Jewelry Basics 101 #68-007-01 Basic Wire Loops Method 2 – Bend Then Cut for Best Results, Use Both Chain-Nose and Round-Nose Pliers
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Treatise on Combined Metalworking Techniques: Forged Elements and Chased Raised Shapes Bonnie Gallagher
Rochester Institute of Technology RIT Scholar Works Theses Thesis/Dissertation Collections 1972 Treatise on combined metalworking techniques: forged elements and chased raised shapes Bonnie Gallagher Follow this and additional works at: http://scholarworks.rit.edu/theses Recommended Citation Gallagher, Bonnie, "Treatise on combined metalworking techniques: forged elements and chased raised shapes" (1972). Thesis. Rochester Institute of Technology. Accessed from This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact [email protected]. TREATISE ON COMBINED METALWORKING TECHNIQUES i FORGED ELEMENTS AND CHASED RAISED SHAPES TREATISE ON. COMBINED METALWORKING TECHNIQUES t FORGED ELEMENTS AND CHASED RAISED SHAPES BONNIE JEANNE GALLAGHER CANDIDATE FOR THE MASTER OF FINE ARTS IN THE COLLEGE OF FINE AND APPLIED ARTS OF THE ROCHESTER INSTITUTE OF TECHNOLOGY AUGUST ( 1972 ADVISOR: HANS CHRISTENSEN t " ^ <bV DEDICATION FORM MUST GIVE FORTH THE SPIRIT FORM IS THE MANNER IN WHICH THE SPIRIT IS EXPRESSED ELIEL SAARINAN IN MEMORY OF MY FATHER, WHO LONGED FOR HIS CHILDREN TO HAVE THE OPPORTUNITY TO HAVE THE EDUCATION HE NEVER HAD THE FORTUNE TO OBTAIN. vi PREFACE Although the processes of raising, forging, and chasing of metal have been covered in most technical books, to date there is no major source which deals with the functional and aesthetic requirements -
Repoussé Work for Amateurs
rf Bi oN? ^ ^ iTION av op OCT i 3 f943 2 MAY 8 1933 DEC 3 1938 MAY 6 id i 28 dec j o m? Digitized by the Internet Archive in 2011 with funding from Boston Public Library http://www.archive.org/details/repoussworkforamOOhasl GROUP OF LEAVES. Repousse Work for Amateurs. : REPOUSSE WORK FOR AMATEURS: BEING THE ART OF ORNAMENTING THIN METAL WITH RAISED FIGURES. tfjLd*- 6 By L. L. HASLOPE. ILLUSTRATED. LONDON L. UPCOTT GILL, 170, STRAND, W.C, 1887. PRINTED BY A. BRADLEY, 170, STRAND, LONDON. 3W PREFACE. " JjJjtfN these days, when of making books there is no end," ^*^ and every description of work, whether professional or amateur, has a literature of its own, it is strange that scarcely anything should have been written on the fascinating arts of Chasing and Repousse Work. It is true that a few articles have appeared in various periodicals on the subject, but with scarcely an exception they treated only of Working on Wood, and the directions given were generally crude and imperfect. This is the more surprising when we consider how fashionable Repousse Work has become of late years, both here and in America; indeed, in the latter country, "Do you pound brass ? " is said to be a very common question. I have written the following pages in the hope that they might, in some measure, supply a want, and prove of service to my brother amateurs. It has been hinted to me that some of my chapters are rather "advanced;" in other words, that I have gone farther than amateurs are likely to follow me. -
Hercules Jewelry Project
Hercules Knot Jewelry Series I thoroughly enjoyed my wire wrapping jewelry projects, but in the course of researching and building the class, I was inspired to learn real metalsmithing. I’ve been assembling earrings and necklaces for decades, but suddenly I really wanted to solder, and set gems, and fabricate! Fortunately, my good friend Fjorlief InHaga is a brilliant artisan, and she’s been teaching me and letting me use her studio. THE HERCULES KNOT aka HERAKLES, Reef Knot or Square Knot This motif represents strength and came to be associated with marriage. Brides wore their belts tied this way (see my paper on Roman Weddings). It was a common motif in the Greco-Roman world though the Republic and Early – Mid Empire. 1 2 3 Above, gold bracelet and ring from the 1st century BCE – 2nd CE. Silver mirror, 4th century CE. I imagine this would have been a lovely wedding present. Below: Necklaces dated to the 2nd-3rd century, an armband (#6), and rings from 5rd century BCE to 3rd CE . I have included only a small number of the large quantity of eXtant artifacts. Combined with the variations in assembly technique and clasps, the abundance of pieces shows that the Hercules Knot was a style that was widespread and made by many different artisans. 4 5 6 7 8 9 10 For my first project, I wanted to duplicate the look of these early Imperial necklaces of emerald and gold. For cost purposes, I used brass and glass, which was a commonly-used substitute for stones in period. -
Weights of Various Metals in Pounds Per *Cubic Foot
Weights of Various Metals in Pounds Per *Cubic Foot Aluminum 168.48 Copper 559.87 Manganese 463.10 Silver 654.91 Antimony 419.99 Gold 1206.83 Mercury 849.00 Stainless Steel (18-8) 494.21 Beryllium 113.70 Gun Metal (Aver.) 544.00 Molybdenum 637.63 Steel, Cast/Rolled 490.00 Bismuth 611.00 Iridium 1396.00 Monel Metal 556.00 Tin 455.67 Brass (Approx.) 535.68 Iron 491.09 Nickel 555.72 Titanium 283.39 Bronze, Alum. 481.00 Iron, Cast Grey 442.00 Osmium 1402.00 Tungsten 1204.41 Bronze (Approx.) 541.00 Iron, Wrought 480.00 Palladium 712.00 Vanadium 374.97 Cadmium 540.86 Iron, Slag 172.00 Platinum 1339.20 Zinc 445.30 Chromium 428.00 Lead 707.96 Rhodium 755.00 *1728 CU. IN. PER CU. FT. Cobalt 552.96 Magnesium 108.51 Ruthenium 765.00 Weights of Other Materials in Pounds Per *Cubic Foot Acids, Muriatic, 40% 75.00 Earth, Common Loam 75.00-90.00 Maple, Hard 43.00 Rubber, Goods 94.00 Acids, Nitric, 91% 94.00 Earth, Dry/Loose 76.00 Maple, White 33.00 Sand, Clay & Earth, Dry 100.00 Acids, Sulphuric, 87% 112.00 Earth, Dry/Packed 95.00 Marble 170.00 Sand, Clay & Earth, Wet 120.00 Alcohol, 100% 49.00 Earth, Mud/Packed 115.00 Masonry, Rubble 130.00-150.00 Sand, Pure Quartz, Dry90.00-106.00 Asbestos 153.00 Elm, White 45.00 Masonry, Ashlar 140.00-160.00 Sandstone, Blustone 147.00 Ash, White, Red 40.00 Fats 58.00 Mortar 100.00 Slate 175.00 Asphaltum 81.00 Fir, Douglas 30.00 Mud, River 90.00 Snow, Freshly Fallen 10.00 Basalt 184.00 Fir, Eastern 25.00 Oil, Kerosene 52.00 Snow, Wet 50.00 Brick, Paving 150.00 Flour, Loose 28.00 Oil, Mineral 57.00 Soap Stone, Tall 169.00 Brick, Com. -
Making a Skull Ring
Making a skull ring The first people to utilize the lost wax process is unknown as it is shrouded in history. It is well documented that it has been used for thousands of years to produce objects in metal which could not be produced any other way, due to the complexity of their design. The lost wax process allows anything that can be modeled in wax to be accurately transmuted into metal. Most fine jewelry made from gold and sterling are made using lost wax casting as it produces the highest detail The Wax Models are placed in a Plaster Mixture which then aloud to harden. Once the plaster mixture (investment) has set hard, the flasks are placed in a kiln, slowly heated to between 1000 and 1250 degrees F, and held at that temperature until all wax residues have disappeared. The place where the wax was is now a void, hence the "lost wax" designation for this process. The metal is then melted in a metal furnace and the molds are filled with liquid silver by hand while the mold is still very hot. The flask is then allowed to cool and the investment mold is broken away revealing the metal piece. This process faithfully reproduces every detail of the original wax as well as the gates and vents, which must latter be cut off with a jeweler's saw. http://davescustomskulls.com/MAKING_OF_A_SKULL_RING.html (1 of 7) [10/27/2007 8:07:45 AM] Making a skull ring After cutting away the Silver Tail-(Sprue) the Hand Finishing Process begins with the Many different Steps shown below to BRING final Details and a Mirror Finish to the RING surface. -
The Diamond Glass Companies of Montreal, Canada
The Diamond Glass Companies of Montreal, Canada Bill Lockhart, Beau Schriever, Bill Lindsey, and Carol Serr The Diamond Glass Co. and Diamond Flint Glass Co. were two in a series of Canadian companies (headquartered in Montreal) that began with the Excelsior Glass Co. in 1879 and culminated as Domglas in the 1990s. This chapter deals with the first four firms during the 1879-1913 period (see the Dominion Glass section for the later companies). None of the glass houses used manufacturer’s marks on bottles, but all of them left embossed jars that can be traced to them. The Diamond Flint Glass Co. also made – and marked – insulators. Histories Excelsior Glass Co., St. Johns and Montreal, Quebec (1879-1883) William and David Yuile acquired control of the bankrupt St. Johns Glass Co. at St. Johns, Quebec, in 1878. They renovated the factory and incorporated in April of the following year as the Excelsior Glass Co. The plant made fruit jars, a general line of bottles, and insulators. Unhappy with the location, the brothers moved the factory to Parthenais St., Montreal, in 1880. The new plant produced prescription ware, fruit jars, and some tableware. The firm reorganized in 1883 as the North American Glass Co. (King 1987:67-70). Figure 1 – Beaver Goblet (Sean George Pressed Glass & Goblets) Toulouse (1971:189) told a slightly different story. He claimed that the Yuile brothers “had taken over the Foster Bros. Glass Co. Shortly after it was founded.” They renamed the plant the St. Johns Glass Figure 2 – Beaver band Co. in 1875 and the Excelsior Glass Co. -
Invictus Catalog Lowres.Pdf
At Invictus Body Jewelry we believe that professional piercers and body modifi cation artists desire high quality, implant grade jewelry at a reasonable price. To accomplish this, we designed and developed Invictus Body Jewelry to supply implant grade titanium jewelry to professional piercers all over the world. Invictus Body Jewelry is manufactured out of Ti 6Al-4V ELI ASTM F-136 implant grade titanium. All of our jewelry is internally threaded and adheres to industry standard thread patterns. At Invictus Body Jewelry we strive to provide the professional piercer with safe, customizable, and affordable implant grade jewelry. 2 www.invictusbodyjewelry.com Invictus Body Jewelry is manufactured only using implant grade materials - Ti 6Al-4V ELI ASTM-F136. All Invictus Body Jewelry products are internally threaded for professional piercers and their clients. Invictus Body Jewelry uses industry standard thread patterns. We use M1.2 threading on our 14ga and M0.9 threading on our 16ga & 18ga. We believe in providing quality piercing products at reasonable prices to our customers. We fulfi ll orders within 24 to 48 hours from being entered into the system. Invictus Body Jewelry is only available to wholesale customers. Only piercing shops and retailers may purchase our products, not the general public. 203.803.1129 3 HORSESHOES & CURVES TIHI (Internally Threaded Titanium Horseshoes) TICI (Internally Threaded Titanium Curves) CodeSizeDiameter Ends Code Size Diameter Ends TIHI601 16g 1/4” 3mm TIHI411 14g 5/16” 4mm TIHI611 16g 5/16” 3mm TIHI421 -
9F41a1f5e9.Pdf
index windsor pearls 1 freshwater in silver 7 tahitian in silver 23 brilliance 28 lace 4 1 pearl exotics 49 vintage795 57 classics in 14k gold 65 tahitian in 14k gold 79 pearl basics studs & strands 87 modern-king by imperial Luxury statement pearl jewelry designs crafted in sterling silver. For decades freshwater pearl farmers have been attempting to develop new culturing techniques in order to produce larger and rounder pearls than ever before. We are proud to announce that our farmers have cracked the code producing affordable top quality pearls from 13-16mm! Ring: 616079/FW-WT 1 Pendant: 686453/FW18 Earrings: 626453/FW Pendant: 687230/FW18-1S Earrings: 627230/FW Ring: 617230/FW 2 Pendant: 684791/FW18 Earrings: 624791/FW Ring: 613791/FW Pendant: 689947/FW18 Earrings: 624671/FW Ring: 619947/FW 3 Necklace: 996520/18WH Earrings: 626913/FW 4 Necklace: 669913 5 Pendant: 689913/18 Earrings: 629913 Bracelet: 639913 Pendant: 686971/FW18 Earrings: 626971/FW 6 VALUE, SELECTION and STYLE Pendant: 683786/18 Earrings: 623786 Ring: 613786 7 Pendant: 684095/FW18 Earrings: 624095/FW Pendant: 685919/FW18 Earrings: 625919/FW Ring: 615919/FW 8 Pendant: 685991/FW18 Earrings: 625991/FW Pendant: 689951/FW18 Earrings: 629951/FW Ring: 619951/FW 9 Pendant: 685103/FW18 Earrings: 625103/FW18 Pendant: 685417/18 Earrings: 625417 Ring: 615417 10 Necklace: 664010 Bracelet: 633149 Necklace: 663760 Earrings: 623760 Bracelet: 633760 11 A. Pendant: 688304/FW18 B. Earrings: 628304/FW C. Pendant: 688340/FW18 D. Earrings: 628340/FW C A B D 12 E. Pendant: 683699/FW18 F. Earrings: 623699/FW G. Pendant: 687330/FW18 H. -
Copper Alloys
THE COPPER ADVANTAGE A Guide to Working With Copper and Copper Alloys www.antimicrobialcopper.com CONTENTS I. Introduction ............................. 3 PREFACE Conductivity .....................................4 Strength ..........................................4 The information in this guide includes an overview of the well- Formability ......................................4 known physical, mechanical and chemical properties of copper, Joining ...........................................4 as well as more recent scientific findings that show copper has Corrosion ........................................4 an intrinsic antimicrobial property. Working and finishing Copper is Antimicrobial ....................... 4 techniques, alloy families, coloration and other attributes are addressed, illustrating that copper and its alloys are so Color ..............................................5 adaptable that they can be used in a multitude of applications Copper Alloy Families .......................... 5 in almost every industry, from door handles to electrical circuitry to heat exchangers. II. Physical Properties ..................... 8 Copper’s malleability, machinability and conductivity have Properties ....................................... 8 made it a longtime favorite metal of manufacturers and Electrical & Thermal Conductivity ........... 8 engineers, but it is its antimicrobial property that will extend that popularity into the future. This guide describes that property and illustrates how it can benefit everything from III. Mechanical -
Tree Trio Bracelet Instructions
Tree Trio by FusionBeads.com Approximate finished length: 7 inches, adjustable Beads and other products needed for three bracelets: 32 - 3x4.5mm Antique Brass Plated Pewter Faceted Beads by TierraCast® (AP0155) 24 - 6mm Amazonite Faceted Round Gemstone Beads (SE2634) 24 - 6mm Flower Jade Round Beads (SE2404) 24 - 8mm Flower Jade Round Beads (SE2471) 1 - 26.5x18mm Antique Brass Plated Pewter Bird in Tree Pendant by TierraCast® (AP6110) 1 - Antique Brass Plated Brass Cupola Cord End by TierraCast® - Fits 6mm Cord (AP6102) 1 - 5mm Antique Brass Plated Base Metal 21 Gauge Open Jump Ring (BM2733) 6 inches - 24 Gauge Round Antique Brass Artistic Wire (AW2107) 8 feet - Light Ecru Pearl Cotton Thread #8 (SM3708) 36 inches - Clear Stretch Magic Elastic Cord .7mm diameter (SM4433) Tools needed to complete the bracelets: Round nose pliers Chain nose pliers Wire Cutters Beading Scissors 1-1/4 in. Blade Hypo Tube Cement (TL1202) Photography, text and jewelry design © 2016 Fusion Beads, Inc. Beading Techniques needed to complete the bracelets: Making a Tassel Opening and Closing a Jump Ring Knotting Stretch Magic Wire Wrapping Instructions to complete “Tree Trio” bracelets: Tassel bracelet: Step 1 Wrap the pearl cotton thread around three fingers (see Making a Tassel Technique) until the tassel is as thick as you’d like. Carefully pull the thread loops from your fingers, and trim excess thread. Step 2 Using round nose pliers, make a loop in the middle of a 6-inch length of wire. Photography, text and jewelry design © 2016 Fusion Beads, Inc. Step 3 Wrap the wire around the cord, and make a wire wrapped loop (see Wire Wrapping Technique) with the wire. -
Silver Or Gold: the Color of Brass Instruments in the Late Middle Ages
1 Silver or Gold: The Color of Brass Instruments in the Late Middle Ages Timothy J. McGee The purpose of this article is to lay out some details I have gathered about brass instruments during the late Middle Ages as a way of requesting assistance from the readers of this jour- nal. As will become immediately evident, I am using the word "brass" in its meaning as a synonym for "cup-mouthpiece instruments," because my question has to do with the actual material the instruments were made of. In the process of researching the activities of the civic musicians of Florence during the twelfth to the sixteenth centuries, I have encountered considerable confusion about the material used for trumpets and trombones, and about the symbolism intended by the use of particular metals. Here is what I have found. The earliest reference to the employment of civic musicians in Florence is from gov- ernment documents of 8 February 1292' naming six trumpet players (tubatores) along with a player of the cenamella (probably a double reed) and another who played cimballella (undoubtedly the cymbals). The civic ensemble, known as the trombadori, was part of the ceremonial presence of Florence, participating in all official functions such as the frequent processions welcoming distinguished foreign visitors to the city, civic celebrations in honor of saints' days, or assemblies in which the governing executive appeared in public. The trombadori also accompanied the military in the field, and acted as representatives of the city of Florence by participating in celebrations in other cities. The earliest reference is as follows: .. -
Native American | Navajo | Southwestern | Turquoise | Handmade
09/24/21 06:20:04 NATIVE AMERICAN | NAVAJO | SOUTHWESTERN | TURQUOISE | HANDMADE Auction Opens: Thu, Apr 1 4:29pm PT Auction Closes: Thu, Apr 8 10:30am PT Lot Title Lot Title 0001 Native American Navajo Handmade Sterling 0017 Native American Handmade Sterling Silve Silver Turquoise Bracelet by Rosco Scoott. Navajo Turquoise Ring. 0002 Native American Handmade Sterling Silver 0018 Native American Navajo Handmade Sterling Navajo Feathers Set By V. Silver Turquoise Ring by Mike Thomas. 0003 Native American Navajo Handmade Sterling 0019 Native American Handmade Sterling Silver Silver Turquoise Post Dangle Earrings by Zuni Earring's By Ray & Patty Edaakie. Enriquez. 0020 Native American Handmade Sterling Silver 0004 Native American Navajo Handmade Sterling navajo Turquoiose Ring By Amy Locaspino. Silver Turquoise Dangle Earrings by Michael 0021 Native American Handmade Sterling Silver Bitsue. Navajo Turquoise Bracelet By Max Calladito. 0005 Native American Navajo Handmade Sterling 0022 Sterling Silver Turquoise and Coral Indian Silver Turquoise Ring by Nathaniel Curley. Face Ring. 0006 Native American Navajo Handmade Sterling 0023 Native American Navajo Handmade Sterling Silver Lapis and Opal Inlay Bracelet by Jerome Silver Turquoise Bracelet by Marie Thomas. Yazzie. 0024 Native American Navajo Handmade Sterling 0007 Native American Navajo Handmade Sterling Silver Multi-Color Inlay Ring by Ray Jack. Silver Turquoise Dangle Earrings. 0025 Native American Navajo Handmade Sterling 0008 Native American Navajo Handmade Sterling Silver Turquoise Post Dangle Earrings. Silver Turquoise Bracelet by Betty House. 0026 Native American Handmade Sterling Silver 0009 Native American Navajo Handmade Sterling Navajo Inlay synthetic Opal Earrings By Bruce Silver Turquoise Ring by Shirley Largo. Johnson.