Apply it to your piece and finish with a layer of resin for a stunning effect in your piece of jewellery. A 150ml tube will cost you £8.99 and will last you through many projects. www.indigoblu.com

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Product review Shopping Texture gallery

CLAY TEXTURES Clay, whether it is silver clay, copper clay or crystal clay, really lends itself to texture and Betts Metal Sales are your one-stop shop for textures for all types of clay. They offer everything from textured moulds, to brass texture plates and flexible rubber texture mats. With patterns ranging from flora and fauna and angel wings to simple repeated patterns to choose from, you are sure to find just the right texture to suit your project. With prices from as little as £6.50 be sure to stock up for future projects. www.bettsmetalsales.com

1 2

3

4

TEXTURING HAMMER An alternative way to add texture to your metal pieces is using a texturing hammer. This one, from Palmer Metals, comes with 12 interchangeable faces, giving you a range of textures to choose from, as well as the full spectrum of flat heads to achieve different effects with your metal. The beauty of using a hammer to add your texture is that you can control precisely where your texture goes, so you can add interest to your piece by combining smooth and textured effects. The hammer is constructed with a sturdy steel handle and boasts a comfortable grip. Priced at £32 (plus VAT), that’s a lot of hammer for your money. www.palmermetals.co.uk

1 Resin necklace created by Fiona Potter of Fiona Potter Fusion Jewellery using Kroma Crackle to achieve the texture and pattern. www.fionapotterfusionjewellery.uk 2 Silver bangles created by Tansy Wilson using a texturing hammer. [email protected] 3 PMC pendant created by Tracey Spurgin of Craft worx using a texture plate. www.craft worx.co.uk 4 Polymer clay necklace created by Lizzi Bucklow-Holt of Bizzi Zizzi using texture mats. www.bizzizizzi.co.uk

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Project Easy

FLOWER POWER LEATHER CUFF A quick and simple leather cuff in bright spring colours. By Linzi Alford

L

inzi owns MagPie In The Sky Designer Jewellery. Having trained in silversmithing she has a penchant for all things shiny, and has been a jewellery maker for the last five years. Linzi’s first book Jewelry For All Seasons was published last year. Cheery apple green and fuchsia leather flowers are teamed together on this simple to construct cuff. Embossing leather using a die cut machine is quick and easy to do and as near to instant gratification as you will get in jewellery making! Layer an embossed strip over a premade cuff for a simple project and add embellishments secured with cap rivets.

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MATERIALS Die cutting machine Embossing folders Leather strips 3 x TierraCast leather flowers in Fuchsia Premade blank leather cuffs with popper snaps (or make your own) 4mm TierraCast rivets cap and post set Hammer Steel block Leather punch plier tool 4mm TierraCast rivet setter Double-sided tape or glue

RESOURCES 20cm x 2.5cm Apple Green Antique leather blank cuff, leather piece for embossing: www.elsilverjewellerysupplies.uk TierraCast leather flowers, TierraCast rivets, rivet setter tool, leather plier punch: www.thebeadstore.co.uk

CONTACT www.magpieinthesky.co.uk www.facebook.com/magpieinthesky [email protected]

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16/12/2014 11:52

Easy Project

STEP 1

STEP 2

STEP 3

Emboss your leather strip with your chosen design (see technique on p30). Using a DecoEtch folder is slightly different in that the leather strip rests on top rather than being inside the hinged folder. Remember to place the side you wish to emboss facing down.

Use glue or double-sided tape to secure the embossed strip onto the base cuff. In this project the rivets will secure the strip along its length so only glue as well if you wish to.

Place the leather flowers into position. Use them suede side up for more contrast. Make a pencil mark through the holes to mark where to punch the holes.

PHOTOGRAPHS: LAUREL GUILFOYLE, LINZI ALFORD

Designer tips

STEP 4

STEP 5

Use leather punch pliers to make the holes where the pencil marks are. The revolving section on the pliers is to change the hole size, for the 4mm rivets (this is the cap diameter) use the smallest 2mm hole.

Place the cuff on a steel block. Put the long part of the rivet up through the hole and the shorter cap part down through the hole of the flower. Pop the flower over the bottom om rivet and push – there should be a tiny click as the two parts engage. Use the rivet setter tool to fix the rivets with a couple ple of taps with a hammer.

If you accidentally wet the leather strip too much before embossing you can gently use a heat gun to dry off; if still wet, this can be done after embossing as well. Experiment with different types of leather and embossing; sometimes the reverse side is more interesting than the ‘right’ side. Use thinner leather strips to emboss as otherwise they can be too tricky to get through the machine machi and you risk damaging ging it.

Extra Projec Projects Variations on d design For a simple variation, add a metal met embellishment to the front of a cuff cu using rivets and the same method for attaching at them as above. Another way to add textures or patterns p is to use stamps intended for metal blanks. b Tap the hammer VERY gently unless you y letters; want the circular marks around the let it takes very little effort to stamp onto leather compared to metal. On the name-stamped cuff you could use the reverse of some embossed green leather to fit in with the distressed theme.

STEP 6 Add the rest of the flowers to the cuff in the same way as Step 5.

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Project Easy

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Easy Project

LOVE LINES Tiny brass hearts dangling at the ends of delicate chains make a subtle but romantic statement. By Candie Cooper

MATERIALS 4 x 3mm x 4mm Blue metallic finish glass faceted rondelle beads 4 x 3mm x 4mm Teal metallic finish glass faceted rondelle beads 4 x 3mm x 4mm Purple metallic finish glass faceted rondelle beads 6 x 6mm Gold heart charms 12 x 5.1cm brass balled headpins 2mm Blue link chain 2mm Blue diamond-cut link chain 2mm Teal link chain 2mm Purple diamond-cut link chain 2mm Teal diamond-cut link chain 24 x 5mm brass jumprings 2 x 1.9cm brass three-hole end bars 2 x brass lever back earwires Wire cutters Chain nose pliers Round nose pliers

1

2

4

Book information

PHOTOGRAPHY AND ILLUSTRATIONS BY CANDIE COOPER AND LARK CRAFTS

Extract from Earringology by Candie Cooper, published by Lark Crafts, an imprint of Sterling Publishing Co., ISBN 9781454708186, £19.99, available from www.thegmcgroup.com

3

5

STEP 1

STEP 4

String a rondelle bead onto a balled headpin and finish the dangle with a simple loop, using the round-nose pliers. Repeat for all of the beads.

Use jumprings to connect a teal diamond-cut chain, blue chain, and teal diamond cut chain to the centre loop. Repeat chain attachments on the right loop, mirroring the pattern of the left loop.

STEP 2 Cut two 5.1cm lengths of blue chain. In addition, cut four pieces each of the following: Blue diamond-cut chain, each 3.2cm long Teal chain, each 3.5cm long Purple diamond-cut chain, each 3.8cm long Teal diamond-cut chain, each 4.4cm long

STEP 3 Using a jumpring, connect one of the blue diamond-cut chain pieces to a left-side loop on one of the end bars. Connect a piece of teal chain to the same loop followed by a purple diamondcut chain, again using a jumpring for each.

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STEP 5 Connect a heart charm with a 5mm jumpring to the free ends of the centre chains on each of the three loops. Next, connect a beaded dangle to match the colour of each of the remaining chains (e.g., a purple rondelle to the purple chain, teal to teal, and so on).

STEP 6 Attach an earwire to the loop at the top of the end bar. Repeat Steps 3–6 to make the second earring.

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Tips & Techniques Jewellery Basics

BASIC TECHNIQUES HOW TO MAKE A WRAPPED LOOP

Thread a bead onto a head or eye pin. Grip the wire with round nose pliers next to the bead.

Bend the wire above the plier jaw to a right angle. You will need about 2mm of wire above the bead before the bend.

Move the plier jaws to sit at the top of the bend.

With your thumb push the wire back around the pliers, keeping it tight to the jaw.

Keep pushing the wire around the jaw until you meet the bead.

Move the pliers around the loop to and continue to bend the wire around until it is facing out at a right angle and you have a complete loop

Use a pair of chain nose pliers to hold across the loop firmly.

Wrap the wire around the neck of the loop until it meets the bead. Snip off any excess wire and push the end against the coil to finish.

Roll the wire around to meet the bead. If it does sit centrally move the plier jaws around the loop to sit by the bead away from the open end. Bend the loop back to sit directly about the bead.

Use chain nose pliers to tighten the loop by twisting it from side to side do not pull it outwards as that will distort the shape.

PHOTOGRAPHS: SIAN HAMILTON

MAKING A SIMPLE LOOP

Thread the bead onto a head or eye pin and cut the pin about 1cm above the bead. Bend the wire to a right angle above the bead.

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Using round nose pliers, grasp the wire at the very end and curl it around the plier jaws

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making

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In this issue... ON SALE 5 FEBRUARY MJ76_P95_Next Month SH.indd 95

PHOTOGRAPHS: LAUREL GUILFOYLE

Paper, wirework, polymer, resin, and more...

09/12/2014 17:03

Pearls of Wisdom Regular

Welcome to Jackie’s blog, the inspirational column from the owner of What Simon Said, a consumer-friendly website that promotes all aspects of UK jewellery

T

he start of a new year is always a time for reflection. What did we achieve last year, or more importantly, what ambitions just got away from us, as life, as it tends to do, just got in the way? There’s always the hope that a new year brings, that’s always slightly tinged with a bit of guilt, as we heap ever more pressure on ourselves to do more, bigger, better, higher. I say, just give yourself a break. You’re doing great, you look fabulous and life is meant to be enjoyed, so sit back and treat yourself to a cup of tea and some fantastic jewellery from up and coming designers that’ll make 2015 all the more sparkly. Living in London and having a job where I get to browse craft exhibitions, studio open days and trade shows means I’m fortunate enough to catch a glimpse of jewellers’ work before it hits the mainstream. So here’s a pick of a few that I’ve been lucky enough to come across and that I think 2015 is going to be big for. I’ve had a thing for 3D printing since the printers first came out; I think the whole process is fascinating and am desperately trying to justify one for myself. So I’m entranced by these pieces from In Spaces (www.in-spaces.com), which are sculptural and dramatic,

but at the same time totally wearable. Part of the Jeneaulle Black Collection and made from black nylon in a matte finish, I find them slightly hypnotic. I came across Jenny Llewellyn’s work at one of Cockpit Arts in Holborn’s open studios (www. jennyllewellyn.com). If you ever get a chance to visit (they’re usually twice yearly) then they’re definitely worth the trip. Using silicone, Jenny creates beautiful, bold jewellery pieces inspired by underwater life. This one is from her newest collection Chromophobia and I also love the Plume collection. The shapes just make me think of polyps; the pieces are so soft and light, yet so striking. Jenny loves to experiment and take us away from what’s ‘normal’ in jewellery design and manufacture and I don’t know anyone else doing anything similar. Definitely one to watch. Etsy is always a great place for finding new and innovative jewellery, the platform just allows people to create and bring their work to a wide audience. With an unlimited customer base, there are no limits on range and types of jewellery or price points, such as you find on the high street, so you can literally find something for everyone. I always like to see people using alternative materials

to create jewellery pieces, and love the work by A Alicia Handmade Accessories (www.etsy.com/shop/ AAliciaAccessories) who uses ceramics to create gorgeous ecoethical jewellery. I picked out this Crescent Necklace in Turquoise as I loved the combination of the slightly sea-weathered, soft colour and subtle pattern with the almost tribal shape of the piece. Another designer really pushing boundaries when it comes to taking us outside our jewellery comfort zone is Alexandra Tosto (www.alexandratostodesign. co.uk). Even her bio on her website talks about generating new ideas and challenging established perceptions, inspired by her interest in quantum theory! I love the use of sharp, geometric shapes and the use of colour to really draw the viewer into the piece, with the crystalline feel the 3D pieces create.

Delta Bracelet, www.in-spaces.com

Delta Necklace, www.in-spaces.com

Honeycomb Dream Ear Studs, www.alexandratostodesign.co.uk

I hope my picks for 2015 have given you a bit of inspiration to experiment with your own jewellery making. There’s nothing worse than feeling stuck in a rut, so let’s make 2015 the year we all try something new. If it works, great, if not, who cares! Stick the kettle on and pat yourself on the back for trying.

ABOVE: Crescent Necklace in Turquoise, www.etsy.com/shop/ AAliciaAccessories

Chromophobia Necklace, www.jennyllewellyn.com

Read more from Jackie at www.whatsimonsaid.co.uk 96

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Actual Size

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Robin’s Beads www.Robins-Beads.co.uk The Southampton Bead Shop www.TheSouthamptonBeadShop.co.uk Stitchncraft Beads www.Stitchncraft.co.uk Tanzee Designs www.TanzeeDesigns.co.uk WirWar Kralen www.WirWarKralen.nl

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