Introduction to Metalsmithing

Metalsmithing is an essential skill in the construction of a jewellery piece. While basic metalsmithing
techniques have not changed significantly during the past thousand years, specialist training is still
necessary for the acquisition of an essential set of metalsmithing skills. Years of practice and
experimentation are required for the development of master craftsperson skills.

Even if you never actually manufacture your own designs, it is vital to understand the construction
process for successful communication between you and the craftsperson you choose to execute
your designs. It will definitely help to avoid unnecessary disappointment and very importantly,
unnecessary costs to both the designer and the craftsperson in rectifying misunderstandings. A good
knowledge of various processes, materials, techniques and jewellery related skills will therefore
definitely be an invaluable advantage to the jewellery designer during the design process.

It is beneficial to the jewellery designer to experiment with various techniques and to understand
the basic characteristics as well as limitations of chosen materials, processes and techniques. Such
hands-on involvement, can also contribute towards establishing a very personal and unique style.
Individuals are often naturally drawn to different manufacturing techniques and outcomes. You may
even find great enjoyment and new possibilities in the jewellery you create.

Remember: Even a skilled craftsperson will almost NEVER be an expert in

every aspect of jewellery creation!

1.1.1 Introduction • Page 1

Imparting an eye (and hand) for quality will be a key aspect of this course. Knowledge of at least
some basic metalsmithing techniques will be necessary to assess the inherent quality of a piece of
jewellery. While quality in design and artistry is what distinguishes a dazzling, one-off piece of
unique ‘couture’ jewellery from its mass-produced peers, quality in workmanship is what
distinguishes a piece that has been well-made by a master-craftsman from another that might have
clearly been the result of a rushed job, or executed by an unskilled individual (regardless of the
artistic merits of the design in either case).

Quality also involves the wear-ability of the final piece of jewellery; for example, an essential
component of any brooch would be the pin or post that attaches it to its wearer. Failure to recognize
and integrate the pin into the design of the brooch can interfere with the visual impact of an
otherwise beautiful piece – in some cases egregiously enough to cause embarrassment for the
designer. The pin is also the most vulnerable part of a brooch and serious consideration should be
given to the strength of the material it is made of, as well as its positioning so as to ensure that the
brooch is balanced and not likely to tilt at an awkward angle – or worse still, come loose and fall off.
Finally, a poorly-finished pin can result in damage to the fabric on which it is pinned. A double
brooch pin should be considered for heavier pieces.

Therefore, quality yet again plays an integral part in the function of the jewellery piece.

To this end, the understanding and appreciation of Quality in both the design as well as
manufacturing processes in jewellery-making is vital to any aspiring jewellery designer/craftsperson
in order to create lasting, beautiful and wearable jewellery pieces.

JEWELLERY DESIGN REQUIRES A HEALTY CURIOSITY AND AN

APPETITE FOR UNDERSTANDING DESIGN “INGREDIENTS”
-Elizabeth Olver “The Art of Jewelry Design from Idea to
Reality”

Quality lies not only in the beauty of the initial design of a piece of jewellery,
but also in the workmanship of the actual, final piece.

1.1.1 Introduction • Page 2

Introductions – Getting to know your group:

To draw good jewellery you need to be comfortable and at ease in your surroundings. We want
everyone to get to know each other as, from time to time, we will be working closely together on
various hands-on projects. Please share with the group some of the following information:

Please state:  Your Name or nick name by which you prefer to be called,

 Where you come from ie: Singapore, London, Paris

 If you are in the jewellery industry and for how long,

 What your purpose is for taking this class, what you wish to achieve.

1.1.1 Introduction • Page 3

Tools and Equipment
In this metalsmithing course, you are provided with a selection of tools and materials:

Tools & Equipment: Project Materials

 Portable Jeweller’s Bench  Copper Wire – 12ga, 10” [Prj. 1]
 Flex Shaft w/ Motor & Pedal  Copper Wire – 16ga, 10” [Prj. 1 & 3]
 Stand & parts for attaching flex shaft to  Copper Sheet – 18ga, 6 X 3” [Prj. 2 & 3]
bench  925 Silver Wire – 12ga, 2” [Prj. 4]
 80pc Polishing & Grinding Set  925 Silver Sheet – 18ga, 2.5 X 1” [Prj. 4]
 Sandpaper Mandrel  Silver Solder, X3 Pieces [Prj. 1, 3, 4]
 Sandpaper Sheet, 360 Grit - Red = ‘Hard’
- Black = ‘Medium’
 Safety Glasses
- Blue = ‘Easy’
 Butane Hand Torch
 [Select] 1 Natural Mineral [Prj. 4]
 Can of Butane
Cabochon in colour of choice
 Thick Heat-Resistant Fibre Brick
 Cross-locking Tweezer w/ Wooden Handle
 Flux Brush
 12gms Boric Acid
 Titanium Soldering Pick
 Tweezer, Stainless Steel, Fine
 Plastic Containers
 Brass Wire Brush
 ¼ Pound Ball-Pein Hammer
 Drill Bit Set
 Steel Hole Punch
 Jeweller’s Adjustable Saw Frame
 Sawblades, Size 2, 10pcs
 Burlife Saw Friction Reducing Wax
 Hand File, Large
 File Handle
 Needle Files, 10pcs
 Wooden Ring Clamp w/ Leather Jaws
 Steel Ruler w/ Inches & cm
 Important Metalsmithing Notes in Binder

Important note on JDMIS policy of storing benches & equipment

JDMIS commits to storing your bench and Metalsmithing tools for the duration of your scheduled
Metalsmithing course; please lock any valuables (eg: precious metal, gems) in the lockable drawer and be
sure to keep the key carefully with you at all times as WE DO NOT HAVE REPLACEMENTS.

Without exception, you are required to take your bench with you on the last scheduled day of the course you
registered for. JDMIS cannot store benches for its students or graduates. JDMIS will levy a storage fee of $3
per day for any bench left on the premises after scheduled courses are completed.

If you have a make-up class scheduled, JDMIS will provide you with a class workbench and flex-shaft motor and
pedal for your make-up, but you are responsible for bringing all your tools, materials, flex-shaft handpiece and
chuck-key for make-up lessons, JDMIS does NOT supply metalsmithing tools or handpieces to any participant
who does not bring their own tools.

Thank you for following these policies to ensure your metalsmithing course runs smoothly!

1.1.1 Introduction • Page 4

House Rules & Safety Observations

In this day-and-age, Metalsmithing is generally no more dangerous than any other specialized
professions – however, the involvement of heavy-duty equipment, open flame and harsh chemicals
do require a level of caution and self-awareness that many would otherwise take for granted, and
every jeweller and craftsman probably has a story to tell in this regard.

In addition to exercising one’s common-sense within the premises of the workshop, the following
rules and safety protocols should be observed:

- Strictly no eating, drinking or putting anything in your mouth inside of the workshop; at
most, one can briefly step out of the workshop to drink some water if necessary
- Do not leave utensils or containers meant for food or drink exposed in the workshop, and
wash your hands after leaving the workshop if you plan to eat or drink anything outside
- No open-toed footwear or clothing with loose or flowing parts is allowed
- Wear an apron to protect your clothing
- Long hair must be tied back, and long fringes clipped up
- Use eye-protection whenever working with rotary tools, drills or fire to protect against any
possible stray debris – eyes cannot be replaced
- Long fingernails are strongly discouraged; all watches, bracelets/bangles, rings and even
gloves – anything that may snag your hand or fingers on a tool – should be removed
- Pay attention to where you place your hands and fingers – keep them away from the
moving parts of automated or mechanical tools, such as between the rollers of a rolling mill
- Never presumptuously grab or touch an item on a firing surface – it may still be hot
- Do not absently wave tools about as many are sharp, may have since come into contact with
hazardous substances, or may still be hot from a task involving fire
- Keep walkways clear of obstructive objects that may cause people to trip on them.
- Perform tasks in a mindful, conscientious manner – never rush a task like sawing or drilling
- Never distract – or allow yourself to be distracted by – your classmates. Avoid sharp screams
or sudden loud noises, and keep all cell-phones turned off or on silent mode.
- If an accident does occur, report it immediately to the lecturer

In addition to one’s immediate safety, it is also important to guard against long-term impacts on
your health by observing proper posture when working, and also to take short breaks in-between
long bouts of repetitive tasks to help prevent future issues like Repetitive-Strain Injury (RSI)

- Also, take note of any near-misses – treat them as signals to double-check yourself and your
surroundings, thereby helping further prevent a potential accident from actually occurring
- As you get more used to metalsmithing, never allow your familiarity to tempt you into a
neglectful mindset, or into ‘taking shortcuts’ at the expense of observing safety protocols.
Remember: even seasoned jewellers and craftsmen can still get into accidents!

DON’T BE A HERO: Never knowingly expose yourself to injury in an attempt

to ‘rescue’ a project from getting damaged by an errant tool or piece of
equipment – pieces can be remade, but not a lost body part!

1.1.1 Introduction • Page 5

Projects

This Certificate in Traditional Metalsmithing 1: Foundation Metalwork Skills & Experience contains a
total of 3 projects (plus additional project time permitting) integrated into the learning content, each
with useful basic techniques which will be most valuable in going forward.

- Project 1: Textured Copper Link Bracelet

- Project 2: Pierced Pendant Design with Roll-Printed Background
- Project 3: Silver Ring with Bezel-set Cabochon
- (Project 4, Optional: Fabricated Earrings with ear components, time permitting)

1.1.2 Projects • Page 1

Project 1: Textured Copper Link Bracelet

Materials: 12 gauge (thick) & 16 gauge (thin) copper wires, Hard & Medium Soldering pallions,
Flux
Equipment: White soldering brick, Torch, Pickle pot, Brass brush, Water & Paper, Steel cylinder,
Steel block, Saw frame and Saw Blades, Files, Ball-Pein Hammer, Rolling Mill,
Masking tape, Flexshaft & accessories, Titanium Soldering Pick
Techniques: Annealing, Quenching, Pickling, Wire Wrapping, Sawing, Filing, Joining, Basic
Soldering, Basic Rolling, Hammer Texturing, Pick Soldering

Method:

1. Anneal the 12 gauge wire until bright red.

2. Quench the wire and leave it in Pickling acid for 5 minutes.
*PLEASE REMEMBER NOT TO BRING STEEL TWEESERS ANYWHERE NEAR THE PICKLE.*
3. Remove wire from Pickle with copper tweezers, rinse in water and dry with paper towel.
4. Wrap the wire firmly around a Steel rod to make 7 or 8 rings
5. Tightly wrap Masking tape around the coil of wire and use the saw to saw vertically through
the coil to the centre opening.
6. Examine each ring and check if the two ends join perfectly. If so, the ring is ready for
soldering. If not, file the ring ends so as to join perfectly not allowing the light to pass
through.
7. When all ring ends are aligned and joined, cover with flux.
8. Place them onto the soldering block with the joins at 12 o’clock.
9. Place a small pallion of solder under each join and heat each ring individually until the solder
runs. (looks like Mercury)
10. Quench each of the soldered rings and place them in pickle for 5 minutes.
11. Remove, rinse in water and dry the rings. Check to see each joint was soldered properly and
file off any excess solder. Brush with the brass brush.
12. Take all soldered rings to the rolling mill and run them through to flatten them. (Keep the
rings as round as possible.)
13. Using the round end of the Ball-Peen hammer make a hammered finish on one or both sides
of the rings.
14. Repeat steps 1 to 7 using the 16 gauge wire to make 9 to 10 smaller rings.
15. Join one small ring to two larger rings in sets. Solder the small ring using the soldering Pick.
Quench, pickle, rinse, dry and brush. Join the sets in the same way to produce one length of
bracelet chain.
16. Take a remaining piece of 12 gauge round wire. Convert it to square wire using the wire
section on the rolling mill. Twist the square wire (optional).
17. Saw the ends of the wire to the right length for use as a toggle clasp.
18. Make a small half ring, file ends flat to fit to the twisted wire. Flatten surfaces where half
ring will join the twisted wire and flux, solder, quench, pickle, rinse, dry and brush.
19. Join the length of bracelet chain to the toggle clasp using another small ring. Flux, solder,
quench, pickle, rinse, dry, brush and polish using the flex shaft.

1.1.2 Projects • Page 2

Project 2: Pierced Pendant Design with Roll-Printed Background

Materials: 18 gauge copper sheet, 12 gauge copper wire, Solder, Flux, Found textured surface
Equipment: White soldering brick, Torch, Pickle pot, Brass brush, Water, Double-Sided Tape,
Paper, Saw frame and Saw Blades, Bur-Life, Files, Ball-Pein Hammer, Rolling Mill,
Flexshaft & accessories, Steel Punch
Techniques: Annealing, Quenching, Pickling, Sawing, Piercing, Filing, Joining, Basic Soldering, Roll-
Printing, Sweat Soldering

Method:

Bottom Layer (Base)

1. Sketch out intended outline for pendant in desired size.
2. Sketch openwork design over the same area – check design feasibility with instructor
3. Saw desired based to square or rectangular shape
4. Anneal, Quench, and Pickle. Then rinse and dry well.
5. Select a texture for roll-printing onto the base.
6. Roll-print the texture onto the copper base
7. Mark the design outline onto the textured base (or attach the sketched outline to the metal
with the double-sided tape)
8. Saw-out the outline of your design fro the textured base (erring towards the outside part of
your pencil’s mark)

Top Layer
9. Place the sketch of the openwork onto the copper sheet using double-sided tape.
10. Use the steel punch to create dents in all areas to be pierced.
11. Drill holes, pass saw blade through and pierce out the sections of the design accordingly.
12. Saw out the same outline as the base.

Sweat-Soldering
13. Place the top layer onto the soldering block upside-down. Cover with flux and evenly-spaced
out pallions of solder on the metal.
14. Heat entire piece until solder begins to flow.
15. Quench and place in the pickle for 5 minutes.
16. Place sawn base layer textured side up on soldering brick, with cleaned pierced top layer
exactly on top, also facing up. Heat both pieces until solder that was on the underside of the
top layer begis to flow again.
17. Quench and place in the pickle for 5 minutes.
17. Check to see if solder joint is consistent along entire edge of top layer and file off any excess
solder. Brush with the brass brush.
18. File the outline of both layers together.
19. Sand and polish to a professional finish.

Adding Bail
20. Identify top section of design, drill hole 3mm from top, large enough to loosely fit the
12gauge copper wire.
21. Create a loop from the 12gauge wire, with internal diameter of 6mm.
22. Thread loop into pendant hole, close loop ensuring joint meets well.
23. Solder loop closed, Quench and pickle piece for 5 minutes.
24. Clean up and finish piece with sandpaper, buffing wheel, flex shaft etc.

1.1.2 Projects • Page 3

Project 3: Silver Ring with bezel set Cabochon

Materials: 18 gauge silver sheet, 12 gauge silver wire. 1 Oval Cabochon. Hard, Medium and
Easy Solder
Equipment: Saw frame and Saw Blades, Large and small Files, Metal mandrel, finger sizing tool,
Half round plyer, Rolling Mill, textures (lace, fancy papers, mesh, dry leaves, card for
scoring), Torch, White soldering brick, Soldering tweezer, soldering pick, Water,
Third hand, Flexshaft & accessories.
Techniques: Roll-printing (optional), Sawing, Piercing, Filing, Soldering, Polishing

Method:

The Ring Shank

1. Determine the desired finger size and use the chart on workbook 4.1.1 (Size Measurement
for Rings) to know the length of sheet needed for the designated size .
2. Measure and mark the silver sheet to the desired measurements. Saw the flat strip from the
silver sheet. Using the ring clamp, file all edges straight and smooth.
3. Anneal, pickle, rinse and brush. Press the flat strip of silver on a metal mandrel to make a
“U” shape.
4. Using a half-round with flat end plyer, fold the two ends of the silver strip at 90 angle and
bring the two ends together. Manipulate the ends up and down to cause a tension which
will hold them together. Check carefully that the ends are fully aligned and touching
completely before soldering.
5. Flux the piece and place with the flat surface down onto the soldering block. Add two
pallions of Hard solder under each end aligned with the join.
6. Heat up the entire ring shank and watch for the pallions to solder the ends together. Quench
and pickle. Rinse and brush.
7. Put the ring shank onto the metal mandrel and hammer it round using a rubber mallet or
raw hide mallet. When round, check the size. Sand inside and out and using the large file
make a flat area on the place where the ends were soldered to prepare the shank for the
next steps.

The Bezel
1. Use 12 gauge silver round wire and form it to the approximate circumference of the desired
Cabochon. Saw and anneal the formed piece. Quench, pickle, rinse, dry and brush.
2. Straighten and roll the wire (annealing every so often) until a long flat thin bezel wire is
achieved. The thickness should be between 0.15 to 0.2 mm. (Make sure it is straight.)
3. With a half round/flat plyer, form the bezel wire to fit the shape of the cabochon perfectly.
(Very slightly larger is always preferred to very slightly smaller.)
4. Overlap the end of the bezel wire along the long side of the cabochon and tape firmly. Saw
through the two overlapping pieces.
5. Join the sawn ends to meet perfectly (file if necessary) and gently solder them together
using the hard solder. (Control your flame so as not to melt the bezel wire) Quench, pickle,
rinse and dry. Sand the finished wire on the outside.
6. Make sure the bezel fits the Cabochon in size and shape.

1.1.2 Projects • Page 4

The Top Plate
1. Determine the size, texture and shape of the top plate. Score the total length and width
onto the silver sheet and saw through these straight lines. Anneal, quench, pickle, rinse, dry
and bush.
2. Create the desired texture on one side of the silver plate. Draw the desired outline shape
directly onto the silver and saw. Sand all edges until smooth. Sand the back plate and lightly
over the textured surface.

The Connection
1. Flux both the top plate and the bezel. Position the bezel on the top plate at the right
location. Place the two onto the wire mesh of the jewellery tripod.
2. Prepare six pallions of Medium solder inside the bezel at 12, 6, 2, 4, 8 and 10 o’clock. Heat
gently from the top until the flux becomes liquid while keeping the pallions in the stated
configuration using the soldering pick..
3. When the pallions are settled bring the flame under the top plate and increase the heat until
the parts heat sufficiently to cause the solder to flow completely around the base of the
bezel.
4. Quench, pickle, rinse, dry and brush. Take care of the fineness of the bezel so as not to
damage it.
5. Press the top plate upside-down into the soldering block so as to protect the bezel. Flux the
entire top plate and the ring shank. Position the flat spot of the ring shank on the flat back
of the top plate and make sure it sits flush.
6. Grip the side of the shank with a third hand and remove it from the top plate temporarily.
Sweat solder a pallion of easy to the back of the top plate and then move the third-hand to
position the shank directly about it. Heating both the shank and the top plate together,
watch for the solder to gradually connect the two parts as you notice the solder extending
around the very sides of the shank.
7. Quench, pickle, rinse, dry and brush. Properly finish the surface using the standard finishing
techniques and bring to a high polish before setting the cabochon.

1.1.2 Projects • Page 5

Optional time permitting:

Project 4: Fabricated Earrings with Ear Hooks

Materials: 20 gauge silver sheet (make your own from leftover sheet), 18 gauge silver wire
Hard Soldering pallions, Flux, Found textured surface (optional)
Equipment: White soldering brick, Torch, Pickle pot, Brass brush, Water, Drawing Paper, Tracing
Paper, Saw frame and Saw Blades, Files, Ball-Pein Hammer, Rolling Mill, Double-
Sided tape, Masking tape, Flexshaft & accessories.
Techniques: Annealing, Quenching, Pickling, Piercing, Sawing, Filing, Basic Soldering, Basic
Rolling, Sweat Soldering

Method:

Earring Elements
1. Anneal, quench & Pickle Leftover Silver Sheet
2. Roll sheet down to 20-gauge thickness
3. Anneal again and either roll-print chosen textured surface onto silver sheet, or apply
hammered finish with your hammer.
4. Cut in half.
5. Draw desired design onto drawing paper.
6. Tape both pieces together firmly and attach drawn design with double-sided tape.
7. Saw both pieces together while held firmly in ring clamp.

Ear Wires
8. Anneal silver wire.
9. Draw or roll wire down to 22-gauge.
10. Cut wire into 2, 1½ inch-long pieces.
11. Hammer one end of each wire into a flat paddle-like shape – up to 1cm along its length.

Assembly
12. Identify the ‘top’ part of your two cut-out designs and place them on the soldering block, top
side at 6 o’clock.
13. Place the ear wires on the soldering block with hammered ‘paddle’ sections laying on top of
the top section of the cut-out.
14. Apply flux and solder, heat until ear wires and cut outs are soldered together.
15. Quench and place them pickle for 5 minutes.
16. Remove, rinse in water.
17. Bend ear wires into appropriate shape for wearing.
18. File, sand and polish.

1.1.2 Projects • Page 6

Template Designs for Project 2

1.1.2 Projects • Page 7

Metal Types

Generally-speaking there are two main ways to approach making a piece of jewellery:

The first approach is called fabrication, which involves working directly in metal that has been
prepared beforehand into various basic forms that can subsequently be struck, cut, folded, bent,
deformed, hammered, sculpted and joined together to create the final piece. This method is best for
one-off designs and has an advantage of being able to work-harden the metal as the piece is made,
resulting in a piece that is less easy to deform or damage while being worn.

The second approach is called lost-wax casting, which involves carving a wax model of the design
which is then used to create a hollow impression inside of a piece of clay-like material, then melting
out the wax model to leave behind the impression which is subsequently filled with molten metal
that will harden and take on the final form of the piece in lieu of the wax that has been previously
removed (ie. ‘lost’). This method is ideal for adaptation into mass-production of a piece of jewellery,
or even producing copies of a piece that was originally hand-fabricated.

Fabrication and Lost-Wax casting are the two main approaches to jewellery-
making – most if not all other approaches can be boiled down to some
variation or combination of these two approaches

Basic Metal forms in Hand-Fabrication

Metal that has been pre-prepared for hand-fabrication generally comes in two forms: Sheet & Wire.

Sheet Metal

The metal comes in paper-like sheets of

various thicknesses; one of the simplest
ways to create a design in sheets is to
simply cut shapes into them and wind up
with flat forms reminiscent of paper cut-
outs; however, one would more likely also
choose to fold, hammer-out or otherwise
deform the metal to produce raised
designs.

Some other components in jewellery derived from sheets include:

- Bezels for setting cabochon gemstones

- Tubing
- The surface of most designs

1.1.3 Metal Types • Page 1

Metal Wire

Metal can also come in the form of elongated extrusions –

the range of thicknesses can be wide; thicker ones will be
akin to rods, whereas thinner widths are properly called wire.

Many fashion jewellery designers often create complete

jewellery pieces with wire alone (such as wire-worked
bracelets or wrap pendants), but in the context of
metalsmithing the purpose of wire is to complement – and
be used in conjunction with – sheet metal, mostly in
achieving the forms that cannot be attained with sheet
metal. Wires may also come in a variety of differently-shaped
cross-sections.

Thicker wire (rods) can be used for a variety of applications:

- Ring and Bangle shanks

- Hinge inserts

Thinner wire, meanwhile, can be seen in:

- The prongs on gemstone settings

- The links of a handmade chain

Measuring Thickness of Sheet and Wire

Both sheet and wire forms of metal come in a selection of standardized thicknesses.

The unit of measurement for the thickness of both sheet and wire is called gauge, and is the same
for both sheet and wire.

Gauge has a numerically-inverse relationship with the thickness of sheet and wire – as the gauge
number increases, the sheet or wire becomes successively thinner and finer.

The thickness of sheet or wire in-

hand is measured with a gauge-
meter 

1.1.3 Metal Types • Page 2

Making Ingots & Alloying Metals

What is an ingot?
An ingot, simply defined, is any mass of cast metal, usually in either a rod-like or rectangular form.
Making an ingot is easily achieved by any metalsmith who has a crucible for melting the metal in, a
source of heat sufficient to melt the metal, and a suitable ingot mould to pour the molten metal
into.

What is the purpose of an

ingot?
In the absence of any ready-to-use
metal in sheet or wire form, one
can process pieces of a desired
metal into ‘home-made’ sheet and
wire. The shape (mould) of the
ingot one will pour the metal into
needs to be chosen with intent, as it
will largely influence the form the
ingot is thusly processed into. It is
also a great way to save costs by
recycling unused bits of precious
metal.

1.1.4 Making Ingots & Alloying Metals • Page 1

Your instructor will do a demonstration on how to create an ingot.

1. PREPARING THE MOLD FOR CASTING

Make sure the mould is clean as any foreign particles will become imbedded in the walls of the
ingot. This will result in imperfections in the rolled metal sheet or wire.

It is advisable to add a drop of oil (any machine oil will do) for lubrication.

2. MELTING THE METAL

Place the clean metal to be melted in the crucible. Always add a pinch of flux (Boric Acid Powder)
over the metal. This will help to prevent the inclusion of oxygen into the melt.

Heat the metal. The metal is ready to be poured into the mould when it is completely fluid –
indicated by shimmering layer appearing on the surface.

Pour the metal slowly and steadily without stopping into the mould.

Wait for the metal to solidify before removing the ingot from the mould.

Leave it to cool on the soldering block.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Notes

1.1.4 Making Ingots & Alloying Metals • Page 2

Most precious metals in their purest form are too soft to make durable jewellery with – and
therefore they are often alloyed with other metals in order to strengthen them sufficiently to stand
up to daily wear.

On the other hand, maintaining some level of purity of the metal in order to preserve the intrinsic
value of a jewellery piece’s components is also an equally valid concern of most wearers of
jewellery, therefore care is exercised to add only enough alloying metal to impart some needed
strength without compromising the majority component.

In the case of ready-to-use sheets and wire, the alloys have already been pre-mixed using
commercial recipes and it is only a matter of ordering the desired type – however, if ordering ready-
to-use is not an option, the recipe chart above-left is a good guide for the metal ratios for select
silver alloys (of which Sterling – 925 – is the most familiar) as well as coloured gold of various
karatage (purity levels). The metal ‘ingredients’ are simply melted together in one crucible and
poured into the selected ingot mould.

PLEASE NOTE: Accurately indicating the type of metal alloy used in making a piece of jewellery
with a quality mark is a guarantee to your customer of the minimum purity-level of the precious
metal in the jewellery piece that is legally enforceable, especially in the case of gold.
“Underkarating” – that is, indicating a higher purity of gold on a piece of jewellery than you have
actually used – is a prosecutable crime in the court of law.

1.1.4 Making Ingots & Alloying Metals • Page 3

Rolling Sheets and Drawing Wire

After your ingot has cooled down, it is ready for processing into either a sheet or wire. The process is
simple in theory but can be quite tedious in practice: the premise being that the ingot is either
flattened (in the case of sheets) or ‘funnelled’ and then stretched in a controlled manner (in the case
of wire) until the desired thickness/thinness is achieved.

A modern take on an ancient practice

The extraordinary ability of precious metals to be formed into extremely thin sheets or wire has
been known as far back as the ancient Egyptians, but for thousands of years right up until the recent
introduction of industrial equipment, the process was largely accomplished by laboriously hand-
beating the ingots into shape with a hammer.

We are certainly very lucky to have quicker and far more efficient modern-day tools at our disposal!

1.1.5 Rolling Sheets and Drawing Wire • Page 1

Your instructor will do a demonstration on how to roll an ingot into sheet form.

Most jewellery fabrication projects begin with a raw material that must be rolled into usable sheets
of consistent thicknesses. The effects of repeated rolling are understood and common techniques to
produce usable, even and malleable metal sheets are practised.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Question/Observation 4

Notes

1.1.5 Rolling Sheets and Drawing Wire • Page 2

Your instructor will do a demonstration on how to roll and draw an ingot into wire form.

When working with WIRE it is important to remember that once you have rolled it to a specific
thickness using the rolling mill, you will have to create a “cone-shaped” point at one end of the wire.
This will be the side that will be fed through the draw plate. The other end will be left as is as that
will be how we determine at which hole of the draw plate we should start.

Wire filed with sharp point Draw plates with drawtong

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

1.1.5 Rolling Sheets and Drawing Wire • Page 3

Annealing & Pickling Metal

The metals that are used in jewellery making are plastic (they can be worked on without rupture),
ductile (they can be elongated without breaking as in wire drawing) and malleable (they can be
deformed).

However, these qualities exist on a continuum for a given metal and a metal is subjected to
continuous work, they start to work-harden, becoming increasingly stiff and brittle, risking cracks
and breakage.

In order to preserve the above qualities, proper attention should be given to annealing of the metal.

Annealing simply means the heating of the metal and then cooling it by quenching it in a bowl of
water. This causes thermal re-crystallization in order to relieve stresses built up in the metal due to

work-hardening processes.

The table above provide useful information with regard to annealing and melting temperatures of
various metals and alloys.

1.1.6 Annealing & Pickling Metal • Page 1

 By regularly annealing metal while deforming it, fracture or breakage can be
avoided and it can worked almost indefinitely into any desired shape or form.

Demonstration Activity

Observe as your instructor demonstrates annealing of metal.

Anneal metal with the gas torch by moving the flame at an even rate over the entire surface of the
metal. Overheating should be avoided as it will result in structural weakness. Overheating can also
cause the metal to melt.

Silver is usually annealed when it reaches a “pinkish” colour. Copper however, will need to be
heated until it reaches a reddish colour.

Once a metal reaches its indicative ‘annealed’ colour, extinguish the flame and quench the metal.

This is a very simple process and one that will be repeated again and again.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

1.1.6 Annealing & Pickling Metal • Page 2

Metal Pickling is the process used to remove any oxides formed on the metal surface during the
process of annealing, fusing and soldering. It will also remove fused flux from the surface of the
metal after soldering.

A commercial product called Potash Allum is commonly used. It is sold in crystals which will dissolve
in water when heated. Keep the mixture in a heat resistant bowl with lid and use heated, but not
boiling, on a hot plate. Always quench the soldered piece in water before soaking it in the Pickle
Solution.

Observe as your instructor demonstrates pickling of recently-heated metal.

Note that ferrous metals must never come into contact with the pickle, as it will cause
contamination and reverse the effectiveness of the solution.

• Iron and Stainless Steel are referred to as Ferrous Metals due to their iron content.
• Nonferrous Metals contain no iron and refer to Copper, Bronze and Brass
• In addition to being Nonferrous, Gold and Silver are also called Precious Metals.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

1.1.6 Annealing & Pickling Metal • Page 3

Notes

1.1.6 Annealing & Pickling Metal • Page 4

The Jeweller's Saw

The Jeweller’s Saw Frame and its Blade are the

most essential tool for cutting metal. Because
the saw will be used so often, it is important to
invest in the best quality saw frame and blades
available. Inferior blades will only lead to
frustration as they will break easily.

The first idea of placing a blade in a frame under

tension originated in ancient Rome.

The Jeweller’s Sawblade

The saw blades can be used to cut out
precious, nonferrous and ferrous metals.
They can also be used for cutting softer
materials such as wood, shell, bone and
plastics.

The saw blades come in different sizes of

which 8/0 will be the finest and 14 the
coarsest.

Thin metals will require fine blades while

heavier metals will require heavier blades.

The most common sizes used by the

metalsmith will range from 3/0 to 1/0.

Saw blades are sold in a minimum of 12 in

one size, or the gross, which will equal 12
dozens in one packet.

Saw blades will rust when exposed to high humidity and heat, therefore it is
important to store them correctly.

1.2.1 The Jeweller's Saw • Page 1

Observe your instructor while they perform a demonstration on sawing.

Take note of pointers to bear in-mind on the next page.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Question/Observation 4

Notes

1.2.1 The Jeweller's Saw • Page 2

Inserting a Blade into the Saw Frame

- The act of inserting the saw blade into your jeweller’s saw is called stringing.
- Loosen the upper and lower thumbscrews to open the jaws they control.
- Insert the upper end of the saw blade completely into the upper frame clamp jaws. Make sure that
the teeth of the saw blade are pointing straight down towards the handle and outward, away from
the back of the saw frame.
- Adjust the distance between the upper and lower saw blade jaws by loosening the back frame
thumbscrew. Slide the frame so that the lower blade end just enters the lower saw blade clamp
jaws. Tighten the back frame thumbscrew.
- Hold the handle toward you, press the top end of the frame against the edge of the work bench
while pressing the handle against the chest. This might feel uncomfortable at first.
- The pressure should be enough to allow the lower end of the saw blade to be guided by your free
hands into the lower clamp jaws.
- While holding the pressure, tighten the lower thumbscrew to close the clamp on the saw blade.

Sawing

- Always saw on the bench pin.

- Keep the blade perpendicular in relationship with the metal.
- Use the filing tray to catch filings as they fall. These should be collected and saved. Always keep
filings from different metals separate.
- As the teeth of the saw blade face downwards, we only remove metal with every downward
stroke.
- To begin a sawing mark (kerf), place the saw blade against the edge of the metal and draw it
upward lightly a few times in the same spot. This will create a groove to keep the blade from
wandering when the downward stroke begins.

Sawing Lubricant

- Breaking of saw blades can be greatly reduced by using a lubricant while sawing.
- Beeswax can be used for this purpose.

Reasons for Blade Breakage

- Metal is not held tight enough on the bench pin.

- Exerting too much pressure forward or downward.
- Sharp change in sawing direction.
- Saw blade is too loosely or too tightly clamped in the saw frame jaws.
- Excessive speed.
- Blade freeze.

1.2.1 The Jeweller's Saw • Page 3

Filing & Types of Files

Most handmade jewellery requires the use of files at some point during the finishing process. They
are primarily used to thin metal, shape dome, define, and contour an object but can also be useful in
smoothing and refining surfaces, for applying textures and even carving patterns.

After sawing, drilling, forging, bending, forming or various methods of cutting metals, the edges tend
to be very sharp and can cut skin or catch in materials very easily, so it is highly advisable to use your
files to run over any cut edge to make it smooth.

Another area where files are imperative is when joining two parts of metal together by soldering. It
is critical that the two metals to be soldered are precisely fitting together in order to produce a good
solder join.

How files work

Most files are made of high-quality steel, forged, annealed and then incised with a series of diagonal
or parallel lines which are the cutting “Teeth” all facing in the same direction – FORWARD. To be
effective the file should always be pushed in a forward direction away from you across the
[Link] note that, pulling backwards (towards you) will have NO effect at all no matter how hard
or lightly you pull resulting in no results and simply wasting time.

When removing deep scratches, it is best to have a series of files from course to fine, as each finer
file successfully removes the marks from the previous course file.

Another good practice is to alternate your filing between files each alternate filing perpendicular to
the last.

1.2.2 Filing & Types of Files • Page 1

Shapes and Sizes of Files

Files are made in different sizes and shapes to cater to every option. Different patterns on their
surface makes them courser or finer. The pattern is usually single parallel lines, double parallel lines
or double crossed lines creating rows of teeth for an effective cutting surface. The number of the
cut refers to how coarse or fine which is determined by the num

Typical Cuts

#00 The most Coarse file [Pronounced double-aught]

#1 Super Coarse

#2 Very Coarse [A good beginner hand file]

#3 Slightly Coarse

#4 Medium [A good beginner needle file]

#5 Slightly Fine

#6 Very Fine

#7 Super Fine

#8 The Finest [For extremely delicate work]

A Flat Hand File

1.2.2 Filing & Types of Files • Page 2

Typical File Shapes

Equalling File – Usually having teeth on three sides only. Used to level flat surfaces. The side
with no teeth (dead face, on one of the narrow sides) ensures not to damage or scratch the
metal when working up to an inner corner.

Round or Rat tail File – Great for making holes perfectly round as the teeth completely cover
the surface.

1/2 Round – Curved on one side and flat on the other this is a very versatile file. It has teeth
on both sides. The curved side works well on inside edges that are concave and the flat side
works better on the convex shapes. NEVER the other way around!

Square File – With teeth on all sides, it is usually good for filing 90° groves into sheet or wire
for making corners. Also for making perfect corners on pierced sheet metal.

Three-square or Triangle – Also teeth on all sides, great for scoring metal and for making
windows with 60° edges.

Crossing File – Curved and with teeth on both sides. Commonly used to finish inside edges of
rings, bracelets and anything with concave shape.

Knife File –A tapering file with teeth on three sides. Good for getting into tight spaces.

Barrette File – A popular file with teeth only found on one flat side. The back has three dead
faces the edges being very fine which allow you to get into tight spaces without scratching
areas of metal you need to protect. This is one of the most useful file for finishing.

You will encounter these file shapes and more in your set of needle files

1.2.2 Filing & Types of Files • Page 3

Soldering, Reticulation & Fusing

Attaching metals together is commonly achieved by soldering, which is the joining of similar or
dissimilar metals by the use of solder and applying heat to the object.

Solder as a noun, pertains to small pieces of metal alloy that melt and flow at a lower temperature
than the metal of the parts being joined together. In this way it acts like a ‘glue’ to hold a piece
together.

Solder
Three types of solder are generally used by the metalsmith: Hard, Medium and Easy. These are
available in Gold and Silver.

Always store differing solder types in a small plastic or metal container that is clearly marked. Use a
different container for each type of solder.

Types of Solder

Extra Easy: For repairs and final soldering

Easy: For repairs & secondary soldering
Medium: For general purpose
Hard: For general purpose
Very Hard: For enamelling

The harder the solder, the higher the temperature at which it will melt
(although must never be higher than the melting point of the parent
metals). Conversely, the easier solders melt at a lower temperature.

What this allows is for more complex pieces to undergo multiple

soldering sessions – using hard solder for the earliest stages of Preparing solder in sheet form
soldering allows these joints to stay intact when the piece is by cutting with Solder Cutters
subsequently soldered again at a later stage with successively easier
grades of solder.

1.2.3 Soldering, Reticulation & Fusing • Page 1

 Useful information about the various types of Solder commercially available
Flux
Flux is a powder-like substance that is used to prepare a solder joint before solder is added and the
soldering process begun. The word is derived from the Latin word “fluxes” which means “flow” and
the function of flux is to aid solder to flow.

In soldering the use of flux is essential. The temperature required to make solder melt and flow
causes the metal surface to oxidize and this will prevent the flow of solder. Flux acts as an oxygen
inhibitor and allows the solder to enter the joint smoothly.

Fluxes can be solid, powder, paste or liquid form. A Borax powder is easily available at jewellery
supply stores, generally long lasting and can be mixed into a paste by adding water to the powder.
Generally Fluxes are made with a mixture of borax and boric acid with fluorides and potassium salts
added.

Demonstration Activity
Observe your instructor as they demonstrate soldering.

- Metal pieces to be joined must be clean and have a perfect connection. Solder can never be used to
fill open spaces.
- Flux should always be used as the solder would not melt or flow without the presence of solder.
- All pieces soldered together should be evenly heated. Solder melts at a lower temperature than the
parent metal and will always melt first. Solder can be guided in the right direction by heating the joint
area slightly more.
- When solder has flowed evenly, stop the heat source immediately. Wait a few seconds and quench
the piece in water.
- Clean metal by soaking it in the pickle solution.

Observations
Question/Observation

Notes

The above process can be repeated again and again. Remember, clean
unused solder will always melt before already-melted solder.

1.2.3 Soldering, Reticulation & Fusing • Page 2

Reticulation

Reticulation is a process by which a surface texture is added to silver or gold metal by deliberately
overheating it. This will create a rich, somewhat random texture.

Throughout the reticulation process, the metal is at the point of melting and it may happen that the
silver or gold actually melt and create holes. This can easily be incorporated into the design as it will
only contribute to the haphazard effect.

As with everything else learned during this course, practising and experimenting with the different
techniques and skills acquired, will greatly enhance the results obtained.

1.2.3 Soldering, Reticulation & Fusing • Page 3

Fusing

Fusing is the process by which gold or silver pieces of metal are heated until it approaches its
melting point. The outer surface becomes liquid and the various pieces fuse together. It creates a
very organic and rough feeling and can be great fun when experimenting with scrap metal (off-cuts).

As with soldering, always remember the pieces to be fused together should be clean.

1.2.3 Soldering, Reticulation & Fusing • Page 4

Hammered Textures

We can add surface textures to our metal surfaces in various ways, depending on the tools and
equipment we have available. Quite often, a great number of effects can be achieved simply by the
creative use of our tools.

Perhaps the most elaborate method of texturing involves controlling small steel tools called punches
to shape metal from the front and back sides. Accurate use of repoussé and matting punches
requires skill and patience, but other techniques exist for applying texture much more quickly and
easily.

Hammers
This is the most basic way to
add an interesting texture to
the metal. We all have access
to hammers, in one form or the
other, and as long as it is a steel
hammer, it will leave an
indented mark on the metal.

One can also investigate the

textures that can be added by
hammering annealed metal
against steel, concrete and
various other textured surfaces.

Remember to anneal the metal

at regular intervals!

1.2.4 Hammered Textures • Page 1

Observe your instructor provide a demonstration of creating hammered textures.

- As far as possible ensure that the surface of your hammer’s head is as clean and polished as possible,
as any scratches or imperfections will transfer onto your piece when hammered.
- Brace your piece securely on a soft but stiff surface – ideally wood or similar – to prevent the other
side of your piece from suffering unintended damage.

Observations

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

1.2.4 Hammered Textures • Page 2

Drilling & Piercing with your Saw

The drill is a tool used to make a round hole in the material. We can use either a Hand Drill or a
Motorised Drill.

By combining drilling and sawing, we can create any patterned Pierced Work or Fretwork.

Examples of Pierced Work and Fretwork by Marian Hosking

Piercing
Piercing is essentially the combination of drilling and
sawing together into one variant.

The loose saw blade is inserted into the hole made by the
drill before being strung onto the saw frame as normal.
This allows you to saw out patterns and designs that are
completely within the sheet of metal, with no openings
along the edge.

2.1.1 Drilling & Piercing with your Saw • Page 1

Notes

2.1.1 Drilling & Piercing with your Saw • Page 2

Filing - Best Practices

How to hold your file

Most jewellery making is done on the bench pin where you can brace the piece while getting a good
grip exerting just the right force to get the job done efficiently and effectively. Without this solid
point of contact the file can either become more dangerous as you find it running through a finger or
the technique will be rendered entirely useless without achieving the goal. “Air-filing” is a term
often used to mock the real beginner who forgets how important it is to be stable while filing.

Proper use
Although files are held in the hand, the filing motion is propelled by the shoulder. Much of the
movement is with the arm and not the wrist. Smooth even strokes result in a smooth even surface
with minimum effort but filing requires patience above all as the motion needs to be repeated many,
many times over to get the best result.

Good practice when filing

symmetrical pieces is to
work a little with the
course file on one side then
the opposite side, making
sure to “file a little” and
“look a lot”. If you keep
turning the piece
frequently you can achieve
a uniformity of shape and
surface. After the course
file has run over all parts
then move to a finer file
until you have reached
your goal.

Caution: Never face a file towards your person or your hand! Although they
are not knives or scissors, files are still sharp enough to accidentally stab
yourself or someone else...!

2.1.2 Filing - Best Practices • Page 1

Notes

2.1.2 Filing - Best Practices • Page 2

Using Your Flex shaft

The flex shaft, sometimes also known as a pendant drill, a grinder or an overhead motor, is a
motorized machine that is designed to assist with tasks such as drilling, polishing, cutting, carving
and the like. It is probably the single most revolutionary multi-purpose tool for the contemporary
jeweller and includes a hanging motor, a hand-piece, and a flexible shaft that connects these two
elements together – all powered by a foot pedal that is operated in a manner similar to a sewing
machine and can similarly be used to control the tool’s speed as well.

The above components usually (if not always) all come together into a single kit – which gets
supplemented by a myriad of drill bits, mandrels, discs, wheels, burrs and other head components
that are affixed to the end of the hand-piece with a chuck key. Operating the tool creates a rapid
spinning motion that makes short work of most tasks like drilling, carving, polishing and burring.

2.2.1 Using Your Flex shaft • Page 1

Observe as your instructor demonstrates assembly and use of the flex shaft and chuck key.

Take note of the following:

- Always return your flex shaft to its mount when not in use. As far as possible do not leave it
hanging loosely on your bench top.
- Make sure head components are inserted straight a well-secured before using the motor.
- Keep your chuck key in a designated drawer between uses.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Question/Observation 4

Notes

2.2.1 Using Your Flex shaft • Page 2

Roll-Printing Textures & Stamping

In addition to hammering and reticulation, there are other tool-oriented ways of applying texture to
metal surfaces that can yield a variety of interesting and yet easier-to-control results.

Roll Printing

For this method, a rolling mill will

be required. Almost any textured
surface that will not harm the
rollers can be used to recreate
the texture on the metal surface.
Textures can be imprinted from
paper, lace – even a leaf from
one’s backyard! Experimentation
will be a great part of this
experience as the effects possible
with textures are endless.

Simply place the textured material on top of an annealed sheet of metal. Test the gap in the rolling
mill. When it is tight but not impossible to operate, turn the handle in a smooth, continuous motion.

3.1.1 Roll-Printing Textures & Stamping • Page 1

Stamping
Another way of adding a texture can be achieved by hammering stamps onto the metal surface. A
stamp can be a punch or any rod of hardened steel. You can easily create your own stamps by using
long steel nails and simply filing any desired shape on the pointed end.

3.1.1 Roll-Printing Textures & Stamping • Page 2

Notes

3.1.1 Roll-Printing Textures & Stamping • Page 3

Combining Wires & Sheet Metals

Previously, it had been mentioned that Sheet and Wire metal – and the metalsmithing techniques
relevant to each – play complementary roles in the creation of jewellery.

Naturally, this cumulates into the combining of these separate, different parts into a unique final
piece – via soldering or any other method – that can be simple or complex as you like.

Here are a few examples of the endless possibilities:

This pair of relatively

minimalist earrings by Anne
Walker had a texture
stamped/hammered onto
the lower half of a copper
strips, graduating into a
high-polished upper half,
and finally finished with
sterling-silver wire that was
bent by hand to
accommodate the ear.

The trio of pendants on this eclectic

necklace by Sue Yeoman and Michael
Jefferies were made from sawing out
loosely-defined heart shapes out of
sheet metal, that were then soldered
under wire/rods that had been
slightly bent and then hammered flat
prior. The ends of the wires had likely
also been gently fired so their tips
would melt slightly into a knob
‘head’.

The other elements are combinations

of looped wire and sheets that had
been drawn into tubes – resulting in a
h i l ik i

3.2.1 Combining Wires and Sheet Metals • Page 1

 This pendant by Anni Maliki consists of ‘nested’
sheets of metal of staggered size, each with a
different texture that had either been rolled,
hammered stamped or brushed on. A hole was
carefully drilled into the top of each layer to ensure
a proper line-up, and they were all threaded onto a
loop that was coiled from wire.

Chances are, the individual sheets are not soldered

together, and are allowed to swing freely for an
added kinetic effect.

This simple but distinct ‘Raven’

pendant by Laura Bracken
consists of a silhouette cut out
of sheet metal and sweat-
soldered onto a ‘background’
sheet of metal that had a
brushed finish – the circular
shape was thereafter cut out
and a blackening treatment
applied to bring out the edgy
textures.

This pair of earrings by Liz Hall is a more complex

take on sheet and wire assembly; the main design
is a combination of several sheets of metal that
had each been given a different surface treatment,
and coiled wires that have been hammered slightly
for the impression of graduating thickness – all
soldered together to form a fascinating collage

3.2.1 Combining Wires and Sheet Metals • Page 2

Notes

3.2.1 Combining Wires and Sheet Metals • Page 3

Size Measurement for Rings

Correct sizing of rings can be a tricky affair due to variable nature of human fingers according to an
array of factors both personal and environmental, and yet is considered one of the basic skills of
every jeweller due to the sheer popularity of rings in the market.

Adding to the confusion is the fact that there are different systems for sizing rings in different
countries! Fortunately however, they all have one commonality – they can be converted into inch or
millimetre values.

Here is a chart denoting sizes in

the U.S. System, with a
circumference provided in
millimetres for each respective
size. Find your desired ring size in
one of the first two columns on
the left, then follow that row
until you happen upon your
chosen gauge of metal that
corresponds to your chosen size,
and cut your metal band to the
indicated millimetre length.

4.1.1 Size Measurement for Rings • Page 1

Observe as your instructor demonstrates the creation of an accurate ring shank

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

4.1.1 Size Measurement for Rings • Page 2

Forming Techniques

If metalsmiths were limited to flat sheets to which little else could be done besides soldering, cutting
and texturing, most of the jewellery we have today would probably be very flat, indeed.

It may be tempting to initially presume that sheets of metal are akin to sheets of paper – to which
only so much of the likes of folding, doming, etc. can be done before they tear, fray or break.
Fortunately, as previously mentioned, all metals (and especially precious ones!) have a certain level
of malleability, plasticity and ductility – meaning in turn that as long as you take care to anneal
regularly, sheets can be deformed, sculpted and beautifully warped in all kinds of wondrous ways.

Doming
A simple forming method that involves steel dapping blocks and
punches – flat sheet or wire metal is placed in the concave
impressions, and a corresponding punch is used to bend the metal
to conform with the mould – starting with the largest impression
(which gives the shallowest dome), and moving onwards to
successively smaller moulds and punches to increase curvature.

The round components of each side of these earrings by Aileen Lampman were
made by doming two sheets of metal that were then carefully soldered together
along their edge – the front section is a cut-open disc to expose the stamped
pattern on the back disc 

Chasing & Repoussé

Two complementary methods of creating relief effects in sheet
metal, Repoussé is the striking of sheet metal from the back to
achieve designs in relief from the front, while Chasing is almost its
reverse – striking the front of the sheet along the edge of the
repoussé-d design with a special tool, to help better define the
detail of the piece.

The American Statue of Liberty is probably one

of the most famous and well-known examples of
Chasing & Repoussé performed on a massive
scale for a single project. Individual copper
sheets were formed separately with this method
and subsequently assembled on-site 

4.1.2 Forming Techniques • Page 1

Forging & Planishing
Forging is a method of working metal with hammer strikes that is universal to most work involving
metal – from the making of jewellery to that of weapons, statues and tableware. Calculated strikes
are also capable of curving the metal to form specific shapes.

Planishing is the subsequent refinement of the hammered surface formed by Forging, by using a
highly-polished hammer to lightly strike the surface of the metal (supported underneath by an anvil
or dapping tool) to ‘iron-out’ as many of the hammer marks as possible.

The late master silversmith Vivianna Torun Bülow-Hübe was an

utter champion of forging – her iconic ‘Möbius’ series of
jewellery designs produced for Georg Jensen were initially
conceived with the help of this method. 

Anticlastic Raising
A subset of forging, Anticlastic Raising is the using of
forging techniques to deform metal in along two
directions. This technique often requires a tool known as a
sinusoidal stake to help control and direct the curves
along the desired directions.

 A typical form achieved with Anticlastic Raising is exemplified in

this cuff bangle by John S. Brana

Hydraulic Pressing
A modern, industrial adaptation introduced to help streamline most of the concepts introduced by
the above-described techniques (in particular the more popular but tedious techniques like Chasing
& Repossé), this technique
involves using liquid pressure
to make impressions on sheet
metal sandwiched between a
‘female’ mould and its
corresponding ‘male’ die
counterpart. The results are
tidy and highly-consistent
results.

4.1.2 Forming Techniques • Page 2

Notes

4.1.2 Forming Techniques • Page 3

Bezel Setting a Cabochon Gemstone

A stone setting is any system used in jewellery making that securely holds a stone permanently in
place and displays it. Stones are often used to create a focal point in a design, and usually the stones
used have a hardness that makes them extremely durable in normal use.

The type of stone as well as the design will dictate the style of the setting. However, care must be
taken to ensure that there is enough metal of adequate strength to secure the stone.

In the commercial jewellery trade, mounting (the construction of metal parts including the supports
for the stones) and setting (the specific technique of pushing metal supports over the stones to hold
them in place) are separate and specialist tasks. However, with enough knowledge of a few simple
setting techniques, it is possible for a metalsmith to do basic setting of stones.

Guidelines for Setting Stones

- The stone must be secure.
- Glue should never be used.
- The setting should complement the stone.
- The choice of setting should relate to the design.
- The setting’s finish must look and feel professional.

Bezel Settings
A bezel is a strip of metal that surrounds a stone and is
pressed down over its contour to secure the stone in place.
Bezels are usually used for setting cabochons, but can be
adapted for use on faceted stones as well as any “found
object”. A design ‘classic’: bezel-set cabochon

A pair of gems bezel-set into ear studs A bezel setting is used to display a coin

4.2.1 Bezel Setting a Cabochon Gemstone • Page 1

Observe as your instructor demonstrates how to create and utilize a bezel setting.

Compare this with the pointers on the next page

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

4.2.1 Bezel Setting a Cabochon Gemstone • Page 2

Making a Box Bezel

Fit the Bezel to the Stone

- Prepare a strip of metal (Silver, Gold, Copper or Brass). The width of the strip should be
adequate to cover the bottom one third of the stone. It is better to make the strip too wide
as it can always be filed and sanded down to the correct width.
- Bend the strip of metal so that it will fit snugly around the stone. A proper fit is critical. Saw
through the overlapping ends of the metal strips simultaneously to ensure that the two ends
meet precisely.
- Solder the bezel closed with a tiny piece of Hard Silver Solder. Quench the bezel and soak in
pickle.
- Test the bezel by pressing it over the stone. If the bezel is too big, cut a piece out of the
seam (soldered joint) and solder it again. If the bezel is too small, put the bezel on a mandrel
and stretch it. Test the bezel frequently to prevent making it too big. The actual setting of
the stone is very easy if the bezel fits well.

Solder the Bezel on a Backing – then Saw & File

- When the bezel is the right size, sand it on sandpaper to make the edges (bottom and top)
flat and clean. Make sure the shape is still correct for the stone before placing it on a sheet
of metal that is slightly larger than the bezel.
- Apply flux, solder, quench and soak the bezel in pickle. Use a jewellers saw to remove excess
metal on the outside of the bezel. Use a bastard file to clean the seam and sand the bezel to
smooth the metal.

If the bezel will be placed on the actual design, there is no need to solder it
onto a “backing” first. It can be soldered directly onto the metal of the
design.

Set the Stone

- Press the stone into place. Push the metal over the stone using a pusher or burnisher,
always working on opposite sides.

Only set the stones when the entire piece is finished, including sulpherizing
and polishing.

Smooth & Shape the Bezel

- If necessary, use a fine needle file and smooth and shape the bezel taking care not to
damage the stone. Use a burnisher to give the setting its final finish.

There are many techniques to set stones including channel setting, pavé
setting, prong settings etc. Although specialised techniques can be
mastered, making use of the setting method described will ensure that the
metalsmith could set almost anything without depending on a specialist

4.2.1 Bezel Setting a Cabochon Gemstone • Page 3

Achieving a Professional Finish

An accomplished painter would never demand less than a beautiful frame in which to show off his
magnum opus, and the same is true of a metalsmith and their jewellery.

No matter how accomplished or competent you are in other aspects of metalsmithing, a good finish
is always an absolute necessity in order to tie-in and properly present a finished piece of jewellery in
its entirety. More than any other factor, it is the finish that provides the initial tip-off as to whether
or not a piece has been well-made.

Even aiming for a so-called ‘raw look’ - which has become an increasingly popular option amongst
contemporary jewellers - is no excuse to forgo an immaculate preliminary finish, which is still
necessary in order to prepare the surface of a piece of jewellery before the treatments or effects
that will result in your actual, desired outcome can be properly applied.

Sanding
After all that is done to a piece – hammering, soldering, etc. – it is inevitable that its surface may
bear some evidence of its formation (bumps, dents, scars, unsightly blobs, etc.). While some of these
unsightly elements can be removed by filing, files are usually better suited to the edges of an item,
and may not always be the best solution for achieving smoothness and consistency over a wider
surface area.

The complementary process to filing for achieving a more even surface on a piece is called sanding.
It is the utilizing of sandpaper to wear down inconsistencies on the surface of a piece until it reaches
a suitable level of evenness.

The coarseness of sandpaper is referred to as grit. Lower numbers indicate a coarser (rougher) grit,
and higher numbers a finer (smoother) grit.

The correct way to use sandpaper is to

first use the coarsest grit necessary to
remove the deepest and worst
imperfections present on the surface
of your piece, and then move on to
increasingly finer grits of sandpaper to
remove the impressions left by the
preceding grit.

5.1.1 Achieving a Professional Finish • Page 1

 Do-It-Yourself Sanding Sticks
Although sanding ‘freehand’ is certainly a viable (and in many
cases, inevitable) approach, there will be occasions when it can
start to become tedious, or you may find that the slight variances
on a surface that are introduced by the uneven pressure applied
with your fingers are not ideal to your intended look – in such
cases, you can make ‘sanding sticks’ by wrapping and adhering the
sandpaper around small, handheld planks or similar, and using the
resulting contraption in a manner similar to files.

Apart from probably being a more comfortable method in most

cases, sandpaper that has been tightly-wrapped around a flat
surface can deliver a much more even cleanup on flat surfaces.

Using Split Mandrels

One can also sandpaper on a split mandrel to use with one’s flexshaft. It simply involves
cutting/tearing the sandpaper down to size, inserting a piece of sandpaper into the split area of the
split mandrel, and wrapping the rest of the sandpaper around.

Working with this method combines the flexibility of sandpaper with the expedited results of
motorization – make periodic stops to inspect the progress of the sanding on your piece, and it
may become fairly easy to accidentally over-sand the piece, resulting in loss of detail or weakening
of its structure.

CAUTION: NEVER allow sandpaper to come into contact with a gemstone!

5.1.1 Achieving a Professional Finish • Page 2

Polishing is the true, final touch to a piece of jewellery that communicates its beauty and desirability.
People’s eyes are naturally drawn to ‘bling’ – the sparkle of an immaculate piece with a mirror-
shine!

Hand-polishing
Before the invention of modern machinery, all polishing work was done entirely by-hand; today,
machines assist majority of the work, but there is some remnants of the jobs that require a Human
touch.

Polishing by hand is for all intents and purposes performed by rubbing a suitable textile – often
leather, cotton or microfiber – that may have been coated with a polishing compound or abrasive
paste on the surface of a piece until the desired effect is achieved.

For hard-to-reach areas or inside corners of a piece, thrumming may be employed – that is, the
using of a mass of loose fibres (string) with polishing compound to buff the interiors of a piece where
one’s fingers would be unlikely to be able to reach.

Buffing
Felt discs coated with polishing
compound that are attached to one’s
flex shaft are used to apply the final
round of polishing to a piece of
jewellery. Common compounds for this
purposes are the likes of Tripoli and
Rogue.

As one reaches into more hard-to-get-at

areas of a piece of jewellery, it may
become necessary to switch out the
larger polishing discs for one of the
more specialised felt cones to reach
such spots.

At this stage, the amount of metal being removed by the polishing action is insignificant to none, but
instead the metal becomes burnished, achieving a spectacular mirror shine in which all prior
evidence of cuts, dents and scratches are no longer apparent to the unaided human eye!

CAUTION: The motorized action of the machine can generate a significant

amount of heat via friction; care must be taken not to overheat the piece or
injure your hands and fingers.

5.1.1 Achieving a Professional Finish • Page 3

Observe while the instructor demonstrates the various polishing methods to properly finish a piece
of jewellery.

Observations
Questions & observations for demonstration

Question/Observation 1

Question/Observation 2

Question/Observation 3

Notes

5.1.1 Achieving a Professional Finish • Page 4

Useful Notes and Information

5.2.1 Useful Notes and Information • Page 1

Alternative Pickle for Brass and Nickel Silver

Here is an eco-friendly alternative to pickling for brass and nickel silver.

While vinegar and salt sometimes work okay with brass, it often leaves a hard-to-remove pink film
on the surface, which has to be remove by sanding. Needless to say, this can take a lot of time.

A better method, is using common household supplies:

vinegar and hydrogen peroxide, aka Peracetic Acid.

Peracetic Acid is used to disinfect surfaces and even food,

such as fruits, veggies, and raw meat but it works on brass
and nickel, albeit more slowly than commercial pickle
solutions.

Creating Peracetic Acid:

• In a glass or plastic bowl or jar, mix two parts distilled white vinegar with one part
hydrogen peroxide.
• After soldering, submerge your piece in the mixture until all oxidation is removed. Use
tongs*. Give it at least 20 minutes.
• Occasionally agitate the piece to hasten the pickling process. Brushing your piece with a
paint brush while it's submerged can speed things up.
• Remove your piece using tongs, rinse it off, and your metal is clean!
• The surface of the brass will often look crystallized. Remedy this by gently polishing the
piece with steel wool or buffing with very fine sand paper.
• Finish as usual.

*Even though Peracetic Acid is used in food cleaners, disinfectants, etc. You should use it with
caution. Use the mixture in a ventilated space and use tongs when handling your piece.

Disposal

The solution can be used for several pieces. It tends to work until it's bright blue and cloudy. For
disposal, dilute the mixture with plenty of water and run it down the drain, or let it sit until it
evaporates.

5.2.1 Useful Notes and Information • Page 2