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CHAPTER 1
Tools
The tools needed to wire weave are basic. With your hands and pliers you're able to make a variety of beautiful projects. To take your work beyond the basics to introduce dimension, symmetry, and sculptural elements, you'll need more. In this chapter we'll explore all the tools used for the projects in this book. Having proper tools is important. It will dramatically reduce hand fatigue and improve the quality of your finished work.
Forming Tools
Pliers and Cutters
Most of my wire shaping is done with three tools, and you'll find these will quickly become your staples, too. They're common jewelry-making pliers and can be purchased anywhere from local bead stores to online specialty retailers. There are a few things you should look for when buying pliers, which I have noted here, but the best advice I can give is to purchase good quality tools. You'll have less hand fatigue thanks to the ergonomic design of higher-end pliers and your finished jewelry will have a more professional look.
CHAIN-NOSE AND FLAT-NOSE PLIERS are similar in that they both have fl at inner jaws that you'll use to grip your weaving and bend it into your desired shapes. I recommend using the version of these pliers that are smooth along the inner jaws and have a smaller inner nose. These will allow for more crisp angles. CHAIN-NOSE PLIERS taper to a narrow point that can get into small, tight spaces; FLAT-NOSE PLIERS taper to a thin, yet somewhat wide nose.
The shaft s of ROUND-NOSE PLIERS are cone shaped and should taper to a small diameter; the smaller the diameter, the tighter the loops you can make in your wire.
NYLON-JAW PLIERS are oft en recommended for straightening and work hardening dead soft wire before working with it, but I prefer them for another purpose. I have found them very useful to manipulate and shape woven wires without marring the weave. I prefer the slim, fl at-nose nylon-jaw pliers. Like the other pliers mentioned, the slim profile allows me to get into tight areas.
WIRE CUTTERS come in a variety of styles, but I prefer cutting wire with FLUSH CUTTERS. Their ability to make nice, clean cuts saves me time as I oft en don't need to file my wire ends. They are especially handy when I make my organic loops. Choosing a pair with a more pointed tip allows you to get into tighter areas to trim the wire as fl ush as possible. You will need your cutters to be able to cut up to 14-gauge wires.
The type of jewelry you'll be making using my techniques requires a solid surface to work on. You'll be doing a lot of hammering, so something sturdy is a must. However, you'll also have times when you're weaving large sections that call for a spot that's a bit more comfortable.
You'll need a STEEL BENCH BLOCK that is smooth and without dents for hammering and shaping wire. I prefer to use a bench block between 3–4" (7.5–10 cm) wide; this gives me enough work surface to hammer on. You can place a rubber mat, sandbag, or even a folded washcloth under the bench block to muffle the sound.
Hammers
A quality chasing hammer is my go-to tool when flattening wire. Look for a hammer that has some weight to it, but not so heavy that it becomes uncomfortable or strains your wrist. It should feel comfortable when gripping the handle. The head should be smooth with no dents. If you can find a hammer with rounded edges, this will help prevent tool marks, especially if you are a beginner. Personally, I prefer Fretz hammers; they are comfortable when held and have the right amount of weight to them to ensure that my hammer is doing the work so that I can use less force when hammering.
MALLETS are great to form the wire or woven strips around mandrels without marring them. They're available with rawhide, rubber, or silicone heads. My favorite mallet is the Bonny Doon 7oz. Urethane forming hammer. It forms woven strips beautifully around bracelet mandrels and doesn't leave a mark. My experience with other mallets shows you need to be careful how much force you use when forming, otherwise you can flatten the woven wire.
Mandrels
Mandrels are another key tool used in the forming and shaping of wire jewelry. Not only can they be used for shaping rings and bracelets, you'll find they're handy for other shaping as well.
My preference for RING MANDRELS is the tapered metal option. They can also be found stepped rather than tapered, but the steps don't allow for a smooth transition between sizes. Don't bother with a plastic ring mandrel since the metal ones are so much more useful.
A BRACELET MANDREL is handy when forming bracelets and comes in round or oval shapes. For this mandrel, my favorites are the step-down bracelet mandrels. They're an investment and may not be practical if you don't plan on using them oft en. An alternative method is to shape the bracelet by hand or around a large pipe or canned jar. Get creative with what you have around the house.
Having a wide variety of different sized DOWELS will help you with accuracy in shaping curves, loops, and spacing. Dowels can be purchased commercially in standard sizes, or this is another opportunity to get creative with what you already have. Knitting needles, crochet hooks, permanent markers, smooth round pencils, or even nail polish bottles can act as dowels. BARREL AND BAILPLIERS are tools that act as hand-held mandrels and can be used for consistent sizing as well.
General Tools
Lighting and Magnification
Before setting to work on any project, you need GOOD LIGHTING. A properly lit work area helps prevent eye fatigue and allows you to see fine textured weaves better.
Additionally, MAGNIFICATION can help you see what you are doing better, making for a more consistent weave. Fine wires can be difficult to see without it. There are many diff erent magnification tools on the market. The two forms my students oft en use are reading glasses or optimizers.
Holding Tools
Along with ergonomic hand tools, there are a few additional tools that can help you hold your wire and project while weaving that also decrease hand fatigue and general frustrations.
A RING CLAMP can be used to hold your base wires as you weave. Most are ergonomic and fit comfortably in your hands. Look for options with leather in the clamp. It will be perfect for tightly gripping the wire without marring the wire or weave.
BLUE PAINTER'S TAPE is great for holding your base wires together as you begin to weave as well. I prefer painter's tape to other tapes because it leaves little to no residue on the wire when removed.
BOBBINS have also become a must-have for me. I use smaller 1 7/8" (4.8 cm) bobbins. These will help prevent the wire from kinking and tangling while you are working. The fewer kinks in your wire, the less it will break and the less time you will spend untangling the wire.
I also recommend picking up FABRIC MEDICAL TAPE. It's available in the first-aid section of most grocery stores or pharmacies. It is pliable and works well to protect your fingers. I use it on fingers that the wire is rubbing against or otherwise causing discomfort. Another great tape is Alligator Skin Protective tape, which can be found in most online jewelry supply stores that cater to metalsmiths.
Measuring and Marking
Since we are using a variety of wire gauges, it can be easy to mix them up. A WIRE GAUGE TOOL measures wire diameter and quickly helps you identify gauge.
You'll also need a basic RULER for measuring. Choose a ruler that will measure down to at least 1/8?" (3 mm). I like to use a 12" (30.5 cm) metal ruler because it is easy to remove any markings made by my permanent marker with a polishing cloth. Metal rulers can be found in office supply stores and hardware stores. I have found that having a ruler that also includes centimeters comes in handy to measure the diameters of my dowels.
Accurate measurements need to be marked on your wire, so a good permanent marker is must. There are many to choose from, but I have found that not all permanent markers are the same. A good marker should not rub off easily.
Hole Making Tools
A BEADING AWL is another must for me. It is used to puncture weaves so I can sew down beads or wire to my work. It also comes in handy to manipulate wire in tight spots. Choose a beading awl that has a nice tapered and sharp point. My favorite beading awl is the Tulip Fine Beading awl. If you don't have a beading awl, I have found that a T-pin also works well.
HOLE PUNCH PLIERS are also needed for projects in this book. They're available in several sizes. I used the 1.25 mm size to punch holes into paddled wires in different project scenarios.
Torch Tools
Some of the projects included in this book will require heat. You'll be using a torch on a heatproof work surface to anneal (or soft en) hard wire or to draw a bead on the end of a wire. You won't be soldering, so the list of tools is less extensive than what you'd find in a typical metalsmithing studio.
Studio safety and protecting yourself from harm is the most important part of working with flames. It's especially important if your studio is in your home rather than a commercial space with some safety considerations already in place.
PROTECTIVE EYEWEAR when torching is a must. Occasionally the metal can spit tiny little sparks while it melts, and safety glasses will protect your eyes from those flying shards.
Your work surface should be heat resistant. First, create a heat shield to protect your table as you work with a torch by using a 12" × 12" (30.5 cm × 30.5 cm) ceramic or porcelain tile as a base. A rimmed cookie sheet also works well for this. With the surface protected, you can use a CHARCOAL BLOCK or FIREBRICK for the actual torch work.
MICRO TORCHES are my preferred torch for the types of projects created in this book. They come in different flame temperatures. The lower the flame temperature, the longer it will take to draw a bead on wire. If you are torching copper wire, then you will want to get the hottest torch you can find. I find that an inexpensive propane torch, found at your local hardware store, works best for annealing copper. It attaches to a small camp-size propane tank, and has a much larger and hotter flame.
Metal wire will conduct the heat from the torch through to your hand, so you'll need a specific tool to handle the wire safely. CROSS-LOCK TWEEZERS are designed specifically for this. I would not use any other kind of tweezers to hold your wire while torching.
A QUENCHING BOWL is another important piece of safety equipment to have to cool down your wire and tweezers after torching. You can purchase one at most jewelry supply stores or use a heat-safe glass bowl.
Finishing Tools
When you've completed the weaving and construction of a piece of jewelry, there are a few final steps that give jewelry a true professional finish. Filing, adding patina, and polishing your work really make a world of difference in the quality of the end design.
Filing Tools
Filing is needed to take down any sharp edges that may touch the skin. A lot of my filing is done in small places, and I find NEEDLE FILES give me more control than larger files. There are two shapes I use the most: my fl at file and an oval file. A LARGE HAND FILE is great to file exposed wire ends that don't have a clean flush cut. It removes a lot of material quickly and makes easy work of the job.
For finer work, I use SANDPAPER for rough prepolishing. The larger the reference numbers on the sandpaper, the finer the grit of the sand. You'll want to use graduated grits of 800, 1000, 1500, and 2000. You'll find this works very well to remove tool marks.
Patina
I don't feel like my jewelry is complete until I patina it. Patina brings out all the subtle details of the wire by creating light and dark contrast. I use liver of sulfur to achieve this effect. There are three forms of liver of sulfur available: solid, gel, and premade solutions. Out of the three, the gel form is the most stable and will last a long time. Liver of sulfur should always be stored in an airtight container in a dark, cool area.
Polishing Tools
Once your jewelry is filed smooth and patina is applied, you'll need to remove some of that patina to reveal the details, depth, and dimension hiding under the oxidation.
STEEL WOOL is typically the first step to removing oxidation and starting the polishing process. Make sure to use Super Fine (0000 grit) steel wool to polish the patina off the high points of your design, leaving the crevasses dark. Coarser grits will scratch the surface of the wire. Super fine steel wool will leave a satin finish on your jewelry.
A BRASS BRISTLE BRUSH is an alternative to steel wool. Choose a soft brass jeweler's brush. It is more expensive, but will not scratch the surface of your jewelry. If starting with steel wool, you can follow it up with the brass bristle brush to remove any steel wool caught in the weave. I also find that this brush gives a nice polish as well.
PRO-POLISH POLISHING PADS are great for touch-up work aft er you have used the steel wool. They also can be used in place of steel wool, but it will take longer to polish and the texture of the wire weave will tear up your pad, shortening its life span. POLISHING CLOTHS can be used to buff jewelry, giving it a glossy finish, but it also takes more time.
My preferred method of polishing is to use a TUMBLER WITH STEEL SHOT or a ROTARY TOOL with a fl ex shaft. I love my tumbler; it creates a beautiful mirror finish on the jewelry, giving it almost a gunmetal look. A small 3-pound capacity tumbler is all that is needed with a pound of steel shot. If tumbling is not an option, then I turn to my rotary tool, either an all-purpose Dremel brand tool or a professional jeweler's fl ex shaft . With the polishing attachments available, you can achieve a mirror finish on your jewelry similar to the tumbler.
CHAPTER 2
materials
Choosing the Right Wire
Wire comes in a wide range of sizes, shapes, hardness ratings, and metals. I never really thought about the differences until I started teaching. I immediately saw that many students struggled, not because they weren't capable, but because they were using different wire than the rest of the class. You can create beautiful work with all types of wire, but working with the right wire will cut down on a lot of frustration and results in a more beautiful finished piece.
When it comes to wire, I like to keep it simple. Instead of having round, half round, and square on hand, I choose to only work with round wire. I find that round wire is very versatile, and I love the look I can get from manipulating it. Besides, if I want a fl at surface then I simply hammer it into the wire.
Understanding Gauge & Hardness
Wire is measured by gauge — think thickness — and I break gauges into 3 categories: heavy, medium, and fine. I consider heavy gauge wires to be those that are 14–20 gauge. These are the wires I use as the base in my designs. They provide structure and can be shaped and layered together to create a more complex design. Medium gauges are wires ranging from 22–26 gauge in size. These gauges are great for embellishing finished designs with beads, creating head pins, and linking components together. Fine gauge wires measure 28 gauge or smaller and are what we'll use to weave and sew base wires in a design. Despite their thin nature, they add stability, strength, cohesiveness, and texture to the work.
Many types of wire are also measured by hardness — how stiff or how malleable the wire is. You'll see wires sold as full hard, half hard, and dead soft . Because of the extreme shaping that is needed in my style of wirework, I want the softest, most malleable wire available, which is dead soft . However, I have found that some wires labeled "dead soft " are not as soft as I would like, since there is a difference between manufacturers on the malleability of dead soft wire. You'll want to test wires from a few different suppliers before purchasing larger quantities.
Something else to consider when working with soft wire is how quickly it hardens and becomes brittle. This is particularly important with the smaller gauges. We want to be able to weave without having the wire break every time it gets a kink and be able to shape heavy gauge wires with ease. Other qualities I look for in wire: how nicely it anneals, how hammering affects it, how it oxidizes, and if a bead can be drawn on the end of the wire.
(Continues…)
Excerpted from "Woven in Wire"
by .
Copyright © 2018 Sarah Thompson.
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