…Steel wool (gives a bright matte finish)
Pumice
Matting mop
Frosting mop
Sand blaster
Bead blaster
Abrasive blocks such as Garryflex abrasive cleaner
Various mops, brushes and papers

It tends to be best to get the piece completed and polished before the matte finish is applied.

Note that matte finishes get dirty quickly (especially frosting). They can also wear off with repeated rubbing (e.g., rings will eventually become shiny).

(Untitled by Dusanka Vujovic – seen in International Art Treasures Web Magazine)

Hurrah!

June 1, 2008

The William and Judith Bollinger Jewellery Gallery finally opened at the Victoria and Albert Museum last week. I can’t wait to take a look.

Art nouveau style art glass

GP & J Baker Fabric: ‘nympheus’

Art deco card 1934

Cheap costume jewellery

Old postcards of South London

Clarice Cliff long stitch (to tide me over until I can actually afford some authentic Clarice Cliff pottery)

MATERIALS: standard silver

TECHNIQUES: wax carving, filing, sanding, polishing (actual casting performed by someone else)

TOOLS: various wax carving tools (rasp, ring sizer with cutting blade, some general tools that could be used for carving and sanding the wax), wheatsheaf ring gauge, hard wax, steel wool, wet and dry paper, half-round needle file, soft brush, buffer (tripoli mop and rouge mop), ultrasonic cleaner (+ tools for casting)

PROCESS:
My ring model was formed from a round wax tube with an off-centre hole. My instructor had cut the tube into individual rings.

  1. Use a ring gauge to determine desired ring size (if the ring is for you you can just keep trying your finger until the ring is the desired size).
  2. Use a wax ring sizer with cutting blade to cut a hole to desired size.
  3. File or cut the wax ring to desired width and thickness and then use whatever tools necessary to carve the desired shape.
  4. Use a file and steel wool to get the ring as smooth as possible – it’s much easier to remove scratches in wax than it is to remove scratches in silver.
  5. Send away for casting (perhaps a future post on this process)
  6. File or saw any remaining ‘channels’ on the newly cast ring and then sand (file heavily scratched areas, if any, and sand, initially with a coarse paper, say 300-800 and then with a smooth paper (1000-1200).
  7. Polish using the tripoli mop. Clean using a soft brush and detergent and if desired result is achieved polish with the rouge mop (black caking may mean that you need to go back and do more tripoli polishing before continuing with the rouge).
  8. Clean off excess rouge using the ultrasonic cleaner.

LESSONS LEARNED:

  • It’s very tricky to get scratches out of crevices but it’s still much easier to spend ages doing this with the wax ring than it is trying to get scratches out of the silver ring.
  • My finished ring has numerous scratches on the inside because I was too scared to file/sand down the wax or silver ring too much, thus making the ring a size too big. I should have made the ring a little bit smaller to account for smoothing the inside of the ring. Alternatively I could have smeared some melted wax to fill the scratches.
  • A solid silver ring is much much heavier than a wax ring! Every gram of wax will weigh 10.6 grams in silver (even more for gold!).

IF I HAD MORE TIME: I would have put some more thought into the design of the ring (it’s difficult to think of a design that’s carvable when put on the spot). I would have also spent more time carving to get a better shape and more time filing and sanding out scratches – firstly on the wax ring and then (if necessary) on the silver ring.

Brass keyring

May 22, 2008

MATERIALS: brass sheet, brass wire, split ring

TECHNIQUES: piercing, sawing, filing, sanding, soldering (making a chain!)

TOOLS: letter template, double-sided tape, saw and blades (size 2), counterpunch, drill, flat file, needle files, wet and dry paper, rod for forming chain links, soldering tools, barrel polisher

PROCESS:

  1. Use double sided tape to stick the letter template onto the brass.
  2. Counterpunch and then use a drill to pierce any compartments where you will need to gain access with the saw.
  3. Thread the saw through a pierced hole and saw along the edge of the template. Repeat with all of the other compartments and then saw around the outside of the template.
  4. File and sand the edges of the design.
  5. Form numerous jump rings by winding brass wire around a rod (the result is a ‘spring’) and then cut through the spring with a saw.
  6. Align the ends of a jump ring (use pliers to create tension) and Solder using a small piece of silver hard solder. Do the same with another jump ring. Link the soldered rings to a third jump ring and solder this shut using silver medium solder.
  7. Bend a short and thick piece of brass wire (to make a loop at the top of the keyring). File so that the wire ends fit snugly against the edge of the keyring. Solder on using fairly large pieces of silver hard solder. Connect the chain to the loop using a final jump ring, soldered using silver easy solder.
  8. If pickling gives the keyring a copper plating this can be removed using a soft brush, detergent and pumice and/or steel wool.
  9. Barrel polish and attach a split ring to the free end of the chain.

LESSONS LEARNED:

  • It will take a lot of practice to get sawing technique correct.
  • Make sure you have plenty of saw blades handy as they break often, especially when inexperienced.
  • Size 2 is a good blade size for many sawing jobs.

IF I HAD MORE TIME: I would have taken more care when sawing and spent more time filing and sanding away teeth marks around the edges.

Found this great site which provides a nifty guide to enamelling for jewellery.

Some useful information on enamelling can also to be found on the Jewelry Lovers blog.

some enamelling techniques:

  • Basse-Taille (Low Cut): Enamel (usually transparent) is fired onto a textured metal. Light reflected on the textured surfaces can create an interesting effect.
  • Champlevé (Raised Plane): Enamel is fired into depressed areas of metal to form a level surface. Engraving or acid can be used to remove the metal afterwards.
  • Cabochonné: Layering of translucent enamels to produce an imitation of a cabochon.
  • Cloisonné: Fine (Cloisonné) wires are used to create cells which are filled with enamel.
  • Grisaille: A build up of coats of white enamel forming interesting grey/white tones.
  • On Glaze/Overglaze Colours: Oil- or water-based finely ground enamels that can be applied and fired onto a pre-enamelled surface.
  • Plique à jour: A ‘stained glass’ effect where cells are constructed (like cloisonné) but the back is uncovered so that light can shine through.
  • Sgraffito: a design is scratched into unfired enamel to expose metal or an enamel coat underneath.


Many awesome examples of enamelling can be found in art nouveau jewellery where vivid colours were used to depict nature in all its splendour. While a whole range of enamelling techniques were used, perhaps the most important technique was plique à jour – often used to create delicate insect wings and leaves. For some fine examples of enamelling in art nouveau jewellery refer to the work of Rene Lalique, Georges Fouquet, Louis Aucoc, and Etienne Tourette.

Rene Lalique - Corsage Ornament 1897-98

Wide silver ring

May 10, 2008

with hammer marks

MATERIALS: Standard silver sheet

TECHNIQUES: annealing, hammering/planishing, sawing, soldering, ring forming, ring resizing, sanding

TOOLS: triblet (ring mandrel), barrel polisher, hammer, saw and blades, soldering tools, mallet, wet and dry paper, scribe, vise, (ideally pendant drill), ring stretcher

PROCESS:
This was made very quickly.

  1. Cut silver to desired width using a guillotine.
  2. Use a hammer to texture one side.
  3. Use a mallet on the sheet over a triblet to form a ring shape (perhaps a little smaller than the size that you want).
  4. Use scribe to mark where to cut through to get rid of the ends and saw as marked.
  5. Check size (cut off more if needed) and then ‘saw through’ the cut to make sure that it’s smooth for soldering.
  6. Solder using silver hard solder.
  7. Sand as necessary and use hammer marks to cover the solder seam.
  8. Resize if necessary.
  9. Barrel polish.

LESSONS LEARNED:

  • Wide rings are very difficult to remove from one’s finger! Although in general you should make rings a little smaller than desired and stretch if necessary, with such a wide ring I should’ve probably made it a bit bigger. Actually, in hindsight I would not have made it so wide.
  • Be careful when resizing – the solder seam can break. If you need to re-solder use a solder with a lower melting point.

IF I HAD MORE TIME: I would have done more work cleaning up the finished solder seam – I didn’t get any time to hammer the outside or sand/file the inside. I would have liked to have used a pendant drill to sand the inside of the ring.