- Posted by thejanew on November 29th, 2012 filed in
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I just love the patina on this 1899 English Penny and knew I had to use it on a pendant. I think the pendant turned out nicely and thought I’d share the steps it took to make it. The post is long, there are quite a few steps to this and I didn’t want to skip any.
The elements of this pendent are layered for depth and interest. Because I didn’t want to solder the penny, I have used prongs to set it against the etched copper plate. I used cold connections, and soldering to attach the other elements.
The first step was to decide on the overall design. I looked through my stash of beads and such, did a little sketch, and decided on a design for the etched copper plate. I then had to decide the best method for attaching each element to the others and in what order. The order was important.
I used a rubber stamp, Staz-On ink, and a sharpie marker for the design on the copper. The little circles of blue painter’s tape are placed where the silver bezels will be attached. The etching will make the surface of the copper rough and uneven. The tape will act as a “resist”, leaving the surface flat and smooth for the bezels to set nicely. I used a ferric chloride solution to etch.
I like to use Faux Bone as a backing for many of my pendants. It is lightweight, easy to texture and color, and very sturdy. I cut the Faux Bone just a little longer and wider than the copper piece so that it will show around the edges and have a framing effect.
The first piece I attached to the pendant was the bail. I drew the bail on paper. When I thought it was the right size and shape I cut out the paper pattern. I did a test for size, shape and placement.
I glued the paper pattern piece on to the metal for the bail. I find it is easier for me to saw around the glued pattern than it is to follow a drawn or scribed line.
I just happened to have a strip of copper the right width for the bail. Saw the rounded “V” out first so that you’ll have something substantial to grip while sawing.
This is the bail ready for attaching to the Faux Bone backing. It has been polished, signed and holes punched for the chain and eyelet.
I used a brass eyelet to attach the bail to the Faux Bone backing. After the bail is secured gently bend the ends away from the backing to allow space for jumps rings.
Next I measured and marked the etched copper plate for the placement of the penny, the bezel cups, and the corner holes.
For the holes I used my Long Reach Riveting System by Crafted Findings. But a flex shaft, Dremel, or punch pliers will work well. The holes for the prongs must be a snug fit for the wire gauge I chose. If the wire prongs are loose in the holes the soldering will fail.
I like to flatten the ends of the prongs before they are soldered to the plate. The prongs are much longer than they need to be so I can hold them while hammering and placement for soldering. Thoroughly clean the copper plate and the prongs with a light sanding and a dip in the pickle and rinse well.
With the prongs in place, I dropped the penny in and adjusted the prongs for the best fit against the sides of the penny. Don’t bend the prongs over.
Cover all surfaces with flux. The flux protects the copper from excess tarnishing.
I placed the copper plate with the prongs in place on the soldering tripod, prongs facing down. The solder is difficult to see, but there are two small pieces per prong. I soldered, quenched, pickled, and patinated with liver of sulphur.
I polished the copper plate to make it shine, but left enough patina to give it that aged look.
The bezel cups are attach to the copper plate with brass eyelets. I smashed the ends of the eyelets as flat as possible inside the bezels so that the stones would set flat. I chose to use eyelets to attach the bezel cups because they are small and thin and I was concerned they would melt.
I next set the penny in the prongs, bent the prongs over, cut the excess length off, and smoothed any rough edges.
I do the holes in the Faux Bone backing as the last step. I used small rubber coated clamps to hold everything in place. I drilled a hole in the Faux Bone by going through the hole in the lower left corner of the copper plate and set a medium length brass eyelet while the clamps were in place. Next, I drilled a hole in the upper right corner and set the eyelet. Now the piece is stabilized, I can remove the clamps and drill and set the other two eyelets. By using the clamps and drilling and placing the eyelets in this manner, I’m sure the holes are aligned.
I hope you found this interesting. I would love to read your comments.
- Posted by thejanew on June 21st, 2011 filed in
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I completed this necklace on Monday. While working on it, I realized the perfect finish would be a clasp on two-strand end bars. I didn’t have any and my local jeweler’s supply was closed for the weekend. I knew that the big craft stores in town didn’t carry the quality of findings I wanted to use on the piece. So, I decided to make my own!
For these end bars I used pieces of 20 gauge brass from scrap bucket. I drew an outline of what I wanted on plain printer paper and cut out two identical shapes. I like to glue the paper pattern onto my metal (Aileene’s Tacky Glue is my all time favorite glue) and then use the jeweler’s saw to cut out the shape. When you use the identical patterns both pieces will be the same size and shape. For those of you who don’t saw, just use snipes to cut the shape around the glued patterns. I used hole punch pliers to make the holes in each piece, then filed, sanded, and polished.
The finishing step for the strand ends is the clasp. I made the clasp of 18 gauge bronze jeweler’s wire. When I first started making strung bead jewelry many of my store bought clasps failed - wouldn’t stay hooked, jump rings fell off, or just plain BROKE - so I now I make my own.
The next design concern was how to suspend the asymmetrical focal piece between the strands. I decided that a back plate would be the best solution.
Once again, I made a paper template and did any design and fit adjustments on the paper. When I had the final size and shape, I cut out the paper pattern and glued it onto a piece of brass and sawed around the pattern. Some punch plier holes, filing, sanding, and polishing. The clock part had an existing hole. I put a long brass micro bolt through the clock part, attached the plate, and snugged it tight with a nut. I then bent the edges of the back plate away from the clock part to make room to attach the strings of Kynite and crystals.
- Posted by thejanew on October 13th, 2010 filed in
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The wonderful workshop, taught by Susan Lenart Kazmer, was held in the little village of Durfort. The village is known for making copper pots and cookware.
In the village there is a copper pot like this hanging in each doorway.
The workshop site is a lovely house built prior to the French revolution own by the talented and gracious Gwen Gibson. The house is called La Cascade.
The house is named for the water fall made by a sluice gate on the river running behind the house.
I will post more photos as soon as I can figure out why this &%$#^*(*&^%$#@@ blog page won’t load my photos. It’s time to call in the Big Gun - the wonderful R will come to my rescue!