Category Archives: material

Simple DIY Jewelry You’ll Really Wear – One

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Monday is here, alas.

This morning’s post is first in a series of easy do-it-yourself jewelry projects that you can do in as little or as much time as you like and the neat thing is, some are great for kids with parental super vision.

If you can close a Safety Pin you can make this simple and pretty bracelet, and no one has to know they are safety pins.

The type of Safety pin works best.  The Cord will be threaded through the holes at the top and bottom of the pin.

I did not take photos, and this is a straight forward project.

Materials

1 pkg. 1mm Elastic Beading Cord
Ample Safety Pins (wrist circumferences vary we suggest 50 or more)
Seed Beads 6.0 or larger in the color(s) of choice. Bead hole needs to fit over pin prong.
Super Glue
*6mm “Spacer” Beads (less pins will be required of beads are used)

Cut 2 pieces of the Elastic Beading Cord,  12″ in length.
Tie a knot about 2″ down from one end of both cords (do not tie them together).

Open a Safety pin and add beads along the prong, leave enough space to close the pin again.  Repeat with the remainder of the pins.  Be creative, play with colors, allow your imagination to design the piece for you.

Super glue the Safety Pins shut.  This way they will not open and scratch you when wearing the bracelet.

Thread a *Spacer bead, these can be glass, metal, anything you like, on one piece of cord and slide it down to the knot. 

Thread the cord through the top “hole” in the safety pin, add a spacer bead.  Sliding the Pin and Bead down the cord.

Continue adding Pins and Spacer Beads until the Pins fit around you wrist and the ends meet.

Add a final spacer bead to the cord and tie a knot keeping it in place.

With the second piece of cord, thread on one spacer bead, and thread the cord through the bottom holes of the Pins, adding spacer beads between each pin.  Work until you reach the last pin in the row.

Place a final Spacer bead on the cord.  Tie the matching ends of the cords together, closing the bracelet.  Not too tight, you want to be able to slip the bracelet on and off easily and not cut off your circulation while wearing it.

As well, you can say, “I made this.”

Give it try, it takes about an hour.

Thank you for stopping in and having a read.

The Alchemists Vessel would like to wish a pleasant day.

Lessons in Metal

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Good Morning,

I know that Thursday’s are usually devoted to an artist.  The blog  ring is on hiatus until next week, and I have run my friends to ground, asking for permission and verbiage to use.  They’re shy.

So instead, this post is all about Metals, Heavy, Precious, Rolled, Filled, and Nickel.

Silver and the variations there of: one of my biggest pet peeves in the industry is Nickel.  Nickel is not Silver, it is not “Nickel Silver”, there is NO Silver in Nickle what so ever.  Not even the tiniest elemental trace.  None, zero, zip, nada, nil.  Nickle is a copper alloy usually containing 60% Copper, 20% Zinc, and 20% Nickel, it may also contain Tin, also known as “Indian Silver” or “German Silver”.  Nickel is toxic, and many people are allergic to Nickel and including the word “silver” is misleading and irresponsible.  Nickel is a white metal, like aluminum or tin.  Adding the word silver also allows sellers to up their price for a common and non-precious item.  Don’t be fooled, Nickel is not and never will be silver of any kind, ever.

Silver and Sterling Silver – Silver depending on where you are in the world can be graded differently.  Sterling Silver however is always 92.5% Silver and 7.5% Copper (or other metals).  Silver in it’s pure state is too soft to make functional items from, and is usually alloyed with other metals to strengthen it without changes its properties or the beauty of metal.  Three Nines Fine or Fine Silver is 99.9% silver and used mainly in the creation of jewelry.

Silver plated items are usually .15 to .25mm of Silver adhered to the surface of a base metal, usually copper or brass.   Rolled Silver or Rolled Gold have a thicker outer sheath of precious metal adhered to the base metal.  This type of plating lasts longer than the traditional plating methods.

Argentium – Argent is the Spanish word for Silver, Argentium is actually Sterling Silver that has had some of the copper content replaced with the metalloid germanium.  Germanium (Ge) is a chemical element appearing silver-grey in color.  The addition or replacement of copper aids in stopping the oxidation process of the metal and makes it less susceptible to tarnish.

Gold is weighed or measured in Karats.  Carats are used to measure gemstones.  I know a little confusing.  Karats refer to amount of actual gold a coin or piece of jewelry contains.  Pure gold is simply too soft to use in making or creating any kind of functional item and is usually alloyed with another metal to improve strength without marring the beauty of the natural metal.

24 kt – Pure Gold
22 kt to 10kt – are common for most jewelry
Rose gold contains 25% copper giving it is reddish or “rose” hue.
White Gold is usually alloyed with another white metal like palladium or  silver to give it the white color.

The world’s consumption of available Gold today is counted as 50% used for jewelry, 40% investments and 10% industry (electronics, etc.)

Copper is one of the very first metals mined by man, and was principally mined on Cyprus in the Roman Era.  It has numerous uses, and makes beautiful jewelry.  From trade and artworks in the Ancient World, to modern uses today such as Copper Bottom Cooking pots, building materials, conductor of heat and constituent of various metal alloys.  When allowed to corrode, Copper will verdigris or turn green (patina), it is also found as a trace element in food and water and is important to all life, it is part of the respiratory enzyme complex, cytochrome c oxidase.   It is also used to create mirrors, and connected with the goddess Aphrodite and Venus, the alchemical symbol for copper is also the modern symbol for women, or the planetary sign for Venus.

Thank you for stopping by and having a look.

The Alchemists Vessel would like to wish you a pleasant day.

Tools on Tuesday

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Good Morning,

As most of you know, I am an avid fan of continued education, and with one more course module to go, I have almost completed mine.

In order to finish out the class I required special tools to preform specific tasks in forming, shaping, and working with various other materials and metals.  Lets have a look at what it takes to make a ring or other jewelry.

Bezel Strip – This is bezel wire or strip.  It comes in a variety of metals and patterns or plain.  It is used to make ring shanks and to set the stone in a piece.  This is a “fancy” style and very small.  1.5mm x 1mm.  It can be annealed (heated), hammered into submission, bent, sawed, filed, and polished in the process of creating a ring.

These next items are magnifiers and do little else except make things bigger.  Also specific tools for specific tasks.

Third Hand with Magnifier -  A picture is truly worth one thousand words.  It is exactly what it sounds like and the photo below shows one in use.  I have always wanted one of these, and now I finally have one.  Can be used for up close and intricate soldering work, holding strands of beads while tying, or chain when clasps or other ornaments are being added.  “It’s a very good thing.”

Jeweler’s Loop – one of the most recognized of all tools is the jewelers loop.  Of course they have come a long way from the short bolts of metal and glass held by one’s eye, but the design and function is the same, and has never really changed much.  Used to inspect a gemstone or jewelry setting, they allow the user to see tiny imperfections in the stones or settings that would not be visible to the naked eye.  They magnify from 5x to 20x normal size.  Mine (just like the one below) uses 5x and 10x, anything higher is just really not necessary.

Hammers and Tongs

Yes, believe it or not hammers and other heavy or industrial tools are required to make those pretty little trinkets.  Most jewelry in its early days was created by the town’s Blacksmith.  Hammers, anvils, tongs, crucibles, and yes, even fire, are all necessary elements in the process of creating jewelry, each with its own specific use or function.

Rawhide Hammer – used for shaping and hammering metal on a mandrel.

Ball Peen Hammer – used for hammering or stamping (dapping) metal.  These come in several different weights, mine is 4oz., just right for jewelry.

Rubber Mallet – Used for final or finishing techniques, usually stretching a ring shank.

Unfortunately I do not have a picture of tongs.  However, it should be noted that when working with metals or making jewelry that COPPER tongs should be used.  Other materials like stainless steel can contaminate the Pickle Solution (cleaning mixture), and cause it to discolor and ruin your jewelry.

Thank you for stopping by and having a look.

The Alchemists Vessel would like to wish you a pleasant day.


TAV Studio – Apoxie Sculpt Pictorial Tutorial

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Good Morning,

Wednesday, and the middle of the week has arrived.  I always liked Wednesday, you can wind up those projects, finish what has been started and plan for something new, with two more days to get organized.

Today, I want to take another little diversion and discuss a cool product, material to which my friend introduced me.  It is called Apoxie Sculpt, and it is a two part colored epoxy material.  Rather like play doh for adults.  Not clay and not really a polymer clay either, it is sticky and gooey and an enjoyable medium to with which to work.

It comes in a variety of colors and weight packaging.  I purchased the 12 color sample pack for $39.00.  A little goes an ENORMOUSLY long way.  You receive three packages of four colors each.  It comes with brief instructions and the rest is up to you.

The colored piece is Part 1, the other is Part 2 or A and B.  I have chosen red and black for the following example.

First you will need equal amounts of parts 1 and 2.  I highly recommended wearing gloves during this part, the color will transfer to you fingers.  Parchment or Freezer paper works well as a work surface.

Now the fun part, knead the two parts together until the grey streaking is gone and the ball is a uniform color.  I do not suggest a pasta machine at this point, the Apoxie will stick to it.  Did I mention this stuff is sticky? I mean it will adhere to anything!

Smash it good!

Remember, no streaks!  Knead it until the color is uniform.  The color has also transferred to the fingers of the gloves I am wearing.   I told you to wear gloves.

Now the hardest part of all… waiting.  Wait one half hour to forty-five minutes before continuing to work with it.

NOTE:  The black ball is WAY TOO much for what I needed.

I said wait…

Tick.  Tick.  Tick.

This is where I stopped taking photos, during the process.  Bad me!  After the allotted wait time is up, you will have about two hours to work with material before it begins to harden / set.  You can even bake it if you so choose, but I would allow it to cure over night, after you have completed your project.

NOTE: You may work with the material after the mixing is complete, however it is difficult to work with as it will STICK to everything including you, your work surface, clothing, etc.  I did say this stuff was sticky right?  In fact, if you plan to stick on or to something now would be a fabulous time to do that.

Using a Pasta Machine or any kind of round or flat object, roll out the Apoxie as you would clay or dough.  Mold it, shape it, sculpt it.  Critters, flowers, jewelry, the choice is yours.  Sand it if so desired when dry.  You can even paint it if you like.  The possibilities are endless and the colors mix nicely.

Rolling out the Apoxie, and using a clay cutter, cut the Apoxie shape out of the flat piece.  Textured with a design plate and adding a grommet and a rope of Apoxie for the bail, let dry over night.  Painted it with a “dip” technique, the finished piece is lovely.

Painted with a dip technique colors included, copper, silver, blue and lime green. 

Although I have stopped selling the Apoxie jewelry on line, it is still available.  However we have new uses for it, and I hope the project will be one that I can share.

Thank you for stopping and having a look.

The Alchemists Vessel would like to wish you a pleasant day.

 

Thursday Featured Artist – Rasmussen Gems and Jewelry, LLC

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Good Morning,

Thursday’s are devoted to a featured artist, wherever they may be on the web.   Today we are featuring a fellow handmadeartists.com Vendor, Rasmussen Gems and Jewelry, LLC.

Their welcome announcement explains what they do briefly, but they shop carries so much more than what you would expect to find.

Shop Announcement: Artisan jewelry shop featuring two artists. 
Debora Lee Rasmussen designs and crafts all beaded items. 
John Atwell Rasmussen is the lapidary, gemologist and artisan jeweler
 / metalsmith. All cabochons are hand cut in our lapidary. The two 
artists produce uniquely beautiful jewelry. Custom orders our specialty.
 
This dynamic duo produces beautiful jewelry from high end up scale 
pieces, to beading projects.  As the shop is also a Lapidary, they even
mine their own stones.  These folks really make every thing from the 
ground up.
 
 
Description: Faceted Zircon (do not confuse this natural stone with 
the man made CZ)d and Marcasite flanking stones set in Sterling 
silver. Size 8
 
 

Description: 24.6 carat oval cabochon cut in our lapidary from natural Lapis Lazuli purchased in the bazaar of Kandahar, Afghanistan.  This beautiful cabochon is 25 x 18 mm.  The dark blue lazulite is accented by the golden pyrite crystals.

DZ Mixed Bead Cross Necklace

Description: Mixed beads (Blue, pink, silver colored, metal) 
accenting a 1.5 inch tall Christian Cross focal in this 22 inch 
necklace.
 
 
 
 Description:  A 20 carat handcut freeform cabochon garnet 
wrapped with Sterling Silver wire.  18 inch Sterling Silver chain is 
also available in the Pendant and Necklace Section.
 
I usually don’t gush over a piece when I feature an artist, but this
Chrome Diopside pendant is just gorgeous! One of my favorite
gemstones, and it is rare.  It usually comes from Russia and can also 
be found in the United States.
 
 
 
Description: Beautiful faceted chrome diopside gem set in 14 karat gold pendant and hung from a 14 karat gold chain.
BIO: 
John Atwell Rasmussen was educated in Geology at Rensselaer Polytechnic Institute in Troy, NY. He then taught geology and after ten years switched professional course to prehospital medicine. He retired from emergency medical services and is pursuing his love of rocks, minerals and gems as the lapidary and jeweler at Rasmussen Gems and Jewelry LLC. He has been educated in Gemology and Jewelry Design and Repair at: International Gem Society, Gemological Institute of America and Penn Foster Career School.

Dr. Rasmussen is assisted in the shop by his wife, Debora Lee Rasmussen. She is disabled and does bead design and crafting making all of the beaded pieces in the shop. Debora previously designed decorative swags and wreaths custom made for home decor.

Blog: http://rasmussengemsandjewelryllc.blogspot.com/

Facebook: http://www.facebook.com/pages/Rasmussen-Gems-and-Jewelry/123028303885

 Thank you for stopping by and having a look.  In hope that the post has inspired a want to go take a gander at what those crafty Rasmussen’s might be up to next.
 
The Alchemists Vessel would like to wish you a pleasant day.
 

 

Cuttlebone Casting Part II – Model and Mold Preparation

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Good Morning,
 
Wednesday’s are devoted to what’s happening in the studio here at The Alchemists Vessel, and this morning is Part II of the three part series, Cuttlebone Casting.
 
Monday we discussed materials and the very basics of beginning to model and mold the pendant.  Today we are going to continue the project with making the model and creating the mold itself.
 
If you would like to follow along, I recommend a quick review of Monday’s post, Cuttlebone Casting Part I – Materials and Model Making.
TOOLS:
Pencil
Paper
Pin or Sharp Pointy Object
Modeling (Jeweler’s) Wax
Flat File
Jeweler’s Saw
Lighter Fluid
Soft Cloth
Brass Rods
Unsharpened Pencil

Prepared Cuttlebone halves

Last time the design of the piece was decided upon, sketched and cut out.  The sample project shown throughout the instruction will be  simple Cross shape.

This is about 1-1/2″ tall x 1-1/4″ wide.  Sketched in pencil (then traced with ink for a clearer photo), cut out of the paper, this will be the Paper Template from which to trace or “scribe” the design on to the wax block.

PREPARE THE MODEL

Cut out and place your Paper Template on top of the modeling wax and with a pin or other sharp object draw or “scribe” your design into the wax.  Trace the template.  Below is a T-pin, which I use to scribe the design in to the wax.
Note: You can see that the template is a little too long for the wax, you may adjust your design to fit with in the wax area before your trace the design.
Next with a Jeweler’s Saw and a Spiral saw blade (these cut modeling wax best, and straight blades work just fine, too) cut out your model.

Here is the beginning of the wax model.  Using a straight saw blade the block has been cut along the scribed lines in the wax.  Once completely cut out the model will be ready for final preparations.

Once your model is cut out, use a wax file to smooth and true the edges up, keeping them straight and even.  They make specific files for wax, if one is not available a flat jewelers / craft file will work as well.
Using a tiny bit of lighter fluid and a soft cloth, smooth out the surface, corners, and sides of the model.  This will remove any imperfections, nicks and scratches, and smooth the surface for a better impression.  Remember every imperfection will transfer to the finished product.  Be careful, over working the wax will distort or destroy any detail you may have carved into the model.
I have drilled tiny pilot holes in my design, the center hole will house the gemstone, and the others are to keep the design consistent.

NOTE:  I failed to take a picture prior to completing the next steps.  What you see here, is the final model, after it has been pressed into the cuttlebone halves.  The white material is dust from the bone.   Also, I dropped it, as I mentioned the wax is very brittle and I managed to break the arm of the Cross on one side.  However this happened after creating the mold impression!

Whew!  Almost there!
MAKE THAT MOLD
Now the fun starts!  Using one side of your cuttlebone, press your model into the flat surface of the bone.  The bone is soft, use gentle even pressure.  Next place the other half of the cuttlebone on top of the wax model and other half of the bone-mold and press the two sides together.  GENTLY!  If you press too hard the cuttlebone will break and another one will have to be prepared before continuing.  The wax model is now embedded in the cuttlebone.  It does take some pressure, and you can hear the model sinking into the surface of the cuttlebone.  The halves do need to touch, but press the wax into them enough for a well-defined impression.
With a pencil, mark several places on the outside of the bone so you can align the halves later.  This is important, the sides of the mold must match up for the inside to cast properly.
Remove the model.  The impression will be left behind.  This model may be used again to make another mold.
 
Here you can see the impression the wax model has made in the bone, along with the natural striated patterns of the bone itself, they are distorted by the the impression of the cross.  (The other side of the cuttlebone looks just like this).

If desired, very, very carefully sand the impression for better definition.  Do not overwork the area or you can distort the impression.

ADD SPRUE CHANNELS AND VENT GATES
Choosing one side of the mold, lay it flat and using the end of a pencil (not sharpened) create a SPRUE CHANNEL by gently pressing the pencil into the bone, just above and at the edge of the impression.  What’s a sprue channel?  It is a channel that allows the material you’re pouring to enter the mold for casting.  Make sure that this just touches the edge or of your model impression, but not so much to distort your design.  (Simon didn’t say to remove the pencil).
Next using brass rods or something with a smaller diameter than the pencil create VENT GATES.  What’s a vent gate?  It is a channel that will allow air to escape the mold during the casting process.  Just like you did with the pencil, using two (2) Brass rods (or tool) lay them just at the end and edge of the arms of the Cross.  These should also just touch the edge of the impression.  With the pencil and then the rods in place, place the second half of your mold over the pencil and rods and press down, keeping in mind to align the pencil marks on the outside of the cuttlebone.  The channels must be created in both sides of the mold.  Take the halves apart, remove the pencil and rods.
Are you still with me?  Still want to make a piece of jewelry?   Alrighty then!  Here we go!
Now match up the halves with the lines you made on the outside.  Find the Sprue Channel. Very carefully mark the top of the mold (both sides), on either side of the Sprue Channel.  This is where you will cut the SPRUE HOLE.  What’s a sprue hole?  It is a larger opening in the mold, which allows you to pour material into the Sprue Channel and into the mold.  This makes it easier to pour the material from whatever you have melted your material in, into the mold itself.  If you try to aim for the Sprue Channel you will wind up with material on the outside of the mold and possibly severe burns.  Molten Metal is HOT HOT HOT!  This project only gets up to about 400 degrees, but that can still do some serious damage!  Be careful.
Here you can see the Vent Gates, Sprue Hole, Sprue Channel, and the pencil marks I made on the outside of the bone to align the pieces.
Now align the Mold again.  Using Mold Wire, Rubber bands, or other type of binding (I do not recommend Duct Tape or other adhesive strips or bindings), match up the halves and secure (close) the mold.
The photo above is the closed mold, with Rubber band binding.
You just made a mold.  COOL!

WHEW!

Set the mold aside, some place safe and dry.

The preparations are now done and the mold is ready to begin casting the piece.

Take a break, have a little sit down and enjoy some tea, coffee, a beverage, or snack of your choice!  You’ve earned it!

Next time.  Part III – Casting the piece. 

Thank you for stopping by and having a look.

The Alchemists Vessel would like to wish you a pleasant Wednesday.

Cuttlebone Casting Part I – Materials and Model Making

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Good Morning,
 
Monday is here bright, and still smoky from all the fires in the surrounding states.
 
Today and throughout the next couple of  days and weeks we will take a look at a method of casting a piece of jewelry from easily obtained materials.  No special equipment is required for this project, although you will need a heat source that can reach temperatures of up to and over 400-degrees.
The materials are easily obtained and there is quite a bit of preparation required.  Part I includes materials, and preparing the mold for the model.  We will also discuss designing and making the model briefly, and it will be covered in full in Part II.  I emphasize DO NOT TRY THIS AT HOME!  I did, but that doesn’t mean you should!
Let’s begin.
For this project the following materials and tools are required:
A Cuttlebone
Jeweler’s Saw
Jeweler’s Modeling Wax (Green)
Mini-Torch (Butane)
Stainless Steel Tablespoon (Soup Spoon)
Gloves (Leather workman’s gloves)
Pencil
Brass Rods
320 to 600 Grit Sandpaper
File (Small Rasp / Crafting File)
Tin Soldering Material (Lead-Free Tin Alloy) 4 tubes (20 feet)
Paper
Pin
Small Vice Grip / Prop (Optional, but really should find something)
3mm Simulated Garnet Faceted “gemstone”. (Optional)
Rubber bands  or Molding Wire
Gloves or Leather Shoe Strings (Leather workman’s glove is best)
Safety Glasses or Goggles
Painter’s Mask  (Respirator – Paper Surgical Mask)
Lighter Fluid
Soft Cloth or Paper towel.
This is a cuttlebone.  It comes from a cuttlefish, very much like a squid or octopus.  You can find these at your local Pet Stores and stores that carry pet supplies.  They are inexpensive, and a little difficult to work with as they are very brittle and break very easily.  (These provide essential nutrients for your feathered pal!)  They do come in different sizes and the bigger the better.
Cuttlebones are naturally heat resistant.  This means that they can withstand high heat without distorting in shape, and make wonderful molds for just that reason.  They are also a completely natural tool with no added chemicals and won’t harm the environment.  Eco-friendly jewelry creation, that’s a plus!
PREPARE THE CUTTLEBONE:
First, remove the metal bar that allows you to attach it to a cage.  Using a jewelers saw cut the cuttlebone in half. 
 
 
Using 320 to 600 grit Sandpaper, sand the flat sides of the halves as smooth as possible.  Remember any imperfection will transfer to the final piece.  Since there are natural patterns in the bone itself, it is almost impossible to get a perfectly smooth surface.  This is a great process for rustic or primitive-look pieces that you wish to create.  When sanding it is a good idea to do so on a piece of paper or over an area that can be cleaned easily.  The bone dust is very fine and will get into everything.  You may wish to wear a painters mask when sanding the cuttlebone halves.

These are very small and get smaller with sawing and sanding.  Choose two sides that you have sanded and match them up, by laying one half on top of the other. This looks pretty good.  Set these aside someplace safe.  Do not drop them, or you will have to begin again.  These are very brittle and break easily.  Gentle pressure is all that is required.  Remember you’re making jewelry not mining for ore!  Death Grips will damage and in some cases destroy your mold and all your hard work.

You can see the natural pattern of the bone in the cross-cut section.  The flat side of the bone has been sanded flat, and halves placed on on top of the other, the “join” is smooth and the pieces sit evenly.  
 
The model you design will fit within the flat area of the bone, and should not extend past the married surfaces.
The cuttlebone is now ready to be used. 
DESIGN THE PENDANT (PIECE)

Next, with a piece of paper and a pencil sketch out your design keeping it with in the realm of size to fit your cuttlebone!  This very simple Cross pattern is easy to do; the lines are sharp and easily cut to the proper form.  Remember the more detailed or pointed your object is the harder it will be to cut.  Simple is best for this process.

This was drawn with a pencil and a ruler, and cut out of the sheet of paper.  I have traced it in black ink for a clearer photo.  This is small, about 1-1/2″ high x 1-1/4″ wide.
Set this aside as well, for now.
NOTE:  It is important to make sure your design, fits “inside” the cuttlebone, and does not stretch out beyond the edges of the bone.  The sketch should also fit the dimensions of the wax.  Here I have placed the design on top of the wax to trace or “scribe” the pattern in to the wax to be cut out.
The bottom of the cross is just a tad too long for the wax.  I will trim off the excess or trace around the paper template and stop at the bottom edge of the wax block.  I will also have to change the placement of the circles (these will be holes drilled into the surface of the wax)

After transferring your image to the wax use a Jeweler’s Saw and cut out your image from the wax.

After the shape has been cut out use a Wax File or small Flat File to true up the sides and edges of your design.

These instructions for the model will be repeated in Cuttlebone Casting PART II. Now that the cuttlebone has been prepared and you have a design, let’s make sure those tools and equipment are together.  Double check that Check List!

TOOL CHECK LIST
 
In no particular order:
 
Jeweler’s Wax – Green (aka: Modeling Wax)
 
I know it looks black, it isn’t, it is a dark green color.  Jeweler’s or Modeling Wax comes in a variety of colors and hardness.  This will work just fine.  Although it is a bit brittle so be careful and gentle when working with it.
Brass Rods
These rods are just shy of 3mm in circumference.  They will be used to create “VENT GATES” and then ground down for sculpting, shaping, carving and drilling tools.
 
Tin Alloy Soldering Material
This is 99.3% Tin, 0.7% Copper.  If the coil was unwound it would stretch to 5′ (Feet) in length.  The coil will be cut into pieces and melted during the final stage of the casting project.
 
3mm Simulated Garnet “Gemstones”
These are faceted simulated stones, I do not know what material they are made out of, but I would guess a heat resistant resign or plastic material, they are not glass.  One of these stones will be set or seated into the final piece.
 
Mini-Torch
 
This Micro-Torch or Mini Torch uses Butane gas (lighter fuel) and works well for melting or soldering things.
Jeweler’s Saw
This looks very much like a Hack or Coping Saw, Cheese Slicer maybe… This is a small hand-held tool, the blades are very fine and thin.  This will be used to cut your model out of the wax block.
 
Wednesday, PART II – Model and Mold Preparation. 
 
Thank you for stopping in and having a look.
 
The Alchemists Vessel would like to wish you a pleasant work week.

 

 

 

Thursday Workbench Woes

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Good Morning,
 
As I await the Blog Ring to begin again, I am left with empty space for posting.
 
Some of you are aware of the household incidents that have been plaguing me of late, leaks, floods, electrical wiring weirdness, wasp infestation…  In the midst of all that my poor workbench has become the catch-all for odds and ends bits and pieces.
 

I am usually a very organized craft-person, everything in its place, cubby-holes, bins, boxes, baskets, bags, nooks, crannies, shelves, drawers, the odd table corner even.  I am finding it most difficult to work under these conditions.

 
Destruction Productions presents – Alix’s Workbench, Portrait of Horror.
Yes, I used to sit in that chair, and work on that table, you can see some of the items I have discussed here including a color wheel, sandpaper, a set of craft knives, my mini-torch, light box, and various tools and other equipment.  
 
With the workbench in such a state, I have been delegated to the Dining table in the great room.
 
You guys are laughing now…
 
Since a good portion of my materials and supplies are small they require little space, or so one would think.  Right.  Due to the mentioned mishaps much of my shelf space has vanished, so I have managed to cram everything into the closet.  When I say I work out of my closet, I ain’t kidding.

The supply closet, whether you work in an office or at home, eventually you need someplace to put those things you use for work.  Cubby-holes, bins, boxes, baskets, bags, nooks, crannies, shelves, drawers and the file cabinet corners are full to the brim with beads, wire, string, clasps, buttons, clay, twine, charms, ribbon, just about every conceivable and imagined item can be found with in the depths of the Supply Closet…  Happy Hunting!

That’s all for today.  Now you have a little inside peak at the madness that is my method.
 
Thank you for stopping in and having a look.
 

The Alchemists Vessel would like to wish you a pleasant Thursday.

 

In My Studio – New Beads

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Happy Wednesday.
 
I do like the middle of the week.
 
Sunday afternoon was spent with my friend, Sarah, we swapped beads, chatted and had a nice afternoon.
 
I thought I would share some of what I got in the swap.

Clockwise: Tiger Eye, Pyrite (donuts), Silver Findings (donuts), I think that is Serpentine (oval), Shell (donuts), Marble (triangles), Carnelian, Agate, and Turquoise (diamond shape).  

Why do I feel like I just described a bowl of cereal?

Many of the pieces above have already been used to craft and create earrings, among other things, and will be listed in the shop shortly.
 
Most of what the shop has to offer is One Of A Kind, and a good deal of time is spent in the design process.  Not necessarily just stringing beads or linking jump rings, but things like bead size, shape, color, texture and even drill-style (top, side, vertical, half) are taken into account when putting together a piece of jewelry.

I try not to mass produce items, there may be a style that will be repeated, and as much joy as I get from making the piece I would like the customer to experience the joy of wearing something unique and different.

 
Also, preparation for the August tutorial is going on.  Interested in learning the basics of Chainmaille?  The lesson will be on Dragon Chain (aka Double Chain) so get those pliers and jump rings ready!  Yes, that’s all you need.  If the piece I cast is returned there will be look at the process of cuttle bone casting.
 
Thank you for reading.
 
The Alchemists Vessel would like to wish you a warm and pleasant Wednesday.

 

New Items In The Shop

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Monday is here, and we’re all ready to take on this week’s challenges, yes?
I had a very  pleasant if not eventful weekend.  After accidentally locking my poor wee beast, Nora, the cat, in the Office / Studio closet for a couple of hours, I opened the door to find my supplies, boxes of beads, ribbons, wire, leather cording, et al, strewn across the carpeted floor of the tiny hole I call a supply closet.  Five hours later I think I have managed to find and retrieve the majority of the bits and pieces.  I apologize to my animal-friend for such unintentional harsh treatment, but you could have just meowed to be let out!
 
Sunday afternoon was spent trading / swapping beads and other goodies with a friend, so I now have new supplies to play with as well, be on the look out for those!
 
New items in the shop include watches and necklaces this week.
Description:  7-1/2″ total length, this watch wears like a bracelet or bangle.  The face is stainless steel, the strap is Nickel wire, hand spun, cut into jump rings, and linked in the Full Persian Chainmaille weave, accented with beautiful Sapphire blue Czech glass silver-lined beads.  The watch comes with a battery, the plastic safety tab is in place and intact.  Currently available in three styles, Square, Oval, and Round Watch Faces in the bead color of your choice.  The “Clever Clasp” is magnetic, two ends connect and are locked into place with a screw down barrell for a secure fit.
 
Custom Order:
 
It is an absolute pleasure when someone asks me to create something special for them.  The necklace below was created as a gift upon request.  The rings are Silver Plated, and woven in the Half-Persian 4-in-1 Chainmaille pattern.  Smaller in scale than the bracelets this is sleek and sinuous, but substantial enough to make feminine statement.  At 18″ long this is a bit weighty, but not so heavy as to be uncomfortable.  Available in Silver Plated, Nickle, Jeweler‘s Bronze (aka Merlin’s Gold),  Antiqued Copper or Bronze, and Gold Tone rings.
Silver Lining

 
Description:  18″ total length. This sinuous and supple necklace is slinky, sensual, sleek and positively serpentine and it slides smoothy across the skin. Would look smashing with that little black dress or you can dress up that casual outfit with this simple but stunning chain.

Silver Plated metal wire is hand spun, cut and the linked jump rings are scaled down in size to create this feminine length of 4-in-1 Half Persian chainmaille weave pattern for a necklace. Finished with a Lobster Claw Clasp.

Available in a variety of metal choices, including Nickel, Sterling Silver Plate, Antiqued Bronze or Copper, and Gold Tone jewelry wires, upon request. Sizable and customizable!

 

NOTE:  Gunmetal Wire will no longer be offered.  Although it is pretty cool, and shiny, it has come to my attention that it is not a proper material for jewelry.  It does not stand up to wear, the color / coating will wear off and the wire apparently loses its shape.  Not good!  If you have purchased a Gunmetal Wire piece please contact me for details on replacement.
 
Thank you for stopping by and having a read.
 

The Alchemists Vessel would like to wish you a pleasant work week.