Thou Shalt Not Steal…Borrow...but not steal

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“That guy stole my design!” Imagine those words coming out of your mouth. You’re walking around an art show and come across an artist making copies of your work, work that you spent years to design and perfect? Would you walk up to them and congratulate them for all of their hard work and effort.  Of course you wouldn’t. You’d probably be tempted to give them a stern talking to. No artist wants to ever be accused of copying a design. So how can you use elements of someone’s designs without copying it? The answer is – borrow… not steal.

 

On the market today there are a lot of step-by-step blogs, websites, books and magazines that teach you how to create different styles of jewelry – you happen to be reading one now. The point of these projects isn’t to show you how to mass produce that jewelry piece.  The intent is to show you how to utilize certain techniques to express your artistic vision. Think of it this way – what would you think if Picasso painted the same picture over and over only changing the colors? Would you think of him as a master? Of course you wouldn’t. He wouldn’t have been expressing his artistic vision. He would have been mass producing the same painting. When Picasso created his works of art he used the same techniques but in very different ways. This helped him to create something that was true genius. That’s what we want to do. We want to use various techniques to create true works of wearable art. How can this be done?

The first step is to identify the technique.  As you read the step- by- step instructions spend time identifying the various techniques that are being taught. Also note how the technique is being applied to the jewelry piece being made. What is the function of the technique? Is it used to add structure to the piece? Is it only used as a decorative element? By thinking along these lines you can get a better understanding on how you can use this in other jewelry pieces to create something new. It may even be a good idea to jot down techniques that you would like to use in a notebook.

Once you understand how the technique works, follow the step-by-step instructions and create the project. This will give you a working knowledge of the technique. It may be necessary to make the same piece a few times so that you have a good idea how it works. As you make the piece a second or third time, look for ways to make changes to the piece to make it your own. You can even look for ways to improve on the technique. Exploring new ways to use a technique has led many to discover new techniques. This is the evolving of our artistic talents.

Now that you have a good idea how the technique works, you need to find new ways to incorporate it into your designs. Pull out your sketchbook and start drawing designs that use that technique. Don’t worry about the design being practical, the idea here is to get the creative juices flowing so you can find a way to incorporate it. Once you settle on a design idea, create a few working drawings that detail how the piece goes together.

Sketch it Out

 

Finally, bring the drawing to life by making the piece. This can be challenging so remain calm and take your time. As you make this new piece keep notes on changes that need to be made in future pieces. As I am coming up with new designs I often have to refine the design before I put it down in writing. This is all a part of the design process.

Don’t limit the above learning method to just wire art techniques. A lot can be learned by looking at metalsmithing, goldsmithing, and beading techniques. Riveting, for instance, can be used in many ways to enhance your wire art. With the renewed popularity of copper, chemical etching of the metal can be used to add texture to a piece. There are various texturing methods that can be borrowed from other art forms that you can add to your “bag of tricks”. The key is to explore, learn, and try new techniques.

One more reason. A new trend that has been developing over the past few years is the influx of wire art tutorials. As wire artists we are always looking for new ways to create jewelry. This hunger for new designs has prompted many (myself included) to share their designs by writing and selling tutorials. The problem isn’t with writing the tutorials, it’s the plagiarism of the designs. I can personally point to at least four tutorials of the common ring (also known as the Pharaoh’s Ring) in a popular book, a popular magazine, a popular DVD, and a website. Each author of the tutorial has their own approach to creating the ring and that’s good. However, the way that the tutorials are written makes it seem as if the writer is the creator of that design – something that simply isn’t true. The common ring was designed by Tom Phalan and patented in 1948. This practice of artistic thievery must be stopped. As fellow artists I challenge each one of you to take a stand for our art. It’s up to each one of us individually to put a stop to it.

The Common Ring (Pharoah's Ring)

So the lesson is – if you’re going to write and sell a tutorial don’t steal. It’s better to borrow techniques and come up with something new. By doing this you’ll sell more tutorials and you’ll keep your artistic integrity intact.

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The Secrets of Annealing Revealed

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As many of you may know I personally hate using half hard wire. From my experience I’ve found it to be difficult to shape and brutal on my fingers. When I’m teaching students to create wire jewelry, I always recommend they use dead soft wire. Once the piece is completed they can then harden the piece. Many of my readers that are outside of North America have told me that they have a hard time finding dead soft wire from suppliers. I've also heard from others who tell me that they have a ton of left over half hard wire and want to know what to do with it.

It is possible to change half hard wire into dead soft. To do this the wire has to be annealed. Annealing is the process of heating metal to restore its malleability. When metal is hardened the space between the molecules are closer together. Heating the metal separates the molecules slightly making the metal malleable. The process sounds like a lot of work, but in reality it isn’t nearly as difficult as you may think.

Here are the steps to anneal half hard sterling silver into dead soft. It's a good idea to practice these steps on a small piece of scrap wire before you begin using it on wire intended for a project. Keep in mind that these instructions are only for Argentium and traditional Sterling Silver.

The Materials
Before we start heating up the metal we need to go over the materials needed for the annealing process. You’ll need the following – a soldering pad or brick, micro torch, flux, a small paint brush, pickle solution (See “Pickle? What’s Pickle”?), cross-locking soldering tweezers and a glass dish filled with water (Picture of the materials). Some of these materials may seem a bit foreign to you. Don’t worry they are all easy to use and easy to find from a jewelry supply company.

The Materials

The Annealing Process

Cut the wire to be annealed into the lengths that you plan to use it. With a small paint brush, brush flux on each piece of cut wire (Picture 1). 

Picture 1



Place the fluxed wires on a soldering pad putting a little space between each one (Picture 2).

Picture 2

Light your micro torch and apply the heat to the first wire (Picture 3).

Picture 3

Move the flame slowly back and forth over the wire to heat it evenly. As you heat you’ll notice that the flux will dry to a powder and then it will begin to liquefy. At the point where it liquefies remove the heat. Flux liquefies at approximately 1100 degrees Fahrenheit and that is the temperature that we want to bring the metal up to in order to properly anneal the silver. Another temperature indicator is the light red glow of the metal.  As the metal is heated it will begin to get a glow to it, soon after the red glow the flux will liquefy. Pick up the annealed wire with cross-locking soldering tweezers and place it in the water (Picture 4).

Picture 4

Continue annealing the remaining pieces of wire.

You’ll notice that the wire has a dull grey film on it. This is a residue left behind by the flux. To remove the residue, place the wire in a pickle solution (Picture 5).

 

Picture 5



Remove the wire strands from the pickle solution using copper tongs. Place the wire in water to remove the pickle solution. Your half hard wire is now dead soft. The only thing left to do is create a beautiful piece of jewelry.

Pickle? What’s Pickle?

Pickle is a mild acid that is used to remove flux residue from metal after it has been heated. It is shipped from the supplier in crystal form and is mixed with water by the artist.  The mixed pickle solution works best when warm and many have found it useful to store it in a slow cooker. When needed the slow cooker is turned to low so it can be sufficiently warmed. It’s important to note that this IS acid…it will burn your skin, so please follow all of the safety precautions listed on the product label.  

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If I Had a Hammer...

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Now that I have that tune stuck in your head, let’s switch gears from 60’s folk music to swinging an actual hammer.  One of the most satisfying processes in creating jewelry is using a hammer to add texture and dimension to a piece. Taking out your frustrations on an innocent piece of metal can truly be gratifying. Many wire artists, however, shy away from wielding a hammer because it seems too intimidating. Many say, “What if I do it wrong?” or “what if I destroy my work?”.  Those are some valid fears. You can take all of the mystery and apprehension out of the equation by arming yourself with a lot of knowledge and a little guts.

Let’s first get up close and personal with the hammer. The hammer most often used in creating wire jewelry is a chasing hammer. When used in metal working this hammer is used with chasing tools to embed grooves or lines in metal. It’s also used in setting rivets, stamping, and other texturing processes. For the wire artist it’s used to flatten and texture wire. Looking at the tool you’ll notice that the head of the hammer has two sides, one that’s wide and somewhat flat, the other looks like a small knob. In brief, the wide flat side is used to shape and flatten wire. The small ball peen side is used to add golf ball-like texture to the surface of flattened wire. All chasing hammers look similar with a little variation in head size and weight. The weight of chasing hammers can range from 2 ½ to 6 ounces. Choosing a chasing hammer is a matter of personal preference. For the wire artists needs, a 3 or 4 ounce hammer will accomplish most jobs.

To successfully flatten and texture wire it requires resistance. To give the needed resistance the metal is placed on a thick piece of polished steel called a bench block. When the hammer strikes the metal the bench block causes firm resistance that allows the full power of the hammer to flatten the metal.  Without this resistance the power of the hammer blow would be ineffective. Bench blocks come in a variety of sizes from 2 ½ X 2 ½ inch square to 6 x 6 inch square. The bench block that you choose is entirely up to you.

 

Before we begin swinging a hammer it’s a good idea to go over a few points of safety.  It’s always a good idea to protect your eyes so be sure to put on safety glasses before hammering. It’s also important to avoid hitting your hand with the hammer. To properly flatten and texture a piece of wire, though, you’ll need to hold it securely in place. This puts your fingers at risk. So what can you do? It isn’t necessary to hammer the entire length of wire at the same time. Some of the wire can hang off the side of the bench block. This gives you something to hold as you hammer. When one section is complete, turn the wire around and hold the newly hammered section while finishing the process.

Keep Your Fingers Out of the Way



Now that we have a basic understanding of the hammer, bench block and safety rules we can have a look at using the hammer. We’ll begin with flattening wire. Place a 3 inch (7 cm) piece of scrap 18 gauge wire on your bench block – a larger gauge can be used. Using a chasing hammer, strike one end of the metal until it flattens (Picture 1).

Picture 1

 

Continue this action down the length of the wire (Picture 2). You’ll notice that the flattened piece of wire isn’t perfectly square. As you hammered, the metal was stretched in several directions causing odd lumps on the sides of the wire.
 

Picture 2

This is easy to fix. Set the wire on its side and tap it with your hammer to square it back up (Picture 3).

Picture 3

 

Now that the wire’s flat we can add some texture to it. Using the flattened wire, place it back on your bench block. Turn your chasing hammer around so the ball peen end is pointing towards your work surface. Now tap on the flattened wire in a random pattern with the ball peen head (Picture 4). It’s good to tap a little then review your work. Continue tapping the metal until you’re satisfied with the results.

Notice the pattern that it gives the wire. Those little divots will reflect the light in such a way that it gives the piece a sparkle.  

Finished

See that wasn’t as bad as you thought. Using a chasing hammer isn’t scary or mysterious if you understand a little about it. Adding texture in this way will not only add depth to your work, it’ll also give life to your creativity.  

 

'til Next Week 

Jim McIntosh
The Wire Art Education Center
http://www.wirearted.com

 

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Don't Fake It! ... Use The Real Deal

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Hello Everyone,

Lately I've noticed that many people "in the know" have been suggesting using gold and silver toned wire. While these can be a low cost alternative to precious metals, I'm not altogether sure that they're a good idea. Cheap doesn't always imply good. Here are my thoughts on the subject.

My first concern is durability. These 'metals' don't hold up as well as the real thing. Discoloration over time becomes a real factor. Here's why. Let's say you had a beautiful natural stone cabochon. You create a wonderful setting for it that you are extremely proud of. The problem is you used toned wire for it. You display all of your wonderful and unique pieces at an art show and your work sells like hot cakes. No problem, right? The problem comes when you visit that show the very next year. You again display your work, but this time sales seem to have dropped off - what's the problem? You should be getting repeat customers from the previous year. The problem is reputation. All of that beautiful work you did the previous year has now discolored and looks cheap.

Another concern, somewhat related to the previous one is look. The metal may look gold or silver but it just seems to be missing something. The tone of the color just doesn't look right. I've never looked at gold tone wire and thought that it might be gold. Believe me, people who visit your booth at an arts and crafts show can tell that the metal you are using isn't the real thing.

This brings up another concern. When using cheap materials aren't you suppose to lower your prices? Know one ever does, do they?  So why do it?

Here are a few suggestions to help keep your reputation and still use quality materials in your work.

1. Buy in smaller quantities. This takes planning. Sit down with a sketchpad and draw out some of your ideas for certain cabochons that you would like to work with. Use these sketches to figure out about how much metal you'll need. Once you have an estimate of how much you'll need, place an order for those materials. Rio grande has recently allowed people to purchase just the materials that they need instead of holding to their minimum purchase policy. You may have to limit your creating to small bursts of brilliance.

2. Use aluminum, copper and brass. Because the high cost associated with gold and silver many consumers just aren't buying jewelry made it. This trend has allowed jewelry artists to explore other metals. Because we're artists we've been able to adapt and come up with some beautiful results. So why not give it a go.

3. If you have to go cheaper but want to stay with gold and silver, try gold and silver filled. Most wire artists are familiar with gold filled wire, but a new arrival on the scene is sterling silver filled. As you would expect, silver filled wire looks and acts just like regular sterling. So why not give it a try.

4. Think quality, not quantity. When I plan for art shows I always have the desire to fill my booth with a ton of work. Since the downturn of the economy my thinking has changed a little. Instead of turning our a couple hundred pieces for a show, I have cut that down to under 100. But there's a difference in the work that I do today than what I was doing. I try to select stones that really have a wow factor (interesting patterns and color) and set them in good quality metals - mostly sterling silver. This implies high quality to the consumer. If the consumer percieves a high value in the piece, they are more apt to splurge on it.

One final thought. If you do use silver or gold in your work hold on to every scrap that you have. Many jewelry supply companys have a recycle program that will pay you either cash or give you a credit for your unused trimmings. These recycled scraps can be used to purchase more metal for future pieces.

Hopefully my little rant has saved your reputation. It's easy to lose your reputation but takes a life time to get get it back.  

 

'til Next Week

 

Jim McIntosh

The Wire Art Education Center

 

 

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A New Place for Inspiration

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For the past year and I half I have been trying to come up with new design ideas. I tried everything to hit on a new idea. I went to the library and thumbed through tons of jewelry books. I hit the book store and tore through pages of fashion and jewelry magazines. time and again I came up with nothing. Then I hit on something that never crossed my mind - Pinterest.

I'm sure that most of you, like me, are very familiar with Pinterest. The website allows you to organize images that you have found on the net by 'pinning' them into 'boards'. Others can follow your boards and view the new images that you pin. In turn you can follow others boards that you find interesting.  (For more information on how to use Pinterest please visit http://pinterest.com/about/help/)  But how could I use Pinterest to find inspiration for my jewelry work? That was the million dollar question in my mind. I loved looking at all of the images and funny pictures that people have pinned, but none of those really inspired me.

To figure out how Pinterest could help, I went to the Pinterest search engine. I typed in the phrase "Wire Jewelry" and up popped dozens upon dozens of beautiful jewelry. I created a new board - Jewelry Crafts DIY - and began pinning my heart out! I then typed in other jewelry related searches and pinned those. Each time I found an interesting collection of jewelry pins I began following the fellow pinner. With each new pin that I placed on my board I could feel my creative juices begin to flow. Within no time I was feverishly sketching new wire art designs - so much that I began to see not just one new Wire Art Book in my future, but at least two! My creative dry spell was broken.

To keep Pinterest fresh and interesting for everyone you really need to add some of your own images. As I make new work and write new tutorials I pin an image of it on jewelry board for all of my followers to see. Hopefully these new pins inspire others to create new and exciting work.

Pinterest gave me a new avenue to go down to find inspiration. Each day I now make time to look at my pinterest page. I pin new images that bring me inspiration. This gives me an unlimited supply of new ideas. Why not head over to Pinterest and try it yourself. You can take a look at my Jewelry board at http://pinterest.com/jim4143/jewelry-crafts-diy/ that should help get you started.

'til Next Week

Jim McIntosh
the Wire Art Education Center

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Try This New Cold Connection Method

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In recent years the buzzword has been cold connection. It seems as if everyone is looking for a way to join metal together without the use of fire and solder. Most of those searchers were looking for ways to connect metal sheet - NOT wire. They're answer - Rivets! They began using rivets to join metal and it worked perfectly! In no time these artists began churning out new work that had a beautiful industrial feel to it. All without the use of solder.

As wire artists we love exploring new techniques, however it seems that this one doesn't always apply to us. The wire that we use in our work is often too small for us to use rivets. It would be great if we could find a method to produce modern contemporary jewelry without having to solder or rivet. What could we do?

A couple years ago I spent a lot of time searching for a new way to join metals together without using solder OR rivets. The idea was to join wire together to create a joint that was as solid as solder. After a lot of trial and error (not to mention pouting and crying) I finally found it - I called it Wiresmithing. The technique is really easy and doesn't require any special tools. It can be done using the tools that most wire artists already have.

So in this blog post I wanted to give you an opportunity to explore this method of cold connection. Below are three FREE videos that i have produced that will take you step by step of the basics of wiresmithing.

Introduction to Wiresmithing Part 1

 

Introduction to Wiresmithing Part 2

 

Introduction to Wiresmithing Part 3 - The Basic Technique

 

 

So what can you do with Wiresmithing? Here are a couple of picture of some of the things I've designed using this simple and effective technique.

 

 

Ocean Jasper/Drusy Brooch

 

Fordite Pendant

 

Turquoise Bracelet

 

Larimar Pendant

 

 

I bet your wondering "Where can I learn more?" After I figured out how to use this new technique I wrote a book called "Wiresmithing - The New Look of Wire Art". In it you'll find everything that you need to know to create your own works of art using this new cold connection technique. Stop by our website - http://www.wirearted.com to learn more.

 

That's all for this week....We'll see you next week!

 

Jim



 

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Copper Etching on Wire Tutorial

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With the price of silver and gold rising with each passing day, all of us are looking for ways to continue our work using less expensive materials. This has led many to explore the wonderful world of copper. Looking through a Rio Grande materials catalog recently I discovered that they carry a nice selection of copper wire. One product that caught my eye was 9.5x1.6mm copper strip. I thought this material would be perfect to make pendants and earrings. Simply cut it with metal shears or a jeweler’s saw, drill a hole and texture it - simple.

You could use almost any technique to texture this pendant, but I thought that it would be a great way to show you an easy etching technique. The process is so unbelievably simple it’ll amaze you. 

 

Here are the tools you'll need - Metal shears, tin snips, or a  jewelers saw, raw hide mallet, bench block, flat hand file, steel wool, fine tip and regular tip permanent marker - or a rubber stamp of your choice and a jet black StazOn ink pad, roll of wide packing tape, measuring cup, 2 small, shallow plastic containers, tweezers (non-copper), flex shaft, and a small drill bit to drill a bail hole.

 

Here are the materials you'll need - 1 ½ inch long piece of 9.5x1.6mm copper strip, hydrogen peroxide, muriatic acid, non-acetone fingernail polish remover, and baking soda

 

Overview

Before we jump into the process I thought it would be a good idea to go over what we’ll be doing and why. Basically we’ll mix a solution of hydrogen peroxide and muriatic acid. This acid solution will ‘eat away’ the unprotected portions of the copper creating a pattern on the metal. We’ll protect the metal and define the pattern by drawing or stamping a design on it using permanent ink to prohibit the process.  Muriatic acid is very inexpensive and can be purchased from most any home improvement store. It’s used to balance the pH level in swimming pools and to clean concrete.

 

Safety First

Keep in mind that we are working with a mild acid. This substance can and will burn you if you get it on your bare skin. To prevent the acid from causing you any harm wear clothing that doesn’t expose your skin. In addition wear rubber gloves and eye protection.

 

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Prepare the Metal

Begin by cutting a 1 ½ inch long piece of copper strip using metal shears or a jewelers saw. Place the cut copper strip on a bench block and hammer it flat with a raw hide mallet. With a flat hand file, file any sharp or jagged edges from the copper strip.

Before the design can be added to the metal it has to be cleaned. Clean the surface of the metal with dish soap and a scrubbing pad. Be sure to rinse the metal thoroughly. Once clean, dry the metal completely. To give the ink something to adhere to, rough up the surface a little with steel wool.

 

 

There are several ways that you can add a design to the surface of the metal. The easiest is to use a rubber stamp and permanent ink pad. The best ink pad to use for this is made by StazOn. This particular ink pad is formulated to use on almost any surface so it’s perfect for this process.  Load the rubber stamp with ink by tapping on the ink pad a few times. Firmly press the stamp on the metal and carefully pull it off the metal to prevent it from smearing. If the stamp didn’t work how you wanted it to, remove the ink using non-acetone fingernail polish remover and re-stamp.



 

To protect the side edges of the metal, cover them using a permanent marker.

 

 

 Another method is to draw a design on the metal using permanent markers. This method gives you the opportunity to create any design that you would like. When using this technique keep in mind that the black lines drawn on the metal are the high points of the etched design.  

 

 

Just a note about adding your design – remember that this is going to be a pendant. After the etching process we will be drilling a hole in it so it can be worn. You don’t want the hole to destroy the design. So keep this in mind when you are laying everything out.

 

Once the design has been applied to the front of the metal and the edges are covered with permanent ink, something has to be added to the back to protect it. Pull off a piece of clear packing tape and adhere it to the back of the copper strip. Rub the tape firmly to the metal to be sure it’s adhering completely. 

 

 

Prepare the Acid 

The ratio for this mixture is 2 to 1 – two parts hydrogen peroxide to one part muriatic acid. You only need enough of the solution to cover the metal completely.  For the size of my container I’m using a half cup of hydrogen peroxide and on quarter cup of muriatic acid. The fumes from this acid solution can be hazardous so it’s best to do all of your etching in a well-ventilated area, outside is best.  Before mixing the acid solution, put on all of your protective gear – safety first. Pour the hydrogen peroxide in the container first then slowly pour in the acid. Using your metal tweezers gently mix the solution a bit. Be careful that you don’t splash the solution.

 

Fill the second container with enough water to cover the metal. Add to the water two tablespoons of baking soda and thoroughly mix. This solution will be used to neutralize the acid on the copper once the etching is complete. 

 

The Process

Grab the metal to be etched by a corner of the tape backing using the metal tweezers. Place the metal in the solution with the design facing up. The process can take anywhere between 15 to 30 minutes.   About every 5 minutes visit the etching container and gently shake it. Agitating the solution every few minutes will help the process along. You’ll notice that the etching solution is changing color. The once clear solution is now a vibrant blue-green color. This is due to the chemical reaction taking place between the solution and the metal.

 

 

After about 15 minutes, remove the metal from the etching solution by grabbing it with tweezers. Place the metal into the water/baking soda mixture. Remove it from the water solution and rinse it with clean water. Check the surface of the metal to see if it has been sufficiently etched. If it doesn’t meet to your satisfaction place it back into the etching solution for an additional 15 minutes. Remove the metal, rinse, and recheck. Once it has been properly etched you can move on to the next step.

 

 

The Disposal

Once you are finished etching you need to properly dispose of the acid solution. This is easily done by adding small amounts of backing soda to the acid solution. Start by carefully pouring a small amount of baking soda into the acid – about a tablespoon will do. Notice the reaction, the mixture will begin to foam. When the foaming subsides add a little more baking soda. Continue this procedure until the acid no longer foams. It is now safe to pour the now neutralized etching solution down the drain. Be sure to run plenty of water down the drain to wash it away. 

Finishing Touches

You’ll notice that there is still a layer of permanent marker on the front and edges of the pendant. Remove it using a little non-acetone fingernail polish remover.

 

Now that the pendant is clean the only thing left to do is drill a hole in it so it can be worn.  Mark the pendant at the top center with a permanent marker. Using a small drill bit inserted into a flex shaft, drill a pilot hole. Change to a larger drill bit and drill the final hole. Check the bail hole for rough edges. Clean these up using a needle file and sandpaper.

 

A beautiful pair of matching earrings can easily be made by following the same steps but on a slightly smaller scale. This process not only works great with copper, it’s also great for brass and nickel silver – so go ahead and experiment with these economical metals too.

I really hope you enjoyed this. Etching metal is a fun way to add a bit of flair to your work. Don't be afraid of the process, it's far easier than you think. So give it a try...you'll love it!

See ya next week! 

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