Unknown's avatar

Key Items in the Shop

Happy Monday!

Is everyone ready for the work week?  No?  Neither am I, we’re in good company apparently.

Monday always brings me to new items in the shop.  This morning is  no different.  Over that last several days I have been busily linking jump rings to make these fun, affordable and durable Chainmaille key-chains.  There are three currently listed for sale, but I will be adding more over the next couple of days.   

Comes in a variety of color and weave patterns



Custom requests are always welcome.  These samples can be re-created in your color of choice.  Currently available:
Silver, Black, Red, Purple, Green, Pink and Teal (Blue).


Aluminum Chainmaille Key-chain with Feather

Description:  Light weight and durable, Silver and Black (anodized) aluminum jump rings are used to create these fun and fanciful key chains. Available in a variety of colors and accents, topped with a sturdy steel Key ring for your keys or easy on off as a jeans or purse charm.

About 3″ long, including the silver metal Feather accent. Rings are woven in the Inca Puno (aka Box, Queens Chain) pattern and finished with a white metal Feather accent.

Chainmaille Aluminum Key-chain with Acrylic Accent

Description: Gothic Locks could use a key-chain like this! Light weight and durable, Purple and Black (anodized) aluminum jump rings are used to create these fun and fanciful key chains. Available in a variety of colors and accents, topped with a sturdy steel key ring for your keys or easy on off as a jeans or purse charm.

About 3″ long, including the black acrylic cabochon accent. Rings are woven in the Inca Puno (aka Box, Queens Chain) pattern and finished with a black acrylic cabochon-like accent.

Customizable in your color of choice. Silver, Black, Red, Purple, Green, Pink and Teal.

Green Aluminum Chainmaille Key-chain with Feather

Description: Gorgeous green color, light weight and durable, bright olive green (anodized) aluminum jump rings are used to create these fun and fanciful key chains. Available in a variety of colors and accents, topped with a sturdy steel key ring for your keys or easy on off as a jeans or purse charm.

About 3″ long, including the black acrylic cabochon accent. Rings are woven in the Half Persian weave pattern and finished with a white metal feather accent.

Customizable in your color of choice. Silver, Black, Red, Purple, Green, Pink and Teal.

That’s all for today.  Check back often to see if your favorite Key-chain has been listed, or just window-shop for other items in the shop, if you like.

Thank you for stopping in and having a look.  

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

 

Unknown's avatar

Monday Miscellany

 

Happy Monday,

Today is a collection of miscellaneous stuff.

New in the shop is this pretty Chainmaille bracelet available in a variety of Metals.  This one is Silver Plated (over copper) jump rings with a matching Toggle clasp.

Japanese Weave Flower Bracelet

Description:  9″ total, this very cute and feminine bracelet comes in a variety of metals. Shiny, bright and pretty, light enough to wear all day. Great for the Office or a Casual outfit. Each Flower-like unit is hand linked individually and joined as a chain.

All items arrive boxed, and ready for gift giving.

Custom work is always welcome.

Shop News:

On an interesting note, I have been invited to participate in a Consignment shop,  Inspired Creations, of Spokane, Washington.  Although this is just an invitation and I have yet to confirm what will be available in the store, or what I will be sending, it may be a great opportunity for exposure and expanding the shop a little.   I am cautiously excited!

The Treasure Valley Flea Market was an enjoyable event.  A good time was had by all.  We’ll be doing it again next month, November 10th and 11th, 2012.  This will be the last Market before Christmas, come on down and get your Holiday Shopping done early!

Don’t forget that this Sunday is The Witches Market hosted by Bella’s Grove.  October 14th, 2012, at 2210 S. Broadway, Suite 102, Boise, ID.  The Market will be held throughout the building.  Stop by for your Halloween Chopping needs!

Thank you for stopping in and having a read.

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

 

Unknown's avatar

New Flower Bracelets in the Shop

 

Good Morning,

Happy October 1st, everyone.  Monday is here, so is Fall, and it is cold in here in this morning!

This weekend the Treasure Valley Flea Market is happening, and then once more, November 10th and 11th.  These will be the last shows I am attending this year.  We have on-going specials and sales this market.  Come on down, say Hello, or shop some of the vendors.

This morning’s new item is a very pretty and feminine Chainmaille bracelet.  Earrings to match can be made or found in the shop.  The Japanese 4-in-1 or  6-in-1 weaves use a ratio of large to small rings to create unique and interesting patterns, zig zags, flat sheets, and round objects can be formed using this weave.

These flowers are the size of a quarter, light weight and fun to wear.  Single flowers make an earring, and when linked together, a consistent chain.

This piece is two tone, one side is Silver the other Gunmetal tone rings, and alternating silver and gunmetal joining rings

The opposite side of the bracelet,  may be worn Silver side up or down for different looks.

Five flowers and a toggle clasp create this 7-1/4″ bracelet.  These may be made to desired length, using a variety of metals for single or two tone / double sided bracelets.  Precious metals are available per customer request.

When worn it creates an attractive band. (Ignore my arm).

Currently available in the Shop for $25.00 each.  We will be adding more of them as soon as I take photos and list them.  Don’t want to wait?  Convo the shop on the site and tell us what you’d like, we’ll set up a special listing just for you!

On a personal note, I think I need to go back to using the grey background.  The photos just are not translating well, my apologies.

Thank you for stopping in and having a look.

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

 

Unknown's avatar

Thursday – Etsy Wholesale, Silver and Artifical Diamonds

 

Good Morning,


Thursday are reserved for the Blog Ring Featured Artist from handmadeartists.com.  This Thursday, I have been chosen as the artist, so instead of posting about myself I thought I would share a couple of videos and discuss Etsy’s foray into Wholesale.  It’s not what you may think.

First up the videos:

Silver – How Its Made

Artificial Diamonds

Etsy Wholesale:

I know a lot of folks have been very upset about this lately, but actually it looks like it may be a good thing.

After reading the Etsy News Blog article “Etsy Wholesale on the Horizon“, I sort of understand what it is they are doing, and don’t worry this doesn’t mean the end of your Shop, or that it will be swallowed in a sea of Made-in-China cheapies, or even that Etsy is going to knock the small independent handmade artist off the site because they will be unable to keep up with the fees or quantities required by retailers.

A couple of points I would like to make, or you may read the article, it explains it better than I am able.  In short this is what is happening.  In Spring of 2012 Etsy acquired a site called Trunkt. I have no idea what this site was about.  The owner of Trunkt, Dev Tandon, now works for Etsy, and the Lifetime Members of his site are being integrated into Etsy Wholesale Marketplace.  You can sign up to learn more at the link provided.

This new venture is apparently “Etsy 2”, a separate and private site where Wholesalers (those shops that have a ton of items) can connect with retailers who want to purchase quantities not necessarily available via a smaller independent shop.   Doesn’t sound so bad.

Thank you for stopping in and having a look.

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




 

Unknown's avatar

Tuesday – Five Great Gift Suggestions

 

Good Morning,

I hope everybody had restful and relaxing Labor Day Weekend.

Today we have five more gift ideas to share with you.

From:  Repurposed Treasure

Sarah Coventry CARESS Vintage Filigree Wrap Ring Hostess Gift

Description: 1970’s Hostess Ring (was not available for customers to order)…Sarah Coventry’s lovely filigree pattern ,wrap style, silver toned metal ring. Appropriately named “Caress”

It is adjustable due to the wrap style. Currently a size 7 1/2

This ring is in excellent vintage/used condition. Inner band is marked COVENTRY

*There is some tarnish on the inner band, which I will leave to the buyer, as some appreciate the patina.

Vintage Necklace 1970’s Jewelry Multi Strand Silver Metal and Faux Pearl 

Description: This necklace is multi-strand and multi-functional. It seems it would fit with everything from a bikers leather jacket and jeans to a business suit. Very cool.

It is a heavy metal necklace which has three stands that are joined at the ends.
One strand is a chunky large link chain, with every other link having a roping texture.
The other two strand are more delicate, with two small links and a larger roping textured link alternating. There is a simulated pearl every few inches along this pattern on these two strands.
All pearl beads are present.
T-bar closure.
Measures 18″ long, including closure.
This necklace is in excellent vintage condition.

From: Sues Arts

Elegant Flower Cameo on Large Filigree Setting

Description: Beautiful one of a kind custom made brooch vintage antique style.

About 2 1/2″ in diameter.

DELIVERED IN A GIFT BAG

CUSTOM ORDERS ALWAYS WELCOME

♥And since I love animals I always ask to please be kind to them♥

Thanks,

Suzan

Elegant Charm Safety Pin

Description:  This attractive 3# large size safety pin decorated with different charms.

It is very unique and gorgeous looking.

DELIVERED IN A GIFT BAG

CUSTOM ORDERS WELCOME

 
Description: This is a hand painted decorative plate with bright violet and white flowers. It’s a great way to add a splash of color to any room. This is a square, ceramic plate. It is for display only.

I used acrylic paint which I allowed to air cure for 24 hours and then baked in the oven to further set the paint. Then it was given three coats of varnish which gives the surface a textural appearance. If it needs to be cleaned you can just wipe with a damp cloth or hand wash with a mild dish detergent.
8 in x 8 in

Great effort has gone into accurately describing and photographing products, but please note color representation alters depending on individual screen settings.
*The stand is for display purposes only. It is not part of the sale.
Packaged with lots of care and love and will ship 1-2 days after payment is received.

 

 

Unknown's avatar

CUTTLEBONE CASTING PART III – Re-Blog Complete With Pictures

 

Monday!  

I hope every one is still enjoying their Holiday Weekend.

The first time this was posted I was experiences some technical difficulties, and after consulting an iMac savvy friend,  I have picture upload once again!

If you would like to follow along or have just started to read here, may I suggest reading (or taking a brief scan)
Cuttlebone Casting Part I – Materials and Model Making
Cuttlebone Casting Part II – Model and Mold Preparation

PART III Casting the project.
TOOLS:
Tin Alloy Soldering Wire (4 tubes, 20 feet)
Mini-Torch
Prepared Cuttlebone Mold
Vice Grip or Prop
Safety Gear
Goggles / Glasses
Gloves, leather shoe strings (something to wrap the spoon handle) 

NOTE:  The sample casting shown used 2 to 2-1/2 tubes of Tin Alloy Solder, your project may require more or less depending on size of the model and depth of the impression.

SAFETY FIRST!  This lesson consists of playing with fire, and I mean literally.  Temperatures reach 400 degrees and possibly higher!  Be aware of your surroundings and your work area!  Remove any and all distractions and make sure you have an uninterrupted block of time in which to work.  Although this portion of the process is fairly quick, you must pay attention to what you are doing!  Turn off your cell-phone, send the kids outside to play, give the hubby a “Honey-Do” list and feed the dog; you must be and remain focused!

Last time we made a wax model and a mold from simple and easy to obtain materials.  Today we are going to complete the process and show the steps for actually casting the piece.  The step-by-step process for creating a mold may be read in CuttleboneCasting Part II – Model and Mold Preparation.
The cuttlebone mold is now ready for molten metal.  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! 

PRE-CASTING PREPARATIONS:

Prepare your work area.  Make sure it is free of anything flammable and fluttery that might catch fire or drift into the molten metal.  Place your mold in the Vice Grip or other object you have chosen to keep it steady and upright.  Get your spoon (or whatever you’re going to use to melt the metal in), torch, and tin alloy lined up, ready to go, and easily accessed! 
**TIP:  Trim the tin alloy coils into smaller pieces; this will make melting and adding it to the already melted material much easier.
NOTE:  Unlike other casting processes that use high-speed centrifuges or kiln (oven) burn out cycles (Lost Wax Casting) to distribute the material to the mold, all that is working here is gravity!  Pouring the molten metal into the mold is like filling a glass with sand, the material will be layered as you pour it into the mold.

Here I have the cuttlebone mold in a prop to keep it upright and steady as material is poured.  Closed with Rubber bands and waiting for metal to be melted and poured.

MELT THE METAL / FILL THE MOLD:
*The Spoon will reach temperatures of up to 400 degrees (the melting point of the tin alloy is 374-degrees), USE PROTECTIVE MEASURES!  Leather gloves or wrap the end with leather shoestrings to keep the heat away form your hands and fingers.

Begin by adding a small amount of the Tin Alloy to the spoon.  Cut bits off the coil first to make this easier.  Let it sit in the bowl of the spoon.  Do not try to melt the whole coil all at once.   Using a mini-torch, hold the spoon just above the flame and melt the metal in the spoon, continue to add bits of metal until the spoon is full.

The flame has not been turned on for these pictures, that would be hazardous to my heath and the I’d burn the house down.  These are to show the spoon’s position it should be held up and away from the nozzle of your torch and the flame allowed to heat the bowl of the spoon from underneath.
Because the soldering material is a tin / rosin core alloy, you will see the rosin left behind in the spoon, and some smoke may rise as the rosin burns away.  That is the brown discoloration on the spoon and mold.  Rosin comes from trees and is a brittle solid form of resin, it is used as a flux in some soldering materials to help the metal melt and flow at an even rate.  This discoloration will not appear on your piece, this is left behind after the melting process. 
NOTE:  The molten metal will pool in the bowl of the spoon.  Adding pieces of material closer to the pool will help it to melt and incorporate into the ever growing puddle of metal.  It will slide around in the spoon hold the spoon steady while melting is in process. 
Coil melting into pool of molten metal
Melted puddle of metal.
Continue to add pieces of the Tin Alloy until the spoon is full, or until you think there is enough metal to fill the mold.
Carefully pour the contents of the spoon into the Sprue Hole and down the Sprue Channel.
Repeat the melting and pouring process until your mold is full, if necessary.  You will have to look through the Sprue Hole and do a little guessing here to be sure that the material has filled the mold (impression) completely.  You DO NOT want to fill the Vent Gates or Sprue Channel, just enough metal to fill the mold of the Cross.

Instant Gratification…. Well almost.  After the mold is full, wait a full ten to fifteen minutes for the metal to solidify and harden.  The mold will also be cooling down during this time, making it a little easier to handle.

Here you can see the burn mark on the top of mold, where the spoon touched the surface of the cuttlebone.  The cuttlebone sits in its prop cooling down while the metal is solidifying.

Once time is up, carefully remove the binding from the outside of the mold, unwind the wire, slip off the rubber bands (whatever was used) gently, keeping the mold closed as you do this.  If you used Duct Tape (and I told you not to) you will have to cut it away with a razor-blade where the two halves of the mold meet and split the mold open like a book.

 
Well looky there!  You have a metal pendant!  TAH-DAH!
 
The tin alloy is soft enough that you can drill a hole in the top of the cross using a drill bit and your hand for a bail to be glued (soldered) into place.
FINAL FINISHING:
 
Using Sandpaper and a file, will “clean” up the casting.  Some of the metal over flowed the mold impression and will have to be removed.  You can also see the natrual pattern of the cuttlebone has left surface impressions as well.  These may be left as is or sanded, filed and polished.
 
Cleaned, sanded and filed casting. The bone’s pattern has created a line in the  surface of the cross
 
To complete my pendant, I will seat the simulated Garnet into the center hole of the Cross.  Using a brass rod that I have ground to a 45-deegree angle at one end, I will finish the pilot hole for the gem and seat it in to place.  Using a craft knife or razor blade, I will then create PRONGS by scraping some of the metal from the Cross up and over the gemstone in four evenly spaced places around the stone’s setting.
Complete Cross before scrapping prongs and final polishing.
Although this will leave dents in the exterior of the Cross surface, it will help secure the stone into place.

 After the gemstone setting is complete I will use a Polishing Cloth (these have chemicals embedded in the material) and gently rub the surface of the piece, polishing it and giving a little shine.

It is now ready to be displayed or worn on chain or lanyard.

Thank you so much for stopping by and having a look, and if you have followed the whole series, thank you for sticking with us.  We hope you have enjoyed this brief look in to one of the many casting processes available and used for jewelry-making.

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

**Want something like this, but don’t want to do it yourself?  Custom work is available.  All custom molding projects begin at $50.00 this includes Design materials and Mock Up of your custom piece before casting.  Precious Metals are available for this process.

 

Unknown's avatar

Quick Pictorial Tutorial Thursday

 

Good Morning!
 
The week is winding down and so am I.  Today I thought it would be fun to look at an easy and relaxing jewelry-making craft, Wire Wrapped Rings. Yes, I said, relaxing. This is actually a really fun and super simple project.  Even the kids can do it!  One of the best things about this project is that it takes just minutes to do.
Wire-Wrapped Rings in Sterling Silver plated Copper jewelry wire

I think every jewelry blogger, designer, maker, or hobbyist, eventually sits down to write about or make one of these simple and pretty little rings.  This includes myself. 

All you need:
Jewelry Wire – *20 or 18 gauge (any type) Colored (anodized) Aluminum works well, too. 
(*I do not recommend 16 gauge or 14 gauge)
Permanent Marker or Lip Balm (or any round object – a “mandrel”)
Pliers – if you like.
*Extra Embellishments (not necessary, but fun to play with).
Button
Glass Seed Beads (Size 6)
NOTE:  Jewelry wire comes in lengths measured in yards, usually between 8 to 10 yards per coil, that’s 24 to 30 feet of wire.  You can make lots, and lots of rings with a single coil.  The Sterling Silver Plated Copper jewelry wire I used for this project is packaged by Darice and available at local craft stores for about $3.99 for 8 yrds.
Simple Tools and Wire
First measure and cut two pieces of wire 8″ long.
Gently fold them in half.
Don’t let the ends cross.
Put them together and place the marker, balm, or other round object ( “mandrel” about the size of your finger), in the fold.  Bend the wires around the marker or balm with your fingers.
Don’t let the ends cross, keep each wire next to each other.
Next, Adjust the wire where you want it.  *Remember it will be a little looser at this stage.  That is OK.  With your fingers, hold the bottom of the wire against the madrel, with your other hand, take the wires between your fingers and twist in a clockwise motion, locking the wires together (like a twist tie).  Keep the wire as tight as possible against the mandrel as you twist.  Twist only once.
Twist the wires once, clockwise.
You may take a pair of pliers or your fingers and bring (pinch) the loops together.
 
Now  continue to twist the wires, one group of two at a time around each other twice or three times.  Stop.  Can you see the “rosette” forming in the center of the ring?  Good.
The Rosette is formed and wires are divided.
Now, divide the wires.  Decide which wires will continue forming the rosette and which to pull away from the center.  Do not cut the wire.  Above the wires closest to the rosette have been left in place, the others have been stretched out and away from the center of the ring.
 
Continuing wrapping around the center wire forming a larger (or smaller) rosette as you choose.
The Rosette is complete, the wrapped wire is now much shorter.
Trim the excess wire from the Rosette.  You may wish to leave a little extra to bend over and tuck under the edges of your ring.  I did not do that in this example.  However this helps to keep the wire from snagging and possibly ruining the ring.
 
Next, and this can be a little tricky.  Remove the ring from the madndrel, choose one side of the ring and begin wrapping the other length of wire around the shank (round part) of the ring.  It helps to bend the wire slightly so it slips into the center of the ring.  Wrap the wire down the shank.  Make sure to wrap both sides.  This will help the ring keep its shape, make it a little smaller in diameter, and adds an interesting design element as well.
 
One side is of the shank wrap is complete here is the other side in progress.
 
Make sure that the wire ends are on top of your ring shank, cut off the excess wire, keeping the ends up and away from your skin so you do not scratch yourself.
 
The complete ring on the marker (mandrel).
You can wear the ring on any finger it will fit on or that you have sized it for.
 
Pretty little bauble
 
Completed ring.
 
 
You can also bead the last twist of the wire around the rosette if you like or you can use a button as a focal point.  As shown in the alternatives below.
 
Black Czech Glass Seed Beads adorn the side of the rosette.
Shell Button Ring
The button ring is made using the same technique.  Once the wire has been placed around the mandrel, side the wire through the thread holes in the button.  Bring the button down as close as you can to the mandrel, and then twist the wires together.  Instead of separating the wires and wrapping them down the shank, use all four to form the rosette in the center of the button, cut off the excess wire and wear for fun or with Kitschy fashions!
 
Reddish-Orange Shell Button with complete rosette
There are many other ways to add to or embellish the ring.  Why not try glass bi-cone beads or a gemstone or maybe even a crystal.  Perhaps a charm or other interesting object, like a gear or tiny vacuum tube could be wrapped as well.  The possibilities are endless.  What might you design?

T.A.V. would like to thank Carrie S. for the use of her camera.

 
Thank you for stopping in and having a look.  We hope you found this tutorial interesting and will try a wire-wrapped ring of your own.
 
The Alchemists Vessel would like to wish you a pleasant Thursday.

 

Unknown's avatar

Cuttlebone Casting Part III – Casting The Piece

 

Hello,

Please note, due to technical difficulties some of the photos for this tutorial are not shown (photo error), this post will be updated once the photo upload decides to cooperate.  We apologize for any inconvenience this may cause and are working to rectify the situation.

This is the final stage in casting a piece of jewelry with a cuttlebone mold.  If you have not been following along or have just discovered this series, please refer to the previous posts for an overview.
 

Cuttlebone Casting – Part II Model and Mold Preparation

PART III Casting the project.
TOOLS:
Tin Alloy Soldering Wire (4 tubes, 20 feet)
Mini-Torch
Prepared Cuttlebone Mold
Vice Grip or Prop
Safety Gear
Goggles / Glasses
Gloves, leather shoe strings (something to wrap the spoon handle) 

NOTE:  The sample casting shown used 2 to 2-1/2 tubes of Tin Alloy Solder, your project may require more or less depending on size of the model and depth of the impression.

SAFETY FIRST!  This lesson consists of playing with fire, and I mean literally.  Temperatures reach 400 degrees and possibly higher!  Be aware of your surroundings and your work area!  Remove any and all distractions and make sure you have an uninterrupted block of time in which to work.  Although this portion of the process is fairly quick, you must pay attention to what you are doing!  Turn off your cell-phone, send the kids outside to play, give the hubby a “Honey-Do” list and feed the dog; you must be and remain focused!
Last time we made a wax model and a mold from simple and easy to obtain materials.  Today we are going to complete the process and show the steps for actually casting the piece.  The step-by-step process for creating a mold may be read in CuttleboneCasting Part II – Model and Mold Preparation.
The cuttlebone mold is now ready for molten metal.  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!
PRE-CASTING PREPARATIONS:
Prepare your work area.  Make sure it is free of anything flammable and fluttery that might catch fire or drift into the molten metal.  Place your mold in the Vice Grip or other object you have chosen to keep it steady and upright.  Get your spoon (or whatever you’re going to use to melt the metal in), torch, and tin alloy lined up, ready to go, and easily accessed! 
**TIP:  Trim the tin alloy coils into smaller pieces; this will make melting and adding it to the already melted material much easier.
(Photo error)
NOTE:  Unlike other casting processes that use high-speed centrifuges or kiln (oven) burn out cycles (Lost Wax Casting) to distribute the material to the mold, all that is working here is gravity!  Pouring the molten metal into the mold is like filling a glass with sand, the material will be layered as you pour it into the mold.

Here I have the cuttlebone mold in a prop to keep it upright and steady as material is poured.  Closed with Rubber bands and waiting for metal to be melted and poured.

MELT THE METAL / FILL THE MOLD:
*The Spoon will reach temperatures of up to 400 degrees (the melting point of the tin alloy is 374-degrees), USE PROTECTIVE MEASURES!  Leather gloves or wrap the end with leather shoestrings to keep the heat away form your hands and fingers.
Begin by adding a small amount of the Tin Alloy to the spoon.  Cut bits off the coil first to make this easier.  Let it sit in the bowl of the spoon.  Do not try to melt the whole coil all at once.   Using a mini-torch, hold the spoon just above the flame and melt the metal in the spoon, continue to add bits of metal until the spoon is full.
The flame has not been turned on for these pictures, that would be hazardous to my heath and the I’d burn the house down.  These are to show the spoon’s position it should be held up and away from the nozzle of your torch and the flame allowed to heat the bowl of the spoon from underneath.
Because the soldering material is a tin / rosin core alloy, you will see the rosin left behind in the spoon.  That is the brown discoloration you see.  Rosin comes from trees and is a brittle solid form of resin, it is used as a flux in some soldering materials to help the metal melt and flow at an even rate.  This discoloration will not appear on your piece, this is left behind after the melting process.
NOTE:  The molten metal will pool in the bowl of the spoon.  Adding pieces of material closer to the pool will help it to melt and incorporate into the ever growing puddle of metal.  It will slide around in the spoon hold the spoon steady while melting is in process. 
(Photo error)
Continue to add pieces of the Tin Alloy until the spoon is full.
Carefully pour the contents of the spoon into the Sprue Hole and down the Sprue Channel.
Repeat the melting and pouring process until your mold is full, you will have to look through the Sprue Hole and do a little guessing here to be sure that the material has filled the mold (impression) completely.  You DO NOT want to fill the Vent Gates or Sprue Channel, just enough metal to fill the mold of the Cross.
Instant Gratification…. Well almost.  After the mold is full, wait a full ten to fifteen minutes for the metal to solidify and harden.  The mold will also be cooling down during this time, making it a little easier to handle.
Here you can see the burn mark on the top of mold, where the spoon touched the surface of the cuttlebone.  Here the cuttlebone sits in its prop cooling down while the metal is solidifying.
Once time is up, carefully remove the binding from the outside of the mold, unwind the wire, slip off the rubber bands (whatever was used) gently, keeping the mold closed as you do this.  If you used Duct Tape (and I told you not to) you will have to cut it away with a razor-blade where the two halves of the mold meet and split the mold open like a book.
(Photo error)
Well looky there!  You have a metal pendant!  TAH-DAH!
(Photo error)
The tin alloy is soft enough that you can drill a hole in the top of the cross using a drill bit and your hand for a bail to be glued (soldered) into place.
FINAL FINISHING:
To complete my pendant, I will seat the simulated Garnet into the center hole of the Cross.  Using a brass rod that I have ground to a 45-deegree angle at one end, I will finish the pilot hole for the gem and seat it in to place.  Using a craft knife or razor blade, I will then create PRONGS by scraping some of the metal from the Cross up and over the gemstone in four evenly spaced places around the stone’s setting.
Although this will leave dents in the exterior of the Cross surface, it will help secure the stone into place.
After the gemstone setting is complete I will use a Polishing Cloth (these have chemicals embedded in the material) and gently rub the surface of the piece, polishing it and giving a little shine.
It is now ready to be displayed or worn on chain or lanyard.
Thank you so much for stopping by and having a look, and if you have followed the whole series, thank you for sticking with us.  We hope you have enjoyed this brief look in to one of the many casting processes available and used for jewelry-making.
The Alchemists Vessel would  like to wish you a pleasant day.
**Want something like this, but don’t want to do it yourself?  Custom work is available.  All custom molding projects begin at $50.00 this includes Design materials and Mock Up of your custom piece before casting in the material of your choice!  Precious Metals are available for this process. Please feel free to return for the updated post, once I get the photos to cooperate! 

 

Unknown's avatar

Cuttlebone Casting Part II – Model and Mold Preparation

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.

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Cuttlebone Casting Part I – Materials and Model Making

 

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)
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.