Continuation of Module 4

It feels kinda weird, I'm almost done with module 4. I really only have a few projects left to work on. Craziness. Anyway, the photos of the next few things are not the best- do not have photoshop anymore on my laptop to fix the lighting, etc. Long story. Ok, onward!

This ring was actually part of module 3. We had to learn how to make a rubber mold of a prototype in order to be able to wax inject, and create copies. This ring was my proto. I successfully made the mold, but have not pulled a successful wax from it. I need to create an extra channel into the rubber to allow the air someplace to go so the wax will flow through the entire mold. Someday.

These two are from an enameling workshop. I keep forgetting to bring home the two others that I made. Need to take pictures of them.

This one was pretty consuming, I don't really know why I did it, other than the end product is AWESOME!! Ahem, right. It's sterling silver. I cut out the dream-catcher design, and then cut out little pieces of copper and hammered the suckers into place. Then I soldered everything so they wouldn't fall out. This little plate was pretty thin, so I decided to bezel set it to give it some integrity. I antiqued the inside to get that black background seen through the silver.

A pair of earrings made to match the above cuff. Again, pierced silver with copper inlaid into the sections.

I got a little obsessed with the whole inlay thing. I made this copper pendent with silver inlay to go with the ring that was a prototype for mold making. Not really meant to be an exact match like with the cuff and earrings above.

So, it's funny the metal used for this piece is actually from waaaaaaaaaaay back when I took my first intro to jewelry making when I lived down in Silver Spring, MD. I had made a cool texture into copper but the sheet was too thin to really do anything about it, so the teacher suggested I solder it to a sheet of silver. Makes it thicker, and then won't get green finger. I never shaped it into anything, I just had this sheet of copper soldered to silver. I kept it not really knowing what to do with it. My most recent visit home to NY I looked at it wondering if I should throw it out. Brought it out to Cali with me instead. Part of my jewelry line in module 4 needed a ring, so, I got rid of the old texture, pierced out a design, bent it into a ring, gave it a new texture and fired it.

I have some familiar pieces next:

Finally made a necklace to go with this pendent. Brought the beads back from NY, and the bead loom on which I 'wove' the necklace.

Simple bead stringing job. Combination of wood, bone, and then the multicolored beads, I'm not really sure what they're made of. But they were recycled from an old necklace, something I believe belonged to my mom (thanks Ima!).

Decided this piece needed a refiring. Look at those awesome colors!!! The photo really doesn't do it justice, they are way cooler in real life.

Another copper piece that got the firing treatment. This guy was project #2 waaaaay back last January. Hard to believe it's that long ago. I re-burnished it; it had oxidized and got ugly. Then applied flame and awesome colors appeared.

So, last but not least, I decided to make a new mezuza for my new apartment. I kinda broke the other one from my last apartment, right after removing it, too. Anyway, it's not perfect in terms of the soldering assembly (which you can't see), but I'm really proud of the design. As long as it hangs on the door without falling off, it's all good:

Piece de Resistance

Could not wait to share this one with you guys. Very intricate mask; copper piercing and then inlaid silver into some of the cutouts. Used my firing technique to get all the awesome colors.

This is the back. The silver inlay are the yellowish shapes in the copper.

Free Reign in Module 4

So, I'm almost done with module 3 and have been working in module 4 instead. Because I can. And it turns out all those copper pieces I was just making for fun can count towards my jewelry line for module 4. I'm pretty proud of the next few pieces:

This piece I actually made a while back and forgot that I had it. Small turquoise stone in the center. The beige is actually part of the stone and not a chip or anything. Since I seem to have an obsession with piercing, again, I drew out a design, glued it to the metal, sawed out the image, soldered on the bezel, made sure the piece was the color I wanted, and then last set the stone.

More piercing. This one I soldered silver domes onto, give it something a little extra. Originally it did not have this shiny appearance. I had cut out the the copper, did my soldering, and then fired it up. Something wasn't right though. After working on another piece I went back and used the technique I picked up. Smoothing the metal out, burnishing it up to a shine, and then firing.

In this project I had some fun trying to figure out how to set the stone in. Luckily, when I soldered the bezel into the design, I did not solder the swirls to the edge of the bezel. This way, I pulled the swirl out, and was able to use a reciprocating hammer. The piece is attached to the flex-shaft. When you press the pedal it makes the tip of the hammer tap at the metal with much more force and with more precision than can be done by hand. Before setting though- because of all my soldering I wanted to make sure my joints were strong, so I threw the piece in the pickle to get rid of any dirt or grime that might be holding the piece together, and not the solder. I fired the piece after. It's a little hard to tell with this picture, but because of the pickle the texture is a bit frosty as opposed to having a sheen underneath like when I burnished the above cuff, or leave the metal unburnished and it looks like leather.

This one, is what I'm really proud of. This was the piece I figured out the burnishing and then firing technique on. Simply cut out a flat sheet of copper, took forever to texturize using a giant ball burr. Because of the burring, the metal became very rough so I needed to burnish it smooth. After burnishing I fired it up. This is actually after it's second firing. First firing, colors were not as strong and I think they started to fade, so this afternoon I went and made the colors stronger. I'm not sure if it makes a difference, but with this piece after quenching, I wouldn't dry it before applying the flame again. It's seems it's also a matter of how close I hold the flame to the piece, starting off close and then pulling away. Certainly the size of the flame also matters. But yeh, totally stoke about this one.

And now, unrelated to jewelry, I know construction and quality are certainly not amazing from a professional point of view, but I sewed together an outfit. Material is cotton jersey:

Angle of the picture makes me look super freaking short, but the pants come to just past calf length.

More module 3

So, this post has only one project but I am soooo excited about it. Still working in wax. This was a wax carve-out. Basically carving an image/design into the wax. Back in my last semester in college my final senior "thesis" of sorts was a series of pen and ink drawings that were abstractions of a coiled snake. Here's just one of the 10 I had made:

To start I drew out a new design. We reduced the image down to the size I wanted for my pendent. After gluing the piece of paper onto a flat block of wax I poked holes into it deep into the wax in order to get an outline of all the details in the image. After peeling the paper off there was just a lot of carving to do. Since I wanted to increase the 3-dimensionality of the piece I carved it so that the pendent would be domed. Then I needed to hollow out the back. When I considered that design done I weighed the wax and did the conversion factor to see how much silver I would need- 43.5 grams of silver. IE a fuckton. So, more thinning out of the wax form was called for. When I finished, the calculation came out to 32.5 grams, so, MUCH better, but still a lot. For casting I had to add on a network of sprues for the metal to flow through the entire piece and attach it to a base:

Apparently I took the picture before I added the last 2 sprues (one on either side of the pink wax).
After all of that added wax- the piece came out to needing about 42 grams of silver. We did a process known as investing, which is creating a plaster mold of the wax. A steel cylinder is placed into the rubber base and looks like this. The plaster is then poured into the cylinder and allowed to cure. After, you pry the rubber base off and now have a hole for the wax to melt out of when placed into the oven. Next is the actual casting, which is awesome.
Had to saw off the entire sprue system. Normal polishing involves two steps: zam compound which is more of a burnisher and takes away metal, and step two is the rouge compound which really buffs a piece up and does not take off any metal. I took my piece and zammed it. Then, I went and got the silver-black which is a sulfur mixture that antiques silver. I got the entire piece nice and black, made sure to get into every crevice. Then I rouged up the piece and left certain areas in the piece antiqued. This makes the piece look even more defined. Gives it character:

I forgot to mention that I also carved out a little wax form for the bale to hold the pendent. Polished it up the same way as the pendent itself. Drilled a hole into each piece and connected them with a jump ring. The chain is from another necklace.
Here's the back of the piece all hollowed out. Had the texture in the wax and it came out just like I wanted. What's fun is having hollowed it out, it's not a smooth interior- it looks like the outside inversed:

So, there you have it!

Cont. Module 3

So, I've been very bad and it's been a long time since my last post. I can't remember as well how each project was done, so descriptions will probably be shorter. Enjoy though!

PROJECT 41

As I had mentioned in my last post, this ring was the same casting as in project 36. This time we had to use triangular stones. There is a term "trillian" although those stones have more of a bowed out side than straight edge. Basically the same process as before. Made one wall thinner. Then cut in seats, a little tricky based on how far apart you want the stones to be. Tap over the thinned out wall. Bevel the edge of the thicker wall and tap that one as well. Rather than just leave the shape as is, I went for something different and filed to follow the outside edges of the end stones.

PROJECT 42

This type of setting is called a half bezel. Started off with soldering a sheet into a tube shape. Bent/hammered into shape to fit the stone. Cut the half circle shapes into the sides. We had a choice of making this into a pendent or a ring, so I made a nice shank and soldered the bezel into it. Because the metal of the bezel is so thick, it's not a simple fold over job like with a regular bezel. It's more like channel setting. Had to cut seats into the sides, thin out one wall to tap over, and bevel the edge of the other wall to be able to tap in that side. I actually had an oops moment when working on this piece. The shank I made was a little too thin at the seam. When I was tapping over one of the walls, the shank snapped at its solder seam. I tried to re-solder without taking my stone out, but the heat cracked it in the end. So I had to take the stone out and reset. But, it came out alright anyway.

PROJECT 43

This was just practice to learn how to do pave. I think we used 2.5 mm stones. Basic strategy is to etch lines on the flat surface and mark out even placement of the stones. Drill holes where each stone is to be set. Then using a ball-bur made the hole wide and deep enough to fit the stone. Used a heart bur to cut a seat low enough so that the girdle of the stone sat just below the surface of the metal. Then using a beading tool, push the metal into little beads around the edges of the stones to hold them in place. The inside edge of the triangle was made smooth and angled in by a rubber wheel. The rim of the edge was ridged by a tool called mill-grain.

PROJECT 44

The process of this project was called bead and bright cut. This was just practice, hence, the copper. Basic idea was to first drill a hole and bur out a space for the stone, then cut into the silver angled in until you're left with the "prongs" that will eventually hold the stone. A lot more steps than I felt was necessary went into creating those flat angled sides, but so it goes. Setting involved putting the stone in and making sure it was low enough. Used the beading tool again to push the metal into a bead over the edge of the stone. Mill grained the edges of the square.

PROJECT 45

 












This is called an eternity band. Essentially used the bead and bright cut technique only into a ring band. It was good practice.

I'm done with writing down project numbers. Anyway, I started on learning how to make wax patterns.
Basic 'D' Blank

Initial Ring (decided I might as well just write my name out already)

I actually got to cast this one, so, here's the finished product:

Scroll Ring

 












Signet Ring

Build Up

I had a lapidary workshop, which is learning how to cab stones (make into the cabochon shape). These are my pretty babies:

This was day one's product. We were just learning how, so I went through all the steps on just the one. I did however begin to draw the shapes out on the other pieces of agate I wanted to work on and get the rough cut out of the slabs.
Kind of makes you think of Grand Canyon or any other mountain-desert area.





Day 2 was a little more productive. Completed two cabs and fully cut out the shapes of the other stones I wanted to work on.


It's snow falling on cedars!












Day 3- the rest of the stones I worked on, rather than doing each one all the way through, I went step by step through all of them at a time. I also skipped a step involving "gluing" the cab to a stick to make it easier to hold as you grind away the sharp edges and smooth the stone out. It involved sacrificing some fingernails, but it was totally worth it!!
I call this one the Eye of Sauron. I'm a dork, you know it.

A little more egg shaped than the others.

The following pictures are two sides to the same stone, so, a double-cab:

I liked the hint of yellow glowing in the center.









 So, yeh, this was a very very productive workshop.








And now, to show some of the pieces of jewelry that I've made on my own time. Tuesday nights and Friday afternoons we're allowed to stay late and work on projects not related to schoolwork. I started getting into working with copper. Piercing the pieces, and then blow-torching the bitches up to get awesome coloration in the metal. And because of that firing, the colors don't oxidize and turn dark. Only one piece has started to do that- the swirl design. It's because the top layer was textured and non-torched copper exposed to the air will turn dark.

This is a cloak pin. It needed to be heavy enough to hold my cloak together, so the metal is pretty thick. But check out that red background! Two layers of copper were used. The top, pierced layer, was domed out before I soldered it to the base.
This was the first piece I discovered the firing technique for. Because the metal was so thick, I was having a hard time soldering the dome to the base with my tiny torch. So I took it into the back room and used the torch normally used for melting down metal. For the solder to finally flow, the metal ended up getting quite hot (turning hot metal red), and then I quenched it. What came out of it was all these awesome colors.

Again, two layers of metal. Top is pierced, soldered to a base. Every time I do a different piece, the colors come out different.

Once again, domed and pierced soldered to a base.

There's another circle on the other side of the center circle that you can't see. Wrist cuff. It looks like leather until you see it really up close. The beads are silver.