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

Lesson 9: Textures

Lesson 9: Textures
We have a variety of tools to texture your metal. Try each of them to see what they do. Try several of these together, layering the effects. After you texture your metal, do not put your textured side on a metal surface and hammer. You will lose your texture that way. If you want to form your metal, put the texture side up and use a plastic/rawhide mallet. Alternately, form using the stump or sandbag.
Do all hammering on the stumps- it cuts down the noise!

Decorative Stamps and Chasing tools- Hit the end of the stamp with a rawhide or plastic mallet, rocking the stamp gently back and forth. The harder you hit the deeper the impression. If you hammer on a steel block, you will get a crisper impression than if you hammer directly onto the stump or wood.

Hammers- Each different hammer face shape will give you a different impression. The round ends are great for giving the “hammered look” that you see a lot of. The riveting or cross peen hammers are great for making lines.

Roll Printing metal:
•    Anneal your metal.
•    To roll print metal, you create a “sandwich” of metal, what you want to get the impression of, and metal.
•    Copper will give the best impression as it is the softest metal.
•    You will get impressions on both pieces of metal.
•    You can use fabric, plastic or metal mesh, dried or plastic plant matter, cardboard or manila cut outs, paper stamps, etc. to create the impressions. Try different things!
•    Make sure that your imprinting material is cut slightly smaller than the metal plates.
•    Because the roll printing will stretch the metal, do all cutting and piercing afterwards.
•    The tighter the rollers, the deeper the impression. You may want to have a helper when rolling through.
•    If you get anything on the rollers clean them off IMMEDIATELY with a damp paper towel. Then roll a dry paper towel through to make sure the rollers are completely dry. Then put a small amount of oil on a paper towel and give the rollers a light coat of oil to protect them against rust.

Lesson 8: Scoring and Bending

Lesson 8: Scoring and Bending:
• Use your scribe and metal ruler (or steel square) to scribe a deep line for each corner seam.
• Use your triangle needle file and file down into the thickness of the metal at those points.
• When you have gotten 2/3 of the way though the metal, switch to your square needle file.
• Continue filing until you are almost all the way through the metal.
• You should be able to see a thin score line coming through the metal on the back.
• The closer you are to going through the metal, the sharper your corner will be.
• Bend the filed sides together.
• Solder all the seams.
• File the top and bottom edges flat.


Tips:
For a 90 degree (right angle bend, file a 90 degree groove.
For a 45 degree bend, file a 135 degree groove.
For a 135 degree bend, file a 45 degree groove.
The 180 degrees - the angle of your bend = angle you need to file the groove.
File from both edges- keeps the groove even.
Make sure not to file the edges more than the center of the metal.
Slow at first. Keep in the groove.

Project 2

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Project 2: Hollow Constructed Ring

Create and finish a hollow constructed ring! For inspiration, look at symbols and architecture/architectural elements. The ring does not have to be closed all the way. You can pierce designs into the sides. As hollow forms tend to be a bit bulky, also think about how you could wear the piece as a pendant.

Think about interesting outside (and inside) shapes! You do not have to make the walls (rings) the same thickness; you can slant them to taper the piece.

Designs: 10 sketches of rings- draw top view and side view to scale! Elaborate on surface designs on the ring, and placement of air holes.

Make maquettes of your favorite 3 designs. Maquettes can be made from card stock or stiff paper. Make maquettes to scale. You should be able to put the maquette on your finger!

Designs and 3 initial maquettes are due October 7.

Final Maquette is due beginning of class October 14.

Finished project is due beginning of class November 11.

Lesson 6: Forming with Mandrels

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Lesson 6: Forming with Mandrels

Both before and after soldering you can use the mandrels and forming tools to create shape to your pieces.

• Before soldering you want to create the general shape.
• Any areas to be soldered should meet as perfectly as possible. This will require work with the file to make sure of this.  They should fit tightly together- no light peeking through!
• Ring bands shouldn’t be completely round- they should be flat on the top so that the ends of the metal meet completely.
• Solder the ring with hard.
• File the excess solder off. This makes sure the solder doesn’t get pounded into the surface of the ring.
• Slide ring onto mandrel. Make sure that mandrel is in vise or resting against the stump or bench. The mandrel should be moving when you are hammering on it!
• Form ring on mandrel, first with rawhide mallet, then with goldsmith’s hammer.
• The rawhide (or wood/plastic) mallets push the metal against the mandrel. The metal hammers will thin the metal out slightly with each blow (leaving the hammered look) and conforms the metal to exactly the shape of the mandrel.
• File away hammer marks.
• Sand to 600 grit. Then polish if desired.
• Make sure not to distort the profile of the ring with your sanding or filing!!
• Remember: you can always take more metal off. You can’t put it back on!

Lesson 7: Hollow Construction

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Lesson 7: Hollow Construction

• Form and solder inside ring (hard)                                        
• Solder inside ring to bottom plate (hard)
• Form and solder outside ring  (hard)                                     
• Solder outside ring to bottom plate (medium)
• Drill a hole through bottom plate and cut out inside the inner ring. Cut away excess from around the outside ring.
• Drill air hole. This can be placed wherever you want- on the inside ring if you don’t want it to be seen. You can also make a pattern of holes, or pierce out a pattern for your air hole. It can be a part of your design!
• Solder both inside and outside rings to top plate. This closes off the form. (medium)
• Cut away excess from around the outside ring. Drill a hole through top plate and cut out inside the inner ring.
• File, sand, and finish the form.

Lesson 4: Soldering

Lesson 4: Soldering
Hard solder- Start with hard for first 1-2 joints. This is the best solder for most fabrications.

Medium solder- Medium is a great solder for repair and the middle 2-3 solder joints

Easy solder- Easy is best used as a last resort or on very complex pieces. Since easy has the lowest % of silver in the solder it will oxidize quickly to a yellow color.

To turn on the torch:
• Check that knob on torch is closed.
• Turn knob on top of the tank to the left- just enough so that the gauge on the front registers other than zero. Usually ¼ - ½ turn is plenty.
• Make sure the regulator knob is most of the way in- for single stage, halfway through the diamond closest to the knob; for dual stage, 10psi.
• Open knob on torch- this starts the flow of gas to the torch tip.
• You should hear a SMALL hissing sound. Think garden snake hiss, not an anaconda. You don’t have to turn the knob much.
• Hold the striker in front of the torch tip, slightly higher than the tip.
• Push across the striker, creating a spark. This will light the gas.
• The torch flame will have 2 areas- the outer dark blue cone and the inner light blue cone.
• By opening the knob on the torch body further, you can create a larger flame.
• To turn off, simply close the knob on the torch body

To close down the torches:
• Turn knob on top of the tank to the right firmly until it stops.
• Light the torch.
• This burns off any gas remaining in the hose.
• The flame will go out by itself.
• Close the knob on the torch body.

To change the torch tip:
• Hold the torch body in one hand, the tip in another.
• Twist the torch tip off.
• Get the tip you want on the torch.
• Screw it on tightly- there should be not movement or looseness!
• Extra torch tips are kept on the back ledge or in the soldering supplies cabinet.



Soldering:
• Clean areas to be soldered.
• Make sure joints fit tightly.
• Place on soldering board.
• Clip appropriate amount of solder.
• Flux areas to be soldered.
• Light torch.
• Heat piece evenly until the flux turns clear and glassy.
• Place solder on joint.
• Heat piece again until solder flows.
• Turn off torch.
• Quench hot piece in sink under water.
• Place in pickle pot for 5-10 minutes or until all gunk is off piece.
• Rinse under water and brass brush with soap.
• Dry.

Soldering tips and tricks:
• Make sure that all areas to be soldered meet cleanly with no gaps.
• File/sand all areas to be soldered. Clean metal solders better than dirty.
• Run your solder through the flat rollers first to make it easier to cut small pieces.
• Cut more solder than you think you’ll need!
• A dab of flux on solder pieces will keep them in place on the soldering board.
• Make sure than your inner blue cone is almost touching the piece.
• Holding your flame too far away will cause the metal to heat up, but not the solder!
• A correctly soldered seam should have a line of silver running around the entire seam.
• You do not have to solder inside and outside the seam, the solder will flow.

Homework: Soldering samples: wire to sheet (turn into your sample pin back), sweat seam, butt seam

Lesson 5: Simple Pin Stem

Lesson 5: Simple Pin Stem
• Cut 2 pieces of wire- one should be shorter than the other. Cut the wire longer than you think you will need.
• Measure, cut, and file flat one end of each wire.
• Using a third hand, hold wire onto back of brooch.
• Solder. (If using tubing, solder tubing on where the long wire should go. Solder wire into tubing after making taper.)
• Pickle
• File away any excess solder.
• Bend short wire around to form catch. Use the round/flat pliers
• File taper on long wire.
• Sand and polish taper.
• Bend long wire into position, and hammer the bend to harden.
• You can harden the pin stem further by putting the piece in the tumbler.

Pin back tips:
• When making your pin backs, use the hardest metal available- steel is hardest, and then nickel silver.
• Make sure to heat your base plate much more than the pin wires. They will heat up just fine without the torch pointing at them.
• Test your pin point out! A long taper (1/2”) is much smoother to use than a short taper.
• It is important that your pin be in proportion to the rest of your piece.
• The pin stem gets a lot of use- 18ga. wire is best. If the pin is very light, 20ga.

Lesson 3: Sanding and Polishing

Lesson 3: Sanding and Polishing
After filing your piece, the edges still aren’t nice and smooth. You will want to sand them.
To sand, start with the coarsest gauge paper (220/230) and move through each paper until you reach the finest grade (600)
For flat surfaces:
• Sand on the sanding disks, or tape a piece of sandpaper to one of the boards.
• Sand in a circular pattern. Finish by going back and forth in one direction. This allows you to see easily when you are ready to move on to the next grit.
For curves:
• Wrap sandpaper around either your file or a paint stirrer (or similar) and use as you would for filing.
• Sandpaper has no direction, go back and forth.
Move to the next grit when all the scratches from the previous grit are removed.


Polishing:
After sanding, you can polish your piece. Polishing will give a high shine or mirror finish. Polishing will not remove scratches that you missed with your sandpaper!
For edges: use either a burnisher or a felt wheel on the flex shaft.
For surfaces: use the polishing machine
To polish on the machine:
• Make sure that the correct buff is on the mandrel.
• Buffs marked steel or plastic are only for use on those materials.
• White diamond (pre-polish: step 1) is on the left, Red Rouge (high polish: step 2) is on the right.
• Put on dust mask, face mask, and apron.
• Tie back hair; remove any chains that could get caught.
• Turn on ventilation.
• Turn on machine.
• Hold bar of polishing compound to the wheel, transferring some compound to the wheel. This is called charging.
• Work on the bottom quarter of the wheel.
• Hold your piece firmly, and move in slow steady motions.
• After using White diamond, wash off your piece in the sink with soap and water to remove all compound residue.
• Dry piece.
• Use red rouge.
• Wash off piece with soap and water, dry
To turn off: Turn off machine and wait for the wheels to spin down and slow, then turn off ventilation. Lastly, step on the lever at bottom a couple times. After all this, remove face protection.

To polish using the flexshaft:
• Put the correct buff into the handpiece.
• Put on dust mask.
• Place grinding box in dust drawer.
• Tie back hair; remove any chains.
• Step on foot pedal to turn on flexshaft.
• Hold handpiece and piece to be polished inside grinding box.
• Charge buff and polish as on the machine.
• After polishing, dump any dirt in box into trash and wash out the grinding box.
• Replace both grinding box and chuck key to their proper locations.



Tips and tricks:
• Do not use the brass brushes to remove compound from your piece while washing- this creates scratches!
• If the wheel looks to have too much compound on it, use the buffing rake in the cabinet to remove excess. Hold the rake against the wheel while the machine is on. The teeth of the rake loosen old compound. (only on polishing machine)
• If you see scratches, go back to sandpaper.
• NEVER use the polishing machine or flexshaft with a chain!

Project 1

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Project 1: Brooch or Pendant

The first project will be either a brooch or a pendant with a pierced design. Look to botany for inspiration. This can be literal or more abstract as suits your design sensibilities. Think about not only images of plants, but macro and cellular imagery, also images such as graphics on tree coverage in cities, etc. Do 10-15 sketches of different designs. Design the outside shape of the piece as well as the interior pattern. Also consider what metal you would like to use.

We will be working with the sketches during class. Be prepared to Xerox!

For brooches: Think about what direction the piece will be oriented when worn. Mark “up” on your drawings.

For pendants: Think about how the pendant will hang on the chain. You will either need to have a metal tab to bend for the bail (what the cord is threaded through)

Tip:

Sketch life-size: the size you want your piece to be. If this is hard for you, make sure to either scan and enlarge your drawing, or Xerox to the appropriate size.

Sketches are due February 6. Final designs are due by end of class February 6.

Finished project is due beginning of class March 13.

Lesson 2: Drilling

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Lesson 2: Drilling: Drill Press and Flexshaft

The drill press can be used to drill holes in your metal so that you can pierce (saw) out designs that don’t connect to the edges of the metal.

ALWAYS wear eye protection when you are using the drill press.

Drill press tips:

• Start with a small hole.
• If you want a large hole, drill repeatedly with larger bits each time. If you try to make too big a hole too fast, the torque on the metal will tear it free from your grip and can cause a very nasty cut!
• Hold the metal firmly.
• Take it easy- bring the press down until you feel some resistance, then let up. Repeat until you are through the metal.
• The metal will heat up as you drill. By following the above step you can cut down on the heat build-up.
• After drilling you will likely have a metal lip around your hole on the backside. If you will not be piercing this out, file it off! It is very sharp.
• The metal will heat up as you drill. Using bur life and drilling slowly will ease this. If the metal gets too hot to touch, let it cool, and then resume drilling.

Flexshaft:

Flexshafts are used for many things in jewelry making. You can use them to drill holes that would be difficult to do with the drill press. Make sure to keep the handpiece perpendicular to your metal while drilling and always wear eye protection.

Lesson 1: Piercing and Filing

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Lesson 1: Piercing/ Filing

• Loosen the thumb screw on top and bottom of your saw frame.
• Place your blade in the bottom slot and tighten the screw.
• The teeth on the blade should face out and down

Hint: If you find the teeth hard to see, hold the blade over a white sheet of paper. This increases the contrast.

• The top of your blade should be barely hitting the top slot.
• Place your saw frame against the edge of your desk and push against it. You will feel the frame flex a little. Now the top of your blade should be in the top slot.
• Tighten the top screw then release pressure on the frame.
• Pluck the saw blade with your nail. You should hear a high pitched twang. If your saw is soprano, you have the proper tension on the blade. If the twang is low pitched, the saw blade is too loose- open the top screw and put more pressure on the frame before tightening the top screw again.

Hint: Use your hipbone to press against the frame. You can get great flexing this way and will wind up with a consistently taut blade.

• The saw cuts on the downward stroke
• Start by notching the metal where you want to start your cut. Take a couple of downward strokes holding the saw at a 45 degree angle.
• Once you have your notch, begin sawing.
• Hold the saw perpendicular to the metal- at a 90 degree angle. This may feel odd to begin with.
• Don’t push the blade; let the saw do the work.
• All the motion should be from your elbow.
• Keep the back end of the frame aligned with the direction you are sawing. Think of it as the rudder on a ship- where it points is where you’re heading! If you aren’t following your line, check to see where your saw is pointed.
• Don’t twist the saw frame while sawing. This is the fastest way to break a blade!

To turn a corner:

• Saw right up to the turn.
• Move your saw up and down in place- not going forward- and slowly rotate the metal.
• When the metal has been turned so that your saw is now lined up with the new direction. Begin sawing forward again.

Saw blade reminders:

• Saw blade sizes from smallest to largest:
• 6 5 4 3 2 1 0 1/0 2/0 3/0 4/0 5/0 6/0 7/0 8/0
• 1/0 is pronounced one-aught.
• Common blade sizes for metal gauges:
• 1/0: 18 ga.
• 2/0: 20-22 ga.
• 4/0: 22/24 ga.
• Copper is “gummy” when you saw it since it is such a soft metal. Use a blade a size smaller than recommended to reduce resistance.
• If you feel that the blade is getting stuck or is hard to get through the metal, put some
• Bur-life on the blade. Bur-life is a waxy substance that helps to slide the blade along.

Filing tips:

• The file will cut best moving forward. You can go back and forth to economize movement. Put most of your pressure into the forward stroke.
• Use the entire file with each stroke.
• Make sure to file large areas- this will help to smooth out the saw lines. If you file small areas, the piece looks uneven and has a faceted look.
• Make sure you are using the correct shape file! Rounded sides are for concave curves. Flat sides are for convex cures and flat areas. Choose the file that fits closest to the area you will be filing.
• Use your needle files for small areas.
• If you have sawed over your initial line marked on the metal, use your scribe to mark another line before filing. This way you have a goal to file to. It helps to prevent overfiling and maintains the proper shape of the piece.
• Files have different cuts. 0= coarsest 5= finest. The cut number can be found on the tang of hand files and on the handle of needle files.

Marking your Metal:

• There are several different ways to get your design onto your metal.
• The most direct way is to sketch on the metal with either your scribe or a sharpie. The scribe scratches the design into the surface of the metal, so be careful!
• You can attach your design on paper to the metal using either Spray-Mount (outside only!) or rubber cement.
• You can also use computer peel off labels. You can draw directly on the label or print them out. Full sheet labels can be put through the Xerox machines. (2^nd floor)
• One of my favorite ways is to draw with my sharpie and once I have the drawing just right go over the sharpie with the scribe. This lets me tweak the design on the metal itself, and give me a permanent line to saw to.

Supplies

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Introduction to Jewelry- Fall 2012

Materials Sheet

Supplies to purchase:

Basic Tool Kit

Sketch Book

Pencil

Extra fine point sharpie- black or dark color

Ruler with metric measurements! preferably metal

Scissors

Computer peel off label sheets

Masking tape

Scotchbrite pads

Towel

Tool box or Art Bin

Disposable dust masks

Safety glasses or goggles

Sandpaper (220, 320, 400, 600 grit)

Metals- copper, brass to work with

Hard, Medium, and Easy solder

Drill bits (1mm, also assorted .8-2mm)

Sawblades (1/0, 2/0, 4/0)

Metals:

Your tool kit includes 2 3”x3” squares of copper or brass. This should get you through your first project and the samples to that point. After that you will need to purchase metal for your projects. The amount is dependent on your designs.

Copper, brass and nickel sheet are available for purchase in the studio during class time. Sterling or gold sheet needs to be personally ordered by you.

Reference Text

The Complete Metalsmith - An Illustrated Handbook

Tim McCreight, Davis Publications, Inc. Worchester, Mass

Policies

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Studio and Class Policies:

• Always wear closed toed shoes in the studio. No sandals or Crocs! If you do not have closed toed shoes, you will not be allowed to work in the studio.
• Take any cell phone conversations into the hallway or outside.
• Please be respectful of other students working and keep conversations at a low volume.
• Please be respectful of other students, teachers, and tools.
• No eating at your desk and any beverages must have a lid.
• Clean up your area! Brush off and wipe down your desk. Empty you dust tray into the trash or scrap bin. Return all tools that you were using to their proper location.
• Use caution when working with the machines. Tie back long hair, and follow all safety procedures set out by your instructors/
• Listen to and respect the lab techs. They are not your teachers, so do not expect them to instruct you, but they are there for your safety and to help. If they ask you to observe a rule, do so. Your open studio time is a privilege and can be revoked.
• If you don’t know what something does, don’t turn it on or use it. Wait until you can speak with your instructor.
• If you have not been instructed in class as to the usage of a tool or machine, do not use it.
• Class time is for class projects. If you have finished all of your class work, then you can work on extra projects.
• Open studio time is for completion of class projects.
• Most of the tools are communal. Take turns, and be respectful that you are sharing.
• Open studio hours will be posted on the studio door. Changes to the hours (workshops, make-up sessions) will be posted weekly. Call the studio before coming in to make sure that the studio is open.
• You may not work during a regularly scheduled class that you are not enrolled in.
• If you will be absent, notify your instructor ASAP.
• You are responsible for the information in your syllabus and in the student policy handouts.

Syllabus and Schedule

JE 1200: Introduction to Jewelry I

Spring 3013

JE1200/ Section B

Wednesdays 9:45am- 1:00pm

Instructor: Jenn Parnell

Office Hours: Tuesdays 5:30-6pm, Wednesdays 1-1:30pm; by appointment

Phone: 512-589-6431 (cell)

Email: jenn_parnell@corcoran.edu

Homepage: http://ccadjewelry1.blogspot.com/

Required Text: none

Supplemental Text (not required): The Complete Metalsmith - An Illustrated Handbook

Tim McCreight, Davis Publications, Inc. Worchester, Mass

Course Description

This course will provide students with the basic skills needed to design and fabricate their own jewelry. Students will become familiar with the safety, use, and maintenance of studio equipment and hand tools. This course will cover piercing, filing, finishing, soldering, forming, and basic embellishment techniques as well as simple clasps. Designed for beginning students or those seeking to sharpen technical skills. Students must purchase a tool kit for this class. See the materials list for further information. It is highly recommended that CE students take this class for credit as it is a prerequisite for all subsequent credit-bearing jewelry courses.

Class Overview

This class is the basic stepping stone for students entering the Jewelry program. It is important that students receive a solid technical foundation upon which to build from this class. Jewelry has a wide variety of techniques and directions to explore, this class should get students thinking about their voice and how they can use materials to express that.

Course Objectives

At the end of this course students will:

1. Have an introductory understanding of jewelry fabrication and design skills.

2. Understand the basic safety protocols for working in the Corcoran Jewelry studio

3. Be able to demonstrate the following technical skills:

• Soldering- butt seams, wire to sheet, torch operation and studio safety
• Basic Hollow Construction
• Piercing, Drilling, Filing, and Sanding
• Polished, Heat patina, Liver of Sulfer, and Depletion Gilding finishes
• Roll Printed, Hammer and Stamp textures
• Dapping and use of the disc cutter
• Jump Rings
• Rivets
• S hook and hook and eye clasps
• Simple pin back

Course Expectations

Projects and Homework Assignments: You are expected to complete the class projects as well as the homework assignments on time. You are expected to keep a sketchbook for your designs and notes.

Technical Proficiency: I look for effort in completing assignments to the highest level of skill you can. I expect that as the course progresses that you will push your technical knowledge and continue to pursue perfection in the skills you learn.

Creativity: I expect that in your projects, you will express yourself as an artist and attempt to integrate your artistic vision and interests into each piece.

Attendance/Participation: Attendance is extremely important. You are expected to be on time. If you miss class, you are expected to talk with your classmates to get the notes for that day. You are expected to participate actively in class, ask questions, and comment in critiques.

Course Requirements (Assignments, Projects, Exams, etc.)

Students will create 3 completed projects: a pierced pendant or brooch, a hollow constructed ring, and a linked bracelet or necklace with clasp. In addition to the projects, students will also complete design homework, maquettes and samples of techniques.

Each project will be critiqued- the first 2 as a group, the last one individually as part of final critique which encompasses all work from the semester.

Grading Criteria

See the Corcoran Student Handbook for Undergraduate and Graduate Grade descriptions.

Grades are determined based upon the following:

1. Timely completion of all class projects with effort for creativity and technical skill.

2. Attendance and participation in class discussions and critiques

3. Timely completion of homework and samples/exercises.

Attendance Policy (see Student Handbook- http://www.corcoran.edu/student-handbook )

Students are expected to attend all class sessions and course-related activities for each course in which they register. Students may not attend any class for which they have not officially registered. Three absences (two during the summer term) within a given class, or 20 percent of the semester, are grounds for automatic failure of the course. In exceptional circumstances, the Director of Student Affairs, in coordination with Director of Continuing Education, may approve emergency absences for medical or other legitimate reasons. In such cases, students are required to provide medical or other supporting documentation. Absences due to religious holidays must be pre-approved by the instructor one week in advance of the absence.

Although students may miss up to two class sessions, they are not relieved of the obligation to fulfill all course assignments, including those that can only be fulfilled in class. Of special note to all students: instructors may modify the standard attendance policy (stated in this handbook) according to how they weigh various components of the curriculum throughout the semester. If there are any changes to the standard policy, they will be written into the course syllabi that are reviewed on the first day of classes.

Honor Code (see Student Handbook)

Faculty members are responsible, to the best of their ability, for maintaining the integrity of the learning and testing process, both in the classroom and outside of it, and for fostering conditions of academic integrity. To alleviate misunderstandings, all instructors are required to delineate at the beginning of each semester what constitutes a violation of the Honor Code in their classes. This should include an explanation of:

1. The extent to which collaboration or group participation is permissible in preparing term papers, studio work, reports of any kind, tests, quizzes, examinations, homework, or any other work.
2. The extent to which the use of study aids, memorandum, books, data, or other information is permissible to fulfill course requirements.
3. Guidelines on what constitutes plagiarism, including requirements for citing sources.

Course Outline

Week 1- January 30

• Introductions
• Studio Tour- introduction to the equipment, basic safety for the machinery, shop protocol
• Open up tool kits and go over tool usage as well as maintenance for hand tools
• Lesson 1: Piercing/ Filing

• Lesson 2: Drilling- Press and Flexshaft
• Introduce and Discuss Project 1: Brooch or Pendant
• Homework: Piercing and Filing exercises, design homework for Project 1

Week 2- February 6

• Designs for Project 1
• Lesson 3: Sanding and Polishing
• Work on Project 1

Week 3- February 13

• Lesson 4: Soldering

• Lesson 5: Simple Pin Stem
• Work on Project 1
• Homework: Soldering samples, sample pin stem

Week 4- February 27

• Lesson 6: Forming with mandrels

• Lesson 7: Hollow Construction

• Introduce and discuss Project 2: Hollow Constructed Ring
• Homework: Designs and maquettes for Project 2

Week 5- March 6

• Lesson 8: Scoring and Bending
• Discuss cords and chains for project 1

• Discuss designs for project 2
• Make final maquette for Project 2
• Homework: Scoring and bending sample

Week 6- March 13

• Project 1 due
• Lesson 9: Textures
• Work on Project 2
• Homework: Texture samples

Week 7- March 27

• Work on Project 2

Week 8- April 3

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

Week 9- 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 10- April 17

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

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