Wire Jewelry Idea for January 25, 2012

Today I’d like to share a little free tutorial, compliments of Patti Bullard of Wubbers tools. I love S Links because they are so versatile: if you notice the bracelet Patti’s wearing, it uses S Links as components in the bracelet itself. Or, you can make these with the middle loops slightly lengthened to create a simple, versatile clasp! Watch the video and get inspired to create your own component wire jewelry.

Introducing Wubbers! Easy on your hands and easy on your wire, you’ll “wub” this brand of pliers! Plus, if you order any Wubbers tool before Friday night, you’ll receive 3 free tutorial downloads! (Will be sent via email Feb. 1)

Click to explore Wubbers – there’s a lot to WUB!

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Tool of the Week for
December 12, 2011

sponsored by JewelryTools.com

This week’s tool: Nylon Jaw Plier, Item # PLR-830.00

Demonstration by Kate, JewelryTools.com

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Wire Jewelry Idea for
December 7, 2011

Today’s Wire Jewelry Idea is a new free pattern! Here’s a unique way to cage a pointed crystal. Click here to view Dale “Cougar” Armstrong’s pattern, Chained Fluorite Pendulum.

Maybe you’ve mastered Lock That Rock, but the stone isn’t quite right for a rounded cage. Maybe you’ve learned how to Cage a Crystal, but the shape of the crystal doesn’t quite match the style. Hm, maybe if you used jump rings and some chain… what could happen…

Chained Fluorite Pendulum Free Pattern by Dale “Cougar” Armstrong

Dale’s Chained Fluorite Pendulum Pattern is designed for an octahedron (eight-sided crystal), but you can apply this concept to nearly any kind of crystal!

Dale said, “This pattern shows the chained crystal being used as a pendulum, but it could also be worn as a pendant or hung in a sunny window. (I am going to hang mine on our Christmas tree.)”

Love fluorite? Then look forward to Friday, when Dale will cover Fluorite in-depth in our Gem Profile Friday!

And lastly, if you’ve found yourself in possession of a freeform cab, I suggest you look at our Gem Profile: Labradorite and scroll to the bottom to Albina Manning and Trackey McKenzie’s freeform pendants. Albina Manning will even be teaching a cabochon pendant technique in our upcoming Tucson classes!

Tip: Want to print the pattern? Select the whole text of the pattern (click and hold the mouse down at the beginning of the pattern, and drag it to the end of the pattern). Go to Edit > Copy. Open a word processor such as Microsoft Word or OpenOffice Writer, and go to Edit > Paste. Now you can save it on your computer, make changes, and print it!

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Wire Jewelry Idea for
November 30, 2011

Some time ago, Casey Willson left a comment on this popular tip of the day, Prevent Tarnish on Copper and Nickel Silver, mentioning she had a great method for preserving copper wire’s shine, using a generic of Mop N Glo, called Mop N Shine. It wasn’t long before we were flooded with requests for Casey’s secret method!

Casey was gracious enough to share her method with us. While I personally haven’t tried it yet, Casey’s spent the last 9 years developing and perfecting this method. I hope it helps you find a good method of protecting your base metal wire jewelry, too!

Please test this method on scrap wire and spare beads before using this method on your finished jewelry. We cannot guarantee results will be the same for everyone.

Protective Coating for Wire and Base Metal Findings

by P. Casey Willson

Set up items needed:

• Product: Mop N Shine (generic form of Mop N Glow floor polish)
• Newspaper
• Viva paper towels (or other good quality)
• Tray or flat cardboard (optional)
• Long tweezers, crochet hook or old (clean) pliers
• Air tight container
• Water and disposable rag for clean up
• Cotton swabs for cleaning off gems while product is wet.
• Ammonia for cleaning up dried spots on work area.

Advisory:

1. DO NOT get this product on good gemstones or cabochons as it will dry blotchy on polished stones. Treat wire or findings ahead of time or with small paint brush to touch up after finishing item or on high wear spots such as bails or pin backs.
2. Be sure wire is very clean with no tarnish (patina is just fine if you want to keep it!) or dirt at all. This coating is very hard and difficult to remove when cured.
3. Be aware you are working with a polymer and the feel of the wire will be a bit slick. Be sure to include the polymer in your item description. I think it’s a plus, as it prevents tarnish and also reduces allergic reactions to everything except rare allergies to plastic.
4. DO NOT dip spring clasps; paint the outside instead. Dipping can lock up the spring mechanism.

Procedure

Pour at least 1″ of dip into your air tight container. I prefer a 6″ to 8″ by 3″ oblong container or 3′ to 6″ large round one that will hold at least 2″ of dip with a 2″ clearance above the liquid level for safety. With these sizes you can dip a coil of wire without any bends being created.

Place wires or findings in dip without splashing. It can be removed immediately with fingers if you prefer but better with long tweezers, a crochet hook or old pliers. The dip WILL freeze the joint of the pliers if you allow it to dry in the joint so hold them nose down and dry them nose down.

Let excess drip off then lightly drop on newspaper and paper towel lined tray. Stretch your wire coil (or separate multiple findings) so the dip does not dry on two connected items. You want to avoid rough spots this may create. We’re after a smooth, thin coating. Curing time is short. Generic brands cure faster. Allow at least ten minutes for hard curing.

If item being dipped (such as a base metal cab setting) has “holes” or filigree, be sure to lightly blow through the holes to prevent a film from forming.

If dipping a finished base metal piece or chain hang from a pin or hook above your absorbent pad to let any excess drip off. Chains will be a little bit stiff but just run them through your fingers when dry and they will be fine. We work with wire so any of us can make a stand from which to hang these pieces from stiff wire (coil the base, then make an arched rise with a hook on the end).

Touch up (with small paint brush) any places where pliers may have broken through dip coating while you were working with it.

Notes and Cautions

I will also dip inexpensive porous cabochons that I use in practice pieces. It works as a hardener for soft stones such as chalk turquoise and as a color fixer for dyed stone. DO NOT use on highly- polished hard stones or beads!

DO NOT use on any thread if you use thread in your work. It will make the thread brittle so it breaks. DO NOT use on leather. DO use as a sealer on acrylic painted items.

Double-dipping high wear items is a good thing. Be sure coating is cured between dippings.

Always test materials other than wire before using dip.

Product cleans up easily with water when wet. Tools like paint brushes or crochet hooks should be kept in water between uses, then dried when you finish. Avoid shaking wet items excessively as droplets may get on work surfaces and any nearby carpet or even on your clothing, then be missed.

Please practice methods before using on important pieces!!!!

I’ve developed this method over about 9 years of jewelry making in various styles and it has worked for me quite well. I love the fact that with this dip I can wear base metal ear wires! When I make copper or brass earrings I want the findings to match!

I kept this as my “secret process” for almost six years. Now I’m sharing it freely with hopes that you all benefit.

Credits: In “The Art of Painting on Rocks” by Lin Wellford this material was suggested as a paint protective coating. I took the idea further. My thanks to Lin.

P. Casey Willson

Wire-Sculpture does not guarantee any results from this method, and is not liable for any damage caused by this method. Please be sure to test this method and become familiar with it before transferring it to any finished jewelry pieces.

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Now that you know a bit more about jewelry making wire tempers and have become more familiar with the variety of wire gauges, let’s tie them together with the shapes that are available. Although jewelry making wire can be found in quite a few different shapes, this article will only talk about those that are most often used in the creation of traditional cold-connection wire jewelry design; where the artist uses no solder or glue within the construction. I also need to clarify that when I mention making jump rings, they are “individual” jump rings used to attach components and chains, not necessarily for chain maille, as there are plenty of experts on that art form.

Round wire is the least expensive to purchase and the most commonly available. This is because all wire shapes begin as round; for any use, round wire doesn’t need to be reshaped, just resized, keeping fabrication costs down. Round wire is available in all gauges, but those most often used in wire jewelry design are between 28 and 14. Round wire cannot be “twisted” with any visible effect; because it is already round, individually twisting it will only harden the wire. However, two or more round wires can be twisted together with great success and the results can be used to make bracelets and heavy collars.

The smaller sizes, 28-gauge, 26-gauge, and 24-gauge, in dead soft temper, are great for: executing a Viking Knit chain, which can also be modified into a cabochon pendant frame; crocheting bracelets and necklaces, often adding small beads, pearls, and charms; coiling around larger round wire such as 21-gauge, 20-gauge, or 18-gauge to produce ornate frames for larger focal beads, necklaces, bracelets and earrings, as well as around smaller beads in ring designs. It can also be used to execute intricate woven and braided patterns, and for wrapping around the delicate tops of briolette crystals and gemstone beads. Small half-hard and medium-hard round wire is also used to make lightweight headpins and to attach pearls and beads with very small holes to larger designs; such as “stringing” pearls on a small wire and then connecting it within a heavier pendant or bracelet frame.

Medium-sized round wire in gauges 21 and 20 is considered a multi-purpose round wire. Both gauges, in either a half-hard or full-hard temper, are the most popular choices when making any style of ear wires, as well as for creating individual jump rings, light-weight hooks and clasps, pins for broaches and to make customized eye and headpins. In dead soft and medium-hard, both 21-gauge and 20-gauge can be used to form beautifully uniform spirals. All three mentioned tempers of 21-gauge and 20-gauge round wires can be used to make wrapped loops and for links and rosary-style work. Some folks like to make sculpted jewelry pieces and tumbled rock “cages” using dead soft round wire in either 20-gauge  or 21-gauge, which is also popular with those who work with wire jigs.

Large round wire, in 18- and 16-gauge, is best used in a dead soft temper because it work-hardens extremely quickly. Most often used to make neck wires, collars, and bracelet frames, large-gauge dead soft wire can be a lot of fun to work with! Try using a chasing hammer to flatten and harden it, and then use an embossing hammer to add interesting texture like dimples. In this fashion, interesting freeform rings, earrings, and other designs take on a life of their own. These wires can also be used to coil smaller round wire around. Heavier necklaces and bracelets need clasps and hooks made from 18- or 16-gauge wire, as well as individual jump rings that add strength when attaching handcrafted components together. In half-hard, both of these wires are very tough, have a lot of spring. Caution is advised when hammering medium hard colored craft wire because often the colored coating can lose its adherence to the base metal, causing chips in the color that are difficult to repair.

The heaviest wire used by wire jewelry artists is usually 14-gauge, and occasionally 12-gauge. In a dead soft temper, the best use for these very large wires is for upper arm bracelets, hair combs and as the base frame for tiaras, crowns and torque styled neck pieces.

Square wire is the preferred choice of those wire artists who execute traditional designs in half-hard and sculpted designs using dead soft. It is created by pulling round wire through a square drawing die. All tempers and gauges of square wire can be twisted to produce a “diamond-cut” effect. (For more information and details about twisting wire, please read “Getting Twisted.”)

The smallest square wire that is most often used is 24-gauge. In a half-hard temper, this wire can be used to create about everything that can be made with 21g round wire, but for smaller applications. Choices may include individual tiny jump rings and earring and pendant frames for small cabochons and cut stones. In dead soft, 24-gauge can be used to sculpt settings for very small stones.

Probably the most universal size of half-hard square wire is 22-gauge. In traditional wire jewelry designs, 22-gauge half-hard can be utilized to make about anything from framing cabochons to creating ladies fashion rings.

21-gauge half-hard square wire can be used to make ear wires! Yes, twisted square wire will create an ear wire that is relatively “slipless.” This gauge and temper is also good to use when making bracelets, earrings and necklace components as well as for making clasps, hooks and headpins. Rings for men, such as the classic cabochon ring, come out really well when made with either 21 or 20-gauge square half-hard wire. In dead soft temper, both 20- and 21-gauge are popular for sculpting items like cabochon pendants and earrings and some patterns call for these dead soft gauges in certain ring designs.

Larger gauges of square wire in a half-hard temper, such as 18 and 16, work well for very heavy bracelets and when making a variety of clasps and handmade components that need to be able to handle a lot of stress. In dead soft, they texture well for interesting effects and work-harden quickly.

12- and 14-gauge square wires are very thick and are most often worked with in a dead soft temper to make all manner of arm cuffs, neck wires and torque-like necklaces, as well as the base frames for crowns and tiaras.

Half Round wire in all gauges is basically used as a “wrapping” wire to hold square wire bundles together. In a dead soft, the smaller gauges, 20, 21 and 22, the wire will not be strong enough to hold too many wires together without making lots of wraps. In a half-hard, gauges 20 through 16 can be used in pendant frames, rings, bracelets and necklaces. Half-round wire can also be individually twisted, for a cork-screw look that is interesting in earring designs.

Tip: Because gauges of half-round are half the size of the same gauge in square or round wire, do not combine matching gauges; always choose a larger wrap wire. For example: a bracelet made using 20-gauge square wire will not stay together tightly if a 20-gauge half-round is used for the wraps. Instead, for a 20-gauge project choose an 18-gauge half-round, half-hard as the wrap wire.

Pattern wire is made by milling round wire through a drawing die that presses the metal against a form or pattern, such as vines, flowers or geometric designs. Jewelry making pattern wire in copper, sterling silver and gold-filled can be found in a variety of widths (the distance across the top of the wire) and thicknesses. Large, heavy-gauge pattern wire can be formed into a bracelet or neck collar by itself. Almost all pattern wire can be combined with half-hard square wire to make bracelets, necklaces and even rings. When choosing to combine pattern wire with square, be sure the thickness of the pattern wire matches the size of the square wire, so one does not pull down or over the other while they are being wrapped together.

Of course, as you are the designer of your projects, this article is not meant to be a definitive guide to wire jewelry creation; rather it is meant to be a sampling of what has, and can be done with the variety of shapes, gauges and tempers of the most popular jewelry wires available today. If you are just starting out, I hope I have explained some of the questions that may have been confusing you; if you are an experienced wire artist who may be contemplating a new design, these articles may save you some possibly expensive experimentation, or suggest possibilities that may not have occurred to you – yet.

As always, Stay Twisted!!

Dale/Cougar

In Part 1 of this series, How to Choose Wire Temper for Making Jewelry, we learned about the most popular wire tempers that are used to make wire jewelry designs. Now we will learn a bit about the size or gauge of jewelry making wire, along with some examples of how different gauges may be used.

When looking at the gauge numbers of wire, it is normal to think: “the larger the number, the bigger the wire.” However, wire gauges actually work in reverse: “the larger the number, the smaller the wire.” This is because all jewelry wire sizes begin at the number 0, and each time the wire is passed through a drawing die, it becomes smaller. So, a wire that is labeled as 22-gauge has been pulled 22 times, and it is 22 times smaller than its original size. The gauge equals the diameter of the wire, meaning the distance straight across its center.

In North America, the size of the holes in a wire-drawing die is based on a geometric formula developed in 1855 by the machine-tool company, Brown and Sharpe. This progression of 39 sizes is known as the American Wire Gauge (AWG). All of the wire stocked by Wire-Sculpture is labeled using the AWG. Other parts of the world may use the British Standard Wire Gauge (SWG), where the sizes are just a hair larger than those of the AWG. (For example: AWG 20-gauge = 0.813mm and SWG 20-gauge = 0.914mm.) For the purpose of this article, all references below relate to the American Wire Gauge (AWG).

28-34-gauge
These are extremely fine wires, with diameters that measure from 0.013-.006 inches or 0.32-.16 millimeters. When thinking about using these wires, compare them to sewing thread. They can be used for coiling, weaving, knitting, and crocheting, as well as to work with feather-weight small-holed pearls and seed beads. If it should become kinked, this wire will easily break.

26-gauge
Measuring .016 inches or .41 millimeters in diameter, this is also a thin wire, but unlike the extremely fine wires (above) it is amazingly strong. In a round shape, one of its most popular uses is to coil it around a larger-gauge wire. It can also be used to knit, crochet, and weave, and to attach small-hole pearls and beads to other projects.

24-gauge
This is the first gauge in this list that can be used in the base creation of both sculpted and traditional wire jewelry designs. The diameter of 24-gauge wire measures 0.020 inches or 0.51 millimeters. In a round shape, it can be used more aggressively in the same manners as the 26-gauge above, and in a square shape 24-gauge can be used to make frames and wire settings for smaller cabochons and faceted stones. It is also used to make individual jump rings and head pins, as well as wrapping the tops of briolettes.

22-gauge
The diameter of this wire measures 0.025 inches or 0.64 millimeters. In a square shape, this is the preferred gauge for most traditional wire jewelry designs, such as bracelets, rings, and pendants for women and children. It is often used to make settings and frames for small-to-medium sized cabochons and cut stones. 22-gauge round is also used for larger coiling projects and those with experience will also use it for weaving and braiding designs. As a multi-purpose wire, it makes a nice double wrapped hook, head pins, smaller clasps, and it can be used to make individual jump rings.

21-gauge
Slightly larger than the 22-gauge, the diameter of 21-gauge wire measures 0.0285 inches or .723 millimeters. In a square shape, this small difference in size will match 21-gauge wire with the thickness of several pattern wires, so that they may be used together in bracelet and pendant designs. It can be used in all of the same projects listed for 22-gauge, but in a heavier fashion, meaning anything made with 21-gauge wire is suitable for men. It is the preferred gauge for making most prong projects and rings. Round 21-gauge wire is also an excellent choice when creating hooks and eyes, individual jump rings and other components that need to handle more stress. It is the preferred choice for making ear wires.

20-gauge
20-gauge wire measures 0.032 inches or .81 millimeters in diameter. In a round shape, 20-gauge wire is good for clasps, double wrapped hooks, head pins, ear wires and many other handcrafted components. The square 20-gauge wire is most often used to make heavier jewelry such as bracelets and rings for men, as well as to create neck collars for women.

18-gauge
Measures 0.040 inches or 1.02 millimeters in diameter and it is a very strong wire. It works well for making all types of hooks and clasps and for wire wrapping beads with large holes. It is used often when making ornate bracelets and when creating wire collars and heavier neck pieces.

16-gauge
This is a thicker wire that measures 0.051 inches or 1.29 millimeters in diameter. It can be used to make neck wires, freeform rings, bracelets and bracelet bases.

14-gauge
Probably the heaviest wire most wire artists will use, its diameter measures .0641 inches or 1.63 millimeters. Most often used in a dead soft temper, 14-gauge wire is perfect for making neckpieces, arm cuffs and bracelet frames.
What are your favorite gauges to work in? Leave a comment below! Next time, we’ll cover the last topic in this 3-part series on jewelry making wire, on Choosing Wire Shape.

Wire Jewelry Idea for
November 2, 2011

Here at Wire-Sculpture, we cut our wire by the foot for your convenience, rather than shipping you a quarter-ounce, half-ounce, or full ounce of jewelry wire. (Remember: precious metal is measured in ozt, or troy ounces) But what if you’re familiar with ordering by the ounce, as some precious metals are, or what if your electrician friend offered you a couple pounds of scrap copper wire? Is it worth the drive across town?

We’ve collected data on Gold-Filled, Sterling Silver, and Argentium® wires, the most common wires to be sold by weight, and put it in a convenient chart for you. We’ve also included our chart on Copper and Brass, which are often measured by the pound. Please note, all values are approximate.

Download Wire Length-per-Weight Charts (60KB)  |  Download Adobe Reader

Click to Download!

Feel free to bookmark this page, or our other Wire Charts page, and come back as often as you like!

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You have decided to give wire jewelry making a try, congratulations! It is a lot of fun, but there are so many different sizes or gauges, tempers or hardness and shapes of jewelry making wire to choose from, that one can easily become confused. One of the questions I am often asked about a variety of projects is, “What type of wire can I use?” In this short series of “About Jewelry Making Wire” articles, I hope to be able to cure most of your curiosity and confusion.

How to choose the wire hardness

Referring to metals, a wire’s “hardness” or temper is the measurement of its malleability; how easy is the wire to control, shape and/or bend without breaking.  When purchasing jewelry making wire, you will find that it is available in several different levels of hardness. Depending on the metal, the most popular jewelry wires can be categorized into four groups: hard, half hard, medium hard, and dead soft. Wire tempers may also be labeled by number:

• Full Hard #4
• Half Hard #2
• Medium Hard #1
• Dead Soft #0

Full Hard Wire is difficult to bend and expertly holds its shape in whatever configuration it is worked into. Hard wire can be used to make ear wires, pins, single jump rings, hook,s and clasps that will get a lot of use; because the harder the wire, the more “spring” it naturally has. For example: the pin on a well-loved brooch will be pushed back and forth many times, therefore a harder wire will withstand more use before possible breakage.

Half Hard Wire is definitely more malleable than full hard, and it is the most popular wire temper for those who create “traditional” wire jewelry items. This wire will beautifully hold any shape it is bent into and because it will work harden quickly, it is the perfect choice for executing prong designs. Half hard wire forms crisp clean angles and smooth spirals and curves, and it is the preferred choice when making jump rings.

This prong ring was made in half hard gold filled wire.

Medium Hard Wire is just a bit more soft than half hard wire, usually found as silver-plated and colored craft wire. Because this wire has enough temper to create almost all of the same projects as half hard wire, it can be a great substitute for those with more sensitive hands and fingers. However, because the core of most craft wires is generally copper, it is not recommended for prong creation.

Dead Soft Wire is extremely malleable and it can be easily bent into a myriad of shapes by using just your hands. It is great for making loops, swirls, spirals, and sculpted wire jewelry pieces. Dead soft wire is also used for coiling, crocheting, knitting, and weaving, or to mix with half hard wire in certain situations. Depending on the size (gauge) of the wire, dead soft wire does not hold its shape in stress situations, such as prongs; however, it can be hardened and/or beautifully textured by using a variety of jewelers’ hammers.

Please keep in mind, that most jewelry making wire will “work harden” as it is bent and formed, making the harder tempers more difficult to work with near the end of a project. This feature can be an advantage while making certain items that will take a lot of stress such as hooks, clasps, and pins, to name a few. The temper of a wire may also appear to harder to work with, depending on the size or gauge of a wire. For example, bending a piece of 22-gauge half hard wire is much easier than bending a piece of 14-gauge half hard wire, because 14-gauge is larger. We’ll talk more about gauges in the next article.

What’s your favorite temper to work with, or do you mix and match? Leave a comment below!

Question:

Hi Dale, I’ve learned a lot watching your videos and reading these tips. Thanks! My question has to do with framed freeform cab pendants. I’ve been intimidated about trying to wrap them (or structured ones using that style) because I can’t figure out how to determine where the binding wires should be placed. Is there a basic concept I’m missing? Seems like it would be logical, but I’d appreciate your help with this. Thanks.

-Jackie in Ellenville, New York

Answer:

Hi Jackie, first I have to ask, do you have my Beginner DVD #2? The reason I ask is because the main project on that DVD is how to wrap a freeform cabochon, taking about “where” to place wraps and why, which would completely answer your question with both visual instruction as well as all of the extra stuff I talk about in classes.

Freeform Cabochons are arguably the hardest “shape” to wire wrap, which is why Dale teaches it; after discovering how to use the formulas, you can make a frame for cabochons with any dimensions.

Basically wherever you want to make a “pull” (pull a wire from the frame onto the stone), you need to do it immediately after a wrap, BUT you do not have to make a pull wherever there IS a wrap. When you look at a freeform cab and decide what will be the top (where the bail will be) then you have to decide where you “need” to make pulls to hold the stone securely in its frame as well as how much wire you want on the stone. Thinking about this, what are some of the features you do not want to cover up? What are some of the features that you would like to enhance by “framing” with a pull wire?

For practice, work on a harder stone such as an agate and make the first pulls on the back of the piece, experimenting with different sized pliers, like chain nose for shallow pulls and flat nose for deeper ones. Your results will help you decide which to use on the front of the stone. Seriously, my best advice is to get the DVD I mentioned above; within my directions I also give you the formulas to follow so you can make ANY size or shape cabochon into a stunning pendant!

Answer contributed by Dale “Cougar” Armstrong

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Question:

What gauge and temper of wire is used for the intricate lacy curlicues commonly fill in the outlines of filigree components?

-Shelly in Mililani, Hawaii

Answer:

Hi Shelly, the wire that I use to create "cold" filigree is usually 24-gauge half hard square, that I twist before I work with it. To learn how to create, curve, tease, and connect cold filigree, may I suggest checking out my Cold Filigree Wide Cuff Bracelet DVD?

If you mean "traditional" filigree, then I would recommend getting a copy of my friend Jean Rhodes-Moen’s book, Silver Threads (ISBN 0-87116-221-0), because she is an authority on Norwegian filigree jewelry design and technique.

Answer contributed by Dale “Cougar” Armstrong

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