Lesson 14: Clasps

Lesson 14: Clasps

S hook- Shepherd’s hook:

• Start with a thicker gauge wire (10,12,14)
• This thickness of wire will be the fattest part of the S- it gets skinnier from this point.
• Anneal the wire.
• Taper the wire in the rolling mill:
• Crank the rollers so that they just touch. You should see the tiniest sliver of daylight between them.
• The wire area is the grooved area on the left.
• Find the first hole that the wire doesn’t go through.
• Roll the wire through the hole about ½ inch.
• Rotate the wire 90 degrees and repeat in the same hole.
• Go to the next hole and roll about ½ - 2/3 of the distance that you rolled the first time.
• Rotate and repeat.
• Repeat rolling, rolling a bit less each hole for a stepped effect.
• By rotating 90 degrees and rolling twice for each hole you make sure that no “flashing occurs.
• Anneal every 4 holes.
• When the wire has the desired taper, take to the steel block.
• Using the Goldsmith’s hammer (or planishing hammer), hammer the wire gently to smooth out the steps into a taper.
• File and sand to return the wire to round if desired.
• Anneal the wire.
• Using the round/flat pliers, bend one taper up to form a U
• Bend the other taper to form an S
• Clip off any excess length.
• Turn up the ends of the wires.
• Hammer or tumble to harden.
• Hammering will flatten or texture the wire- a way to personalize!
• Make 2 larger jump rings. Solder to ends of chain (or back of pendant) and solder closed.
• The 2 jump rings will slip into the ends of the S creating the clasp.
• You want the jump rings to “snap” into place. Tighten the S until this occurs.

Hook and Eye:

The hook and eye is essentially half of an S hook

• Proceed as above, tapering one end of the wire.
• When you have the desired taper, bend into a U
• Clip off any excess wire
• Turn up the end of the wire
• To attach to a chain, solder either a piece of tubing for the chain to slip into, or a jump ring to the end of the hook.
• File and sand
• Tumble or hammer to harden.
• Make a large jump ring and connect to chain.
• This jump ring will slip into the hook creating the clasp.

Lesson 13: Jump Rings

Lesson 13: Jump rings

·         Anneal your wire first.

·         Use the vise-grips to anchor the end of your wire. Spin the vise grips around, using your fingers to feed the wire into a coil.

·         A tight coil is VERY important!

·         Cut jump rings with your saw. Larger jump rings are tougher to cut.

·         Cut from the top of the coil, cutting through 1-2 links at a time.

·         Use the smallest size saw blade we have to cut jump rings.

·         If you are having trouble cutting the jump rings, wrap the coil in masking tape, or slide the coil onto a wooden dowel.

·         Solder your jump rings whenever able. Not only does this finish the piece more professionally, it also adds a lot of strength to the links.

·         When soldering jump rings together to form a chain, solder half of them closed. Then link an open ring through 2 closed. Add another open and closed ring until you have reached the desired length. Solder jump rings closed.

·         Use a VERY small flame and a VERY small piece of solder. If both look too small to ever get the job done, they’re probably just right!

Lesson 12: Dapping

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Lesson 12:  Dapping and Forming

• In order to give your sheet metal 3D form, you can use the dapping block and punches, stakes and the sandbag or stump.
• When forming metal- ALWAYS ANNEAL FIRST! You don’t need to pickle after annealing.
• You will feel the metal get harder to form after hammering it. Anneal it again when this happens.
• Do all your hammering on the stump! This saves all our ears- you may want to bring ear protectors.
• Metal stake + metal sheet + rawhide/plastic mallet = no marks, less exact fit, no thinning of the sheet
• Metal stake + metal sheet + metal hammer = marks, perfect fit to stake, some thinning of the metal.
• When using a metal hammer, make sure to hit evenly across your piece.
• Metal hammers will harden the metal faster, you must anneal more often.
• NEVER put anything wet on a metal surface!!!! Dry your piece thoroughly!!
• Do not hit a metal hammer directly onto a metal stake or block.
• Hammer= metal face   Mallet= plastic, wood, or rawhide face

Using the dapping block and punches:

• When starting out, your disc should be approx. ½ of the way down in the depression.
• Use the largest punch that fits in the hole that also leaves room for the metal!! 
• Hammer the punch with a mallet.
• Go in size order for the holes- they may not be on the same side of the block!
• Don’t move on to the next hole until you hear the solid sound and the outside of your disc is shiny. This means you are all the way at the bottom of the depression.
• Anneal your disc every 3 holes.
• Measure both diameter and height to determine when you have reached you desired shape.
• Because the metal will be deformed and compressed along the edge, you will need to file the bottom of your hemisphere prior to any soldering.
• Because the punches stretch the metal in the center and compress the metal closer to the rim, do any piercing or drilling after forming.
• If you want to drill other than in the direct center of the form, use the flexshaft.

To make your forms look more regular and smooth, after forming with a mallet, use a planishing hammer or goldsmith’s hammer and go over the entire surface of your form. If you do not want the hammered look, file and sand to achieve a smooth surface.

           

Sample Bead:

• Using the disc cutter, punch out 2 circles. Use the largest disc punch.
• Use either 22 or 20ga. metal. 
• Anneal with torch.
• Form circles into hemispheres. The diameter should measure 2x the height for each hemisphere.
• File and sand the edges.
• Drill a hole in each hemisphere.
• Solder together to make a spherical bead.
• File and sand and finish.
• Feel free to add pierce work, solder cutouts onto it, patina it, etc.

Lesson 11: Rivets

Lesson 11: Riveting!
Riveting is most often your last step in a piece. All finishes should be done; patinas should be on (unless you will be putting patina on the rivets). If you are flush riveting you may need to touch up your patina.
For all rivets: Drill a hole the exact size of your rivet. Choosing a gauge for your rivet often depends on a couple of factors: How heavy is the piece? How much stress will be placed on the rivet?
As with everything else…. Copper is the softest, nickel is the hardest. If your rivet will be getting a lot of stress, use a harder metal. If it is decorative, use whatever you like!


Standard Rivet:
• Straighten a piece of wire.
• Put wire through your holes.
• Clip off the wire with your cutters so
that approx. .5-1mm sticks out on each side.
• If you leave too much metal the rivet will
bend instead of flattening out.
• Place piece on steel work block.
• Using narrow end of a riveting hammer, hammer
in an X pattern until you see the top start to flare.
• Turn piece over, repeat hammering.
• Turn piece again, hammer in X pattern until rivet
is close to surface.
• Using the square end of the riveting hammer, tap
gently on both sides to smooth the rivet.

Ball Rivet:
• Straighten piece of wire
• Put wire on edge of soldering pad, and ball
up the end with the torch.
• To make the best ball, melt until ball starts
creeping up the side of the soldering pad.
This gets the most even ball.
• Pickle, rinse, and dry.
• Put wire through your holes.
• Clip off the non-balled end with your cutters.
(same length- 5.-1mm)
• Put piece ball side down on steel block.
• Hammer in X pattern until rivet is close to the surface.
• Use the square end of the hammer to smooth.



Flush (Countersunk) Rivet:
• After drilling your holes, take either a
setting bur or a slightly large drill bit
and drill 1/3 or the way through your
piece on each side.
• Straighten your wire.
• Put wire through your holes.
• Clip off ends so approx 1mm is showing.
• Follow the Standard Rivet directions
• After the rivet is snug, you can file, sand
and finish for a truly flush look.
• To make your rivet “disappear” use the same
metal for the wire and the top piece.

Setting Bur: Hart Bur: Larger Drill Bit:







Tube Rivet:
• Measure the thickness of the piece as
it is to be riveted.
• Add 1-2mm to the length (so that you
have metal sticking out!)
• Cut tubing to final length.
• Make sure to use a very small blade when
cutting tubing. 4/0 are good for this.
• Also make sure to have your dust tray out,
as tubing tends to go flying.
• Put tubing through holes, so that .5-1mm is
sticking out on either side.
• Place on steel block.
• Place your scribe into the tubing and begin to
flare by working in a widening circular pattern.
• When flare has started, turn piece over and
repeat with scribe.
• Turn piece back over and using the small
dapping punches, flare tubing more.
• Flip piece, and repeat until tubing is pretty flat
against piece.
• Use square side of riveting hammer to smooth.


Step Rivet:
• Cut tubing to length of gap you want to
have between pieces.
• Make sure that your tubing has the same
inside diameter as your holes.
• Straighten your wire.
• Put your wire through the metal, the tubing
(as spacer), then the other piece of metal.
• Follow same steps for riveting.
• Make sure to have 2 or more step rivets. Using only one is very difficult to rivet, and will not support the piece- it will bend.


To make the riveted pieces move:
• When putting your rivet through your holes, put a layer of paper or tag board (depending on how much movement you want) between the layers of metal.
• Rivet as directed.
• After riveting, tear out the paper; dissolve any paper in water that you can’t get to. Remember that movement in your piece will wear away patinas!
• Movement works best with: standard rivet, ball rivet, and tube rivets.

Balling up the end of wires:
• 2 methods-
• Place wire off edge of soldering board and heat. The end will melt and creep toward the board. Hold the heat on until the ball begins to creep up the side of the board. This ensures a centered ball.
• Hold wire upright with tweezers or in Third hand. Heat bottom of wire. It will melt and creep up. Holding it upright also helps to center the ball.
If your ball isn’t centered:
• Hold the wire where the straight part meets the ball with needlenose pliers. Using another pair of needlenose, grab the ball and straighten.
To clean up balls (if desired):
• Use silicone abrasive wheels (white then black) or cup burs.

Tips:
• Slow and steady. Don’t rush.
• If your rivet is bending, your wire (or tube) is probably too long.
• Copper doesn’t ball up nicely- it blobs.
• Get down to eye level with the piece as you are riveting. This helps you see if the rivet is bending, and how much it is flaring.
• Gentle taps! No sledgehammers please.
• Practice! Try all the rivets.

Project 3

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Project 3:  Necklace or Bracelet

Using any of the techniques we’ve covered in this class, create a bracelet or necklace with elements that link together. The elements do not have to be the same. Consider graduating the size of the elements.

Inspiration: Pick a story that is special to you- a book, fairy tale, essay, etc. What does it mean? What are the symbols/images that you take away from reading the story? Work this into your piece- have your piece reflect your feelings about the story. Is it scary? Romantic? Silly?

Requirements:

• Must connect using either jump rings or rivets.
• Must use at least 2 surface textures/finishes/patinas.
• Must have a clasp.

Design Exercise:

Identify 10 words/emotions that you associate with the story. Write these down.

Sketch 5 symbols/images that come to mind with the story.

Sketch 10 concepts for the piece. Integrate imagery and reflect words from above in the drawings.

Designs are due November 4

Finished piece is due beginning of class December 16

Lesson 10: Patinas

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Lesson 10: Patinas

Patinas use chemical properties to color the surface of the metal. A wide variety of patinas are available, we are going to be going over some of the most common here. Because of the different metals, patinas work different on each one. Some of the patinas only work on certain metals.

Patination is the last step (or really close to it) in the creation of a piece. The only thing to do after patination would be to polish the edges of a piece, or glue in pearls.

Heat will destroy most patinas, so make sure that all of your soldering is complete. Also patinas are just on the surface of the metal, so sanding will remove them.

For all patinas, make sure that your piece is clean- Wash with soap and water.

Patinas are kept in the blue Chemicals cabinet.

Always use under ventilation and with latex gloves and face mask on.

Liver of Sulfer:

• Useable on silver, copper.
• On copper- turns the metal a deep grey-black
• On silver – produces colors from golden yellow through blue and purple into grey-black.
• Time: 1-5 minutes
• The most common patina used on silver.
• Take a small chunk of liver of sulfer and place in a cup.
• Add water to dissolve the liver of sulfer.
• This patina smells like rotten eggs. Definitely use ventilation!
• For a strong mix use a small amount of hot water.
• For a weak mix use a larger amount of cold water.
• Weak mixtures produce more colors; strong mixtures go directly to grey-black.
• You can either paint on the liquid with a q-tip or immerse the piece in the liquid.
• After desired color is achieved, rinse off piece with water and pat dry.
• Rubber cement can be used as a resist for this patina.
• Liver of sulfer is a thinner patina and textures will show.
• Liver of sulfer needs to be sealed if it will be coming into contact with surfaces or skin, if it is on the interior of a piece it does not need to be sealed.

White Patina- Depletion Gilding :

Also called Raising the Fine Silver (or Gold), is used to cover firescale in silver pieces.

Depletion gilding should be one of the very last steps that you do to your piece. You may buff with rouge after depletion gilding, but if you sand too much, you will go right through the layer of fine silver you have created.

After soldering, sanding, and finishing your piece, if you see a purplish stain on the surface of your silver, you have firescale. Most pieces will have this to a greater or lesser extent.

• Works on sterling silver, gold
• Time 5 min- 1hr.
• After completing work on your piece, heat to annealing temperature.
• Quench and pickle.
• Repeat heating, quenching, and pickling as needed.
• Do not brass brush.
• The surface of the silver will turn a matte white in the pickle.
• This is a very attractive patina, especially coupled with polished accents.
• This patina is a thin patina and textures will show.
• This patina needs to be sealed if coming into contact with skin or surfaces as it is easily scratched off.

Heat Patina:

• Works on copper, nickel silver.
• Time 1-5 min.
• On copper- colors range from orange to red, blue through purple.
• On nickel- grey-black
• Using a very soft flame, gently heat the surface of the metal.
• As the metal heats the color will change.
• After every pass over the metal, allow the color time to develop.
• This can also be done in a toaster oven for more exact results.
• Do not quench the piece!
• Allow to air-cool, then seal.
• This is a very thin patina and texture and finishes will show.
• This patina needs to be sealed to prevent color from darkening with age.

Sealing your patina:

As patinas are surface treatments, they can and will wear off without some care.

You can seal your patina with wax, lacquer or krylon.

Wax:

Is the softest sealant and the most commonly used, as it has a satin surface. Rub a small amount of wax onto the patina with a paper towel. Wait 5 minutes and buff away and excess. Needs to be reapplied every so often.

Lacquer:

Is the hardest and most permanent sealant. The lacquer must be used under ventilation. Produces a hard shiny surface over your patina. Paint onto the patina and let dry. The lacquer is a stepped up version of clear nail polish.

Krylon:

Krylon makes a clear coat spray paint in matte, satin, and glossy. This can be applied to the entire piece to seal the patina. Use outside with a face mask! Spray on and let dry.

Updated Schedule

Week 6- March 27

• Work on Project 2
• Project 1 critique

Week 7- April 3

• Work on Project 2
• Lesson 10: Patinas
• Homework: Patina Samples

Week 8- April 10

• Work on Project 2
• Introduce and discuss project 3:  Linked bracelet or necklace
• Lesson 11: Rivets
• Homework: Riveting samples, design exercise for Project 3

Week 9- April 17

• Discuss designs for Project 3
• Lesson 12: Dapping
• Work on Project 2
• Homework: Dapping sample

Week 10- April 19 (snow make-up class)

• Work on Project 2
• Work on Project 3

Week 11- April 24

• Lesson 13: Jump Rings
• Work on Project 2
• Work on Project 3

Week 12- May 1

• Project 2 due
• Lesson 14: Clasps
• Work on Project 3
• Homework: Clasp sample if not included in Project 3

Week 13- May 8

• Work on Project 3

Week 14- May 15

• Project 3 due
• Final Critiques