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insideTapered Byzantine earrings .........3

The Greek Key .................................5

Adjustable-shank Wire-wrapped Ring ........................8

Forged Teardrop Bracelet .............12

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wire4easyprojects

Wire, as a medium, offers endless variety and invention for jewelry makers of all skill levels. To get you started

in wireworking, here are four of our favorite projects from our online archives — projects previously unavailable in print.

Jewelrya supplement to Art Jewelry magazine

Tapered Byzantine

Earrings Make 76 jump rings flow like liquid.

PRECISELY GRADUATED BYZANTINE CHAIN

Artists have long used the deceptively simple and

extremely adaptable Byzantine pattern as the basis

for both whole chains (as in the featured earrings)

and individual segments of multipatterned chains.

A single segment of the Byzantine pattern consists of 14

jump rings and has an open pair of jump rings on each end.

It’s these open pairs of jump rings that make the pattern so

adaptable; when you’ve completed one segment, you can

either continue with another identical segment to form a

strictly Byzantine chain, or you can switch to another chain

style to mix things up.

In these elegant earrings, you’ll use an increasingly larger

pair of jump rings for the final pair of each pattern. The

result is a graceful graduation that gives the finished chain

mail its slinky movement.

by John Fetvedt

By using four different sizes of jump rings, you can take a simple Byzantine pattern to elegant, tapered lengths. These earrings are approximately 2 in. (51 mm) long.

materialsSterling silver jump rings:

22-gauge (0.6 mm), 2.4 mm inside diameter (ID), 2420-gauge (0.8 mm), 3 mm ID, 2418-gauge (1.0 mm), 3.5 mm ID, 2416-gauge (1.3 mm), 4 mm ID, 4

Pair of ear wires

tools & suppliesPliers: 2 pairs chainnose, bentnose, or flatnoseScrap wire or paper clipPick or awlOptivisor (optional)Tumbler, steel shot, burnishing compound (optional)

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chain mail

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Make the first segment. Begin one segment of the Byzantine pattern, using twelve 2.4 mm inside diameter (ID) jump rings (see “Basic Byzantine,” page 5, for instructions) [1]. (You’ll be stopping after you add the fifth and sixth pairs.) Flip the sixth pair of jump rings back to expose the fifth pair. Insert a pick or awl between the fifth pair to expose the sixth pair. Thread one 3 mm ID jump ring through the exposed sixth pair, and close it. Repeat with a second 3 mm jump ring [2]. This newly added pair of rings completes the first segment and constitutes the first two rings in the second segment.

TIP: A pick is a handy tool

for opening the correct path

for the next jump ring in the

chain you’re making. I made

my pick by drilling a small

hole in the end of a 4-in.

(10.2 cm) wooden dowel and

using epoxy to secure the

eye end of a #22 tapestry

needle in the hole.

Make the second segment. Continue the second segment with 10 more 3 mm rings. Then, flip back the sixth pair of jump rings in the second segment to expose the fifth pair. Insert your pick or awl between the fifth pair to expose the sixth pair. Thread a 3.5 mm ID jump ring through the exposed pair, then close it. Repeat with a second 3.5 mm jump ring [3]. This newly added pair completes the second segment and constitutes the first pair of rings in the third segment.

Complete the earrings. Complete the third segment of chain with 10 more 3.5 mm rings. Flip back the sixth pair of 3.5 mm rings to expose the fifth pair, then push the fifth pair apart to expose the sixth pair. Insert a 4 mm ID jump ring through the exposed pair and close it; repeat with a second 4 mm ring [4]. These newly added rings complete the third segment.

Remove the scrap wire or paper clip, and attach an ear wire to the 2.4 mm jump rings at the start of the chain [5]. Repeat the process to make a second earring.

If desired, burnish your completed earrings in a tumbler with steel shot and burnishing compound.

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John Fetvedt works primarily with silver, gold, and titanium in such techniques as anticlastic forming, casting, chain making, etching, foldforming, forging, and stone setting. He teaches chain making and chain mail classes at The Crafts Center at North Carolina State University, the William Holland School of Lapidary Arts in Young Harris, Ga., The ArtsCenter in Carrboro, N.C., the Interweave Bead Fest shows, and for the Southeast Federation of Mineralogical Societies and the Eastern Federation of Mineralogical and Lapidary Societies.

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help! i’ve made a box chainThe Byzantine pattern always starts with three pairs of jump rings linked in a simple 2+2+2 chain. For the featured earrings, the final pair of rings in the first segment acts as the first pair of jump rings in the second segment.

To continue the second segment, you’ll first need to add two pairs of rings (the last two pairs of the 2+2+2 sequence), working, of course, in the new ring size [A].

If you forget and add only one pair of rings before pushing them apart to expose the previous pair, you’ll end up with a box chain [B] instead of a classic Byzantine. Pretty, but not what you’re going for.

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Using two pairs of chainnose, bentnose, or flatnose pliers, close two jump rings (for tips on opening and closing jump rings, go to www.artjewelrymag.com/howto ) and thread them on a piece of wire or on a bent paper clip. This will give you something to grasp as you make your chain and will also prevent you from accidentally working on the wrong end.

Add two pairs of jump rings to the first pair to make a 2+2+2 chain [A]. Flip back the third pair to expose the second pair, and then insert a pick or awl between the second pair to expose the third pair [B].

Thread a ring through the third pair in place of the awl, and close the ring [C]. Repeat with a second ring.

Add a fifth and sixth pair of rings to the chain [D]. Push apart the sixth pair to expose the fifth pair, then insert your awl between the fifth pair to expose the sixth pair. Thread a ring through the sixth pair. Close the jump ring, and then repeat with a second ring [E]. This com-pletes one Byzantine segment.

basic byzantine

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by Jan Matzen

examples of the Greek key motif are everywhere in

ancient Greek architecture, textiles, and decorative

arts, like pottery. The pattern is still striking in this

modern, easy chain. as you work, use the metric system

to measure the links, keep the length of the wires uniform,

and adhere to the measurements for each bend. Use a

brass slide gauge to measure in millimeters; it’s easier

than finding 5 ⁄16 in. and 5 ⁄64 in. on a ruler. You’ll soon

be surprised at how accurately you make the

links without measuring.

TheGreek Key

Brass- and copper-wire chain

Use a brass slide gauge to make this modern variation on the Greek key motif.

The brass-and-copper necklace measures 23 in. (58.4 cm).

beginner

wire

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Make copper springs. Use a piece of 10-gauge (2.6 mm) brass wire as a mandrel. Wrap 22-gauge (0.6 mm) copper wire around the mandrel [1]. Keep the wraps tight and uniform. While the spring is on the mandrel, mark it with a permanent marker every 8 mm. Slide the spring off the mandrel, and stretch it slightly at the marks to make cutting easier. Cut the spring at each mark with flush cutters [2], and sand the clipped ends. Squeeze the springs back together to make tight 8 mm springs [3]. Make a total of 51 copper springs.

Cut the brass wire. Cut 26 85 mm pieces of 18-gauge (1.0 mm) brass wire. Bundle the wires with masking tape. Place 400-grit sandpaper on a smooth, level surface and use firm figure 8 motions to rub the ends of the bundled wires against the sandpaper. Set 13 wires aside.

Make 13 key links. Using chainnose or flatnose pliers, grasp 3 mm of the wire end and bend the wire 90 ,̊ making an L. For more precise corners, hold the measured section of wire in the pliers, and use the edge of one jaw to sharply bend the wire. Measure 3 mm from the first bend and make a 90˚ bend to form a U [4]. Measure 6 mm from the second bend and make a 90˚ bend.

Measure 6 mm from the third bend and make a 90˚ bend. Slide a copper spring on the wire [5]. Measure 9 mm from the fourth bend and make a 90˚ bend. Measure 9 mm from the fifth bend and make a 90˚ bend. Slide a copper spring on the wire [6].

Finish the links. Measure 11 mm from the sixth bend and make a 90˚ bend in the opposite direction. Measure 9 mm from the seventh bend and make a 90˚ bend.

Slide a copper spring on the wire. Measure 9 mm from the eighth bend and make a 90˚ bend [7]. Measure 6 mm from the ninth bend and make a 90˚ bend. Measure 6 mm from the 10th bend and make a 90˚ bend. Measure 3 mm from the 11th bend and make a 90˚ bend [8]. Repeat this pattern for the remaining 12 key links. Use flush cutters to trim any extra wire. To work-harden the links, use a tumbler with steel shot and burnishing compound (see www.artjewelrymag.com/howto ).

Make the connecting links. Measure 35 mm from each end of a brass wire and mark the wire. Slide a copper spring on the wire and center it between the two marks. Grasp the wire with flatnose pliers at one mark and make a 90˚ bend. On the other side of the spring, make a 90˚ bend in the opposite direction [9]. Repeat for the remaining 12 wires.

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� ArtJewelry■ Bestof theWeb:WireJewelry

On each side of a wire, measure 9 mm from the last bend and make a 90˚ bend in the opposite direction [10]. Slide the copper spring of a finished brass link on one side of the wire [11], and then finish the bending pattern. Repeat on the other side of the link. Repeat with the remaining links to complete the chain, leaving the last half of the last link unbent.

Make a clasp. Cut 15 cm (6 in.) of 18-gauge (1.0 mm) copper wire. Leaving a 19 mm tail, wrap the wire around the 10-gauge (2.6 mm) mandrel, leaving a 19 mm tail at the other end [12]. Bend one tail 90˚ so that both tails are parallel on the same side of the spring [13].

Measure 6 mm from the spring and make a 90˚ bend in both parallel wires. Measure 6 mm from the last bend and make a 90˚ bend in both wires. Measure 3 mm from the last bend and make a 90˚

bend in both wires to complete the double hook. Work-harden the hook in the tumbler. Slide the hook onto the last connecting link of the necklace [14] and finish bending the last link. tips

• To straighten and clean a wire after you cut it, grasp one end with pliers and pull it through a polishing cloth.

• If you need to correct a mistake, use flatnose pliers to straighten the bends.

• To keep your links organized, lay them out end-to-end as you assemble the necklace.

• To remove permanent marker from the wires, use rubbing alcohol.

wire

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materials Copper wire:

22-gauge (0.6 mm), round, dead-soft, 8 ft. (2.4 m)18-gauge (1.0 mm), round, dead-soft, 6 in. (15 cm)

Brass wire: 18-gauge (1.0 mm), round, dead-soft, 71⁄4 ft. (2.2 m)

tools & suppliesRound mandrel: 10-gauge (2.6 mm) brass wire Permanent marker: blackBrass slide gaugeFlush cuttersSandpaper: 400 grit Tape: maskingPliers: chainnose, flatnose Tumbler, steel shot, burnishing compoundPolishing cloth (optional)Rubbing alcohol (optional)

suppliersRio Grande, 800.545.6566, www.riogrande.comMetalliferous, 888.944.0909, www.metalliferous.comIndian Jewelers Supply Co, 800.545.6540, www.ijsinc.com

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Jan Matzen has many creative outlets, including pottery, weaving, and batik. “After taking a local metalsmithing class, I felt that I had found my artistic/creative muse. Jewelry has a human link unlike other art — it’s chosen and worn as a personal adornment,” she says. Contact: www.playingwithfire1.com.

www.ArtJewelryMag.com �

Comfortably accommodate up to four ring sizes with this adjustable ring.

byJimMcIntosh

Many people can’t wear traditional rings because arthritis, joint

inflammation, or large knuckles make it impossible for them to

slip rings on and off. The shank of this adjustable wire ring easily

expands to slip over a large joint before returning to its original size. I used

Argentium sterling silver wire, but you can use sterling silver, gold-filled, or

another metal. Some people believe that untreated copper can bring relief

to arthritis sufferers, so copper would make a great material for this ring

(though untreated copper may react with your skin, turning it green).

You can make this ring with a variety of wire types and cabochons. The face of the ring measures 11⁄8 x 7⁄8 in. (29 x 22 mm).

Adjustable-Shank Wire-wrapped Ring

Try This on for size

beginner

wire

materialsCabochon: 25 x 18 mmWire:

22-gauge (0.6 mm), square, dead-soft, 45 in. (1.1 m)21-gauge (0.7 mm), half-round, dead-soft, 38 in. (96.5 cm)

tools&suppliesPainter’s tapePermanent marker: fine tipWire cuttersPliers: flatnosePolishing clothTape measureRing mandrelRawhide malletNeedle fileFinishing items (optional): flex shaft, hard felt buff, rouge

suppliersWire, cabochon (Rio Grande, 800.545.6566, www.riogrande.com)

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� Art Jewelry ■ Best of the Web: Wire Jewelry

Measure your cabochon. Cut a 4-in. (10.2 cm) piece of painter’s tape, and trim a 1⁄8-in. (3 mm)-wide strip from the long side of the tape [1]. Set the wide strip aside to use later. Beginning at the center of one long side of the cabochon, wrap the narrow piece of tape around the cabo-chon’s perimeter [2]. Trim the excess tape so that the ends meet but do not overlap.

Use a fine-tip permanent marker to draw a line on the tape opposite where the tape ends meet. This marks the center of the cabochon’s other long side.

Make additional lines about 5 ⁄64 in. (2 mm) to the right and left of the first line [3]. These lines represent how wide you’ll make each wire wrap.

Repeat the series of three lines at the center of each short end of the cabochon. I made the width of my short-end wraps narrower than the long-side wraps.

Determine the wire length. Remove the tape from the stone and place it sticky-side down on your work surface. To find the amount of wire you need, note the length of the tape. Multiply the length by 2 and add 9 in. (22.9 cm).

Prepare the wire. Cut three strands of 22-gauge (0.6 mm) square wire to the determined length. Straighten each wire by holding one end with your flatnose pliers and pulling the wire through a polishing cloth.

Hold the wires side by side, keeping the sides square to each other. Secure the

sizing up the situationWhen you’re sizing rings, you need to keep wire gauge in mind. As the wire gauge gets heavier, additional millimeters are added to a ring size’s cir-cumference. The ring circum-ference in this chart is based on a wire thickness of 1.6 mm.

Tension in the shank of the featured ring may leave a gap of several millimeters between the shank end and the ring base, making the finished ring slightly larger than anticipated. Since this ring is adjustable, you may want to make the ring slightly smaller than your ideal size.

wires with a piece of painter’s tape about 3 in. (76 mm) from the wire ends.

Starting at the taped end, run your fingers down the wires to make sure they don’t overlap or twist. Secure the other end with tape about 3 in. (76 mm) from the wire ends to create a wire bundle [4].

Transfer the wrap lines. Open a tape measure to the length of your wire bundle. Place the marked painter’s tape below the tape measure, aligning the tape’s center mark with the tape measure’s midpoint.

Place the wire bundle below the tape [5]. Line up one end of the bundle with

the end of the tape measure. Use a fine-tip permanent marker to transfer the marks on the tape to the bundle. I do not transfer the center mark of each line group.

Make the center wrap. Cut an 8-in. (20.3 cm) piece of 21-gauge (0.7 mm) half-round wire to use as your wrapping wire. Using flatnose pliers, hold the wrapping wire vertically ½ in. (13 mm) from the top, with its flat side facing you.

With your free hand, fold the long end of the wrapping wire up over the pliers and place it to the right of the short end. Notice that it resembles a checkmark.

ring size chartU.S. ring size

Circumference of finger (mm)

Circumference for 1.6 mm material thickness (mm)

5 49.0 54.0

6 51.5 56.5

7 54.0 59.1

8 56.5 61.6

9 59.1 64.1

10 61.6 66.6

Source: The Contenti Company. Other sources show up to 0.5 mm variance.

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www.ArtJewelryMag.com �

Hook the short end of the wrapping wire over the bundle at the left line of the center marks [6]. Use flatnose pliers to press the wrapping wire in place.

With your fingers, bring the long end of the wrapping wire over the bundle and place it to the right of the short end. Press the wrapping wire down on the bundle to secure it [7].

Continue wrapping with the long end of the wire until you reach the right line of the center mark. I made seven wraps on my ring.

Make sure that the last wrap leaves the tail of the wrapping wire on the same side of the wire bundle as the wrap lines (the side with the exposed wire ends will be the inside of the bezel).

Trim the ends of the wrapping wire so that neither end extends past the edge of the bundle. Press each wire end again with the pliers to set the wire.

Make the left and right end wraps. Make the left wrap as you did the center wrap. I wrapped the wire around the bundle five times for my end wrap. Trim the wires, but do not press the wire ends

against the bundle. Repeat to make the right wrap.

Form the bezel. Align the wire bundle so that the center wrap is in the middle of one long side of the cabochon [8], and bend the wire bundle into a U shape [9].

If the end wraps aren’t centered on the left and right ends of the cabochon, adjust them now. When they are centered, use flatnose pliers to set the loose ends by pressing them to the bundle.

Make the cabochon supports. Hold the wire bundle in your nondominant hand and use flatnose pliers to grasp the bottom wire on one side of the center wrap.

Twist the pliers to make a small bend toward the middle of the bezel. Repeat on the adjacent wrap [10], and then repeat on the other side of the center wrap.

Place the cabochon in the U-shaped frame, with the back of the cabochon supported by the bends. Bring the two bottom wires together so they meet at the center of the cabochon’s right side, and use flatnose pliers to bend the wires at 90º angles away from the center of the stone.

that’s a wrap To make a secure bezel for your cabochon, you need to think about where to place your wraps. In general, you can vary the place-ment of the wraps, but they should be evenly distributed to keep the wire bundle that makes up the bezel wall intact. For the featured ring’s bezel, I made sure to wrap on one long side of the cabochon and at both small ends.

Wrapping over the top of a cabo-chon serves two purposes: It’s decorative, and it helps secure the cabochon in the bezel.

When designing the top wraps of the cabochon, make sure that the swirls cover at least two-thirds of the cabochon to prevent the stone from popping out of the bezel. If your design doesn’t cover two-thirds of the cabochon’s surface, you will need to make angled bends in the wire on the top of the bezel just as you did on the bottom.

Jim McIntosh has been making jewelry for over 6 years. He says, “It has always been my desire to push the envelope of wire art as far as possible.” He may be contacted via his Web site, www.macjewels.com.

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The two wires should be parallel [11]. Remove the cabochon, and tape the

two bottom wires together about 4 in. (10.2 cm) from where the stone will sit [12].

Secure the top of the cabochon. Place the cabochon in the bezel, and bend the top wires to make a design on top of the cabochon. See “That’s a Wrap,” opposite, for tips on making a secure design.

When you are satisfied with your design and have the stone securely in the frame, bring the ends of the top wires to the center of the cabochon’s right side and bend them so that they align with the bottom wires. Set the top wires to the outside of the bottom wires, and tape all four wires together [13].

Wrap the bezel’s center wires around the cabochon, and then bend them so that they align with the four-wire bundle. Place the center wires to the outside of the taped four-wire bundle, and tape all six wires together [14]. These wires will form the ring shank.

Wrap the ring shank. Cut approximately 30 in. (76.2 cm) of half-round wire for your

wrapping wire. Using flatnose pliers, hold the wrapping wire vertically approximately 1 in. (25.5 mm) from its top end, with the wire’s flat side facing you.

With your free hand, fold the long end of the wrapping wire up over the pliers and place it to the right of the short end so that it resembles a checkmark.

Holding the shank wires so that the back of the cabochon faces you, hook the wrapping wire over the shank wires [15], with the short end on the back side of the shank wires. Slide the wrapping wire as close to the cabochon as possible.

To wrap the shank, use your fingers to bring the long end of the wrapping wire over the shank wires to the right of the short end. Keep the wrapping wire tight to the shank wires, but do not allow the shank wires to compress and overlap.

Continue wrapping, using flatnose pliers to press the wrapping wire to the shank wires every six to eight wraps to set it. After you’ve wrapped 1⁄2 in. (13 mm) of the shank wires, remove the tape pieces that are holding the shank wires together.

Determine your ideal ring size (see “Sizing Up the Situation,” page 9) and note

the circumference. Measuring from the first wrap, find the circumference length on the shank wires and mark that point with a fine-tip marker [16].

Continue wrapping, pressing the wrap-ping wire to the shank wires every six to eight wraps until you reach the mark [17]. Use wire cutters to trim the excess wrapping wire, and press the wire end to the shank wires, using flatnose pliers.

Trim the excess wire from the shank wires so they extend about ¼ in. (6.5 mm) past the end of the wraps. Use pliers to grasp the shank-wire ends and fold them over the top of the ring shank, pressing them tightly to the shank wraps [18].

Shape the ring shank. Using a ring mandrel, hold the end of the wrapped shank at the mandrel’s mark for your ideal size. Carefully bend the shank around the mandrel, working from the end of the shank toward the cabochon [19]. Tuck the shank end under the cabochon.

NOTE: You may need to remove the ring from the mandrel to bring the open end under the cabochon properly.

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www.ArtJewelryMag.com 11

Once you have the basic shape of the ring shank, remove the ring from the mandrel. Use flatnose pliers to carefully grasp the shank wires where the shank meets the stone [20]. Bend the shank 90º to bring it under the cabochon.

With your fingers, squeeze the shank together to compress its diameter. Check the size on the ring mandrel, and compress the shank until the ring is slightly smaller than your ideal size. Compress the shank until the end of the ring shank reaches the side where the shank meets the cabochon [21].

Place the ring back on the mandrel at the mark for your ideal size. Using a rawhide mallet, lightly hammer the out-side of the ring shank to refine the shape and work-harden the ring.

File and polish the ring. Use a needle file to smooth any sharp wire ends. Polish the wire with a polishing cloth, or apply jeweler’s rouge according to the manufac-turer’s instructions and then buff it with a hard felt buff in a flex shaft.

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Necessity is indeed the mother of

invention. I had created a pendant

and was drawing a blank about what

kind of chain would complement it. As I paged

rapidly through my favorite jewelry textbook, the

simple line drawings flipping past my eyes brought

this design to mind. After making the chain for the

original pendant, I realized that the chain itself was

beautiful enough to stand on its own.

Forged TeardropBraceletForge round wireinto teardrop shapes to make this

delicate chain.

FORGED AND SOLDERED LINKS

This pendant sparked Fehrenbach’s search for a complementary chain. She ended up designing the teardrop-link chain.

by Deborah Fehrenbach

beginner

wire/metal

12 ArtJewelry■ Bestof theWeb:WireJewelry

Prepare the wire. Use heavy-duty wire cutters or a jeweler’s saw with 2/0 blades to cut fourteen ½-in. (13 mm) pieces of 14-gauge (1.6 mm) sterling silver wire. Use a sanding stick with 220-grit sandpaper or a #2-cut hand file to round the edges of the cut wires. Repeat to cut thirteen ¼-in. (6.5 mm) pieces of 14-gauge (1.6 mm) 14k gold wire. File or sand one end of each of the gold wires flat.

Forge the teardrop shapes. Place a sterling silver wire on the edge of a steel block or bench anvil. Use a ball-peen hammer that has a polished flat face to forge one end of the link so that it looks like a teardrop [1]. You’ll have more control in shaping the wire if you make several light strikes instead of a single heavy blow.

Hammer both sides of one end of the wire until the teardrop is at least 3.5 mm at its widest point. Keep the face of your hammer aimed straight down. If you strike at an angle, the metal will begin to spread in that direction. If this happens, turn the

wire over and make one or two light blows to straighten out the piece. Repeat to forge another 12 links. Forge the 14th link with a teardrop shape at both ends of the wire.

Drill the teardrops. Use a center punch or a finishing nail to make a dimple in the center of each teardrop shape. Use a drill press or a flex shaft and a 1.7 mm drill bit to drill a hole at each dimple [2]. Drill a hole at both ends of the double-ended teardrop link.

File or sand the links to remove any burs from the drill holes and to smooth the edges [3]. Sand the links with progres-sively finer sandpapers, up to 800 grit. Set the double-ended teardrop link aside until you join the links.

Solder gold wire to the teardrop links. Flux a link and one gold wire. Solder the wire to the link at the end opposite the teardrop, using medium silver solder [4]. Quench, pickle, and rinse the link. (For more on basic soldering, see

www.artjewelrymag.com/howto. ) Repeat for the remaining 12 links.

Join the links. Paint anti-flux around the solder join and around the drill hole on the underside of each link. The anti-flux will ensure that the solder does not reflow while you heat the gold wire in the next step. Allow the anti-flux to dry completely.

Slide the gold wire of one link through the drilled hole in another link. Assemble all the links in this way, positioning the double-ended teardrop link on one end. Place the chain on your soldering pad.

Ignite your torch and hold it so that the flame is parallel to the chain [5]. Focus the hottest part of your flame at the tip of a gold wire until the wire balls at the end. Repeat for the remaining links. Quench, pickle, and rinse the chain.

materialsSterling silver wire:

14-gauge (1.6 mm), round, dead-soft, 7 in. (17.8 cm)16-gauge (1.3 mm), round, half-hard, 2 in. (51 mm)

14k yellow-gold wire: 14-gauge (1.6 mm), round, half-hard, 31⁄4 in. (83 mm)6 sterling silver jump rings: 18-gauge (1.0 mm), 4 mm inside diameter

tools & suppliesWire cutters: heavy dutyJeweler’s saw, 2/0 blades (optional)Sanding sticks: various gritsSandpaper: various gritsHand file: #2-cut flat (optional)Steel block or bench anvilHammer: ball-peenCenter punch or finishing nailDrill press or flex shaft, 1.7 mm drill bitSoldering station: torch, solder (medium and easy), fire-resistant surface (soldering pad, firebrick, or charcoal block), pickle pot with pickle, flux, cross-locking tweezers, copper tongs, anti-fluxPliers: roundnoseWooden dowel: 1⁄2-in. (13 mm) diameterTumbler, steel shot, burnishing compound

suppliersWire (Rio Grande, 800.545.6566, www.riogrande.com)

See Safety Basics at www.artjewelrymag.com/howto.

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Make a hook clasp. Use roundnose pliers to make a small loop at one end of a 2-in. (51 mm) piece of 16-gauge (1.3 mm) sterling silver wire [6]. Bend the wire around a 1⁄2-in. (13 mm) wooden dowel [7]. Grasp the tip of the wire in your roundnose pliers, and slightly curve the tip of the wire up [8]. Solder the loop closed with medium solder, and hammer the hook flat [9].

Assemble the bracelet. Attach the hook’s loop to one end of the chain, using a 4 mm-inside-diameter (ID) jump ring. Paint anti-flux on the hook’s loop and solder the jump ring closed with easy solder.

Make a chain from as many 4 mm ID jump rings as needed to make the bracelet the desired length. Solder all but the last jump ring closed. Connect the chain to the bracelet using the open jump ring, and then solder that jump ring closed. Tumble-polish the bracelet for 2–8 hours (see www.artjewelrymag.com/howto ).

Deborah Fehrenbach is inspired by her two loves — scuba diving and gardening. “I love Mother Nature’s textures, colors, and shapes,” she says. Deborah is an instructor at the Shiawassee Art Center in Owosso, Michigan.Contact: deborahmarie@voyager.net

make matching

earringsMake teardrop shapes.  Cut two 1-in. (25.5 mm) pieces of 14-gauge (1.6 mm) sterling silver wire. Use a sanding stick or #2-cut hand file to round the edges  of both ends of the wires.

Forge the teardrops as you did for the bracelet links, but do not drill holes in the ends.

Make ear wires.  Form two ear wires (see www.artjewelrymag.com/howto   for instructions), but do not solder the loops closed.

Add gold wires.  Cut two 1 ⁄4-in.  (6.5 mm) pieces of 14-gauge (1.6 mm) 14k gold wire, and sand the ends flat.

Solder the gold wires to the teardrops as you did for the bracelet, and then heat the end of each gold wire until it forms a ball. Do not allow the gold wires to ball up tight against the teardrops. 

Assemble the earrings.  Insert the gold balls through the loops of the ear wires, and tighten the loops just enough to allow the teardrops to move. Solder the loops closed. Tumble-polish the earrings for 2–8 hours. 

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The gold wire posts act as hinges, giving the chain flexibility and depth.

materialsSterling silver wire: 14-gauge (1.6 mm), round, half-hard, 2 in. (51 mm)14k yellow-gold wire: 14-gauge (1.6 mm), round, half-hard, 1⁄2 in. (13 mm)

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14 Art Jewelry ■ Best of the Web: Wire Jewelry