Business 8: Avenues for your work
Wholesale/Trade shows: These are large shows aimed at galleries, dealers, and stores. Some wholesale shows are exclusively American made craft, some allow imports. There are also several Jewelry and Accessories shows. Look at the exhibitors and their wares to determine if a particular show is right for you.
Wholesale booth fees tend to be higher than retail. The attraction to wholesale is that you fill your production calendar doing 1-2 shows a year, eliminating a lot of travel expenses and time on the road. You also know how much money is coming in to your business each month which helps in business and cash flow planning. At wholesale shows, you are selling your work (product) to stores. The store’s primary concerns are: Price point, does the aesthetic work for their customers.
Have examples of each piece for buyers to look at and easy to read information about the pieces and yourself for them to take.
Shows: Buyer’s Market of American Craft (Philly), ACC Baltimore (wholesale and retail), NY Gift, JA
Retail shows- Juried: Juried art shows have artists selected from images of their work by a panel of judges. The judges base their selections on a variety of criteria, and if you meet those, you are invited to show. Those close to being accepted are sometimes put on a waitlist and will get in if an artist drops out. Retail shows are open to the general public. Local gallery owners will sometimes attend them looking for new work, but the majority of shoppers are looking for themselves.
Be prepared to give a short explanation of your process. Educate your customers! They more they understand about how things are made, the more appreciative of art they are. Be good-natured and friendly- this is one of the keys to being successful in selling. A lot
Personal/Trunk Shows: Personal shows or home shows are great way to reach a concentrated client base. These are usually arranged by customers or representatives for artists normally for one day/night. Because of the invitation only nature of these shows, you get a group of customers who are already interested and familiar with your work. You will get some customers who begin to collect your work. This can lead to commissioned pieces down the road, and are good relationships to pursue.
Consignment: Some galleries will want to take work on consignment- you are paid by the gallery when the work sells. Typically consignment will pay you 50-75% of the retail price. Local consignment and holiday consignment work well. The local galleries I can visit and check in on, making sure that my work looks good, and easily exchanging work. Holiday consignments are a great way to have galleries and stores sell more of your work during the busy buying season without you having to commit your time.
Exhibitions and Publications: Exhibition artists are usually chosen either through a jury process like retail shows or through invitations. Galleries and museums run exhibitions as a way to promote them and draw customers in. If you develop relationships with galleries, they will likely include you on the invitation list for shows that they think suit your work. Keep galleries updated on your latest work. Open calls for exhibitions can be found in the classified sections of the craft magazines, through SNAG and other guilds.
Publications are similar to exhibitions. Check for open calls, and if there is a project that you hear about that interests you, go ahead and contact the person editing or authoring. If you are interested in contributing to a magazine, write up a synopsis of the piece you are interested in writing. Make sure to show your angle or expertise in the area, and send it off for consideration!
Tuesday, April 22, 2014
Tuesday, April 8, 2014
Lesson: Resizing and Reworking
Lesson 9: Resizing and Reworking
Sometimes it is necessary to resize a ring/ bracelet after you have finished it, or to shorten a linked necklace or bracelet. Consider your styles and how easy or difficult they will be to resize- this is also a good thing to keep in mind when designing. If they will be hard, you may want to consider making a completely new ring instead of attempting a resize. While almost all rings can be resized, some rings do not make good sense to resize.
One tool that is very handy for any resizing job is the Mark-a-size measuring tool. Most of the tools supply catalogs carry this.
To resize:
• Cut open the ring at a convenient point. (preferably on the backside of the ring)
• To go smaller, cut out the necessary material.
• To go larger, add in a piece of metal the necessary length.
• Having the ring on a ring mandrel will help you determine these lengths. The Mark-a-size has all of the lengths laid out for you.
• Resolder at these points.
• File and finish.
Tips:
• For resizing of ½ size or smaller, you can hammer the ring shank on a mandrel to enlarge.
• If your ring doesn’t have any epoxy, enamel, or stones and is a band style you can usually use a ring stretcher to enlarge the ring ½-1 size.
• If there are pearls in the ring, remove them.
• If you have soft gemstones such as turquoise, jade or opal in the ring, remove those as well.
• Most other stones (and enamel) can be protected with a heat shield product unless they are right near the soldering area.
• If there is epoxy in the ring as a decorative element, you are probably better off remaking the ring. The epoxy will give off dangerous fumes when heated, and I have not had success with any of the heat shield products. The surface of the epoxy becomes ruined.
• Enamel protected by the heat shield may need to be refired. Occasionally the heat shield can mar the surface of the enamel- it depends on the quickness and heat of the soldering, as well as the color of the enamel.
• If you have a textured band-style ring, you will want to save any pieces you cut out from resizing rings smaller to use when you need to make a ring larger. Alternatively, keep an extra unfinished casting around to use for this.
• If you have a wire shank, make sure that you insert a piece of wire the same size and profile. If you do not have one on hand, or cannot find one that matches exactly, insert one slightly larger, and file the profile down to match.
You may also be asked by customers to rework a piece for them. Common requests include different ear wires/posts, different chain and clasp, different finishes, or using their stones in one of your pieces. Most of these requests are easily done.
For earrings, I recommend making a new pair rather than switching from ear wires to post or to a clip backing.
If the customer is interested in having you use a stone they already own in a piece of yours, make sure to see and measure the stone first. Unless the customer is familiar with jewelry, they tend to over or underestimate the size. If it is a very expensive stone have them keep the stone until the piece is ready for setting.
Remember to add in a charge for your time in this. You will likely need to buy or make a new setting, and may have to modify the design of your piece to accommodate the stone.
Sometimes it is necessary to resize a ring/ bracelet after you have finished it, or to shorten a linked necklace or bracelet. Consider your styles and how easy or difficult they will be to resize- this is also a good thing to keep in mind when designing. If they will be hard, you may want to consider making a completely new ring instead of attempting a resize. While almost all rings can be resized, some rings do not make good sense to resize.
One tool that is very handy for any resizing job is the Mark-a-size measuring tool. Most of the tools supply catalogs carry this.
To resize:
• Cut open the ring at a convenient point. (preferably on the backside of the ring)
• To go smaller, cut out the necessary material.
• To go larger, add in a piece of metal the necessary length.
• Having the ring on a ring mandrel will help you determine these lengths. The Mark-a-size has all of the lengths laid out for you.
• Resolder at these points.
• File and finish.
Tips:
• For resizing of ½ size or smaller, you can hammer the ring shank on a mandrel to enlarge.
• If your ring doesn’t have any epoxy, enamel, or stones and is a band style you can usually use a ring stretcher to enlarge the ring ½-1 size.
• If there are pearls in the ring, remove them.
• If you have soft gemstones such as turquoise, jade or opal in the ring, remove those as well.
• Most other stones (and enamel) can be protected with a heat shield product unless they are right near the soldering area.
• If there is epoxy in the ring as a decorative element, you are probably better off remaking the ring. The epoxy will give off dangerous fumes when heated, and I have not had success with any of the heat shield products. The surface of the epoxy becomes ruined.
• Enamel protected by the heat shield may need to be refired. Occasionally the heat shield can mar the surface of the enamel- it depends on the quickness and heat of the soldering, as well as the color of the enamel.
• If you have a textured band-style ring, you will want to save any pieces you cut out from resizing rings smaller to use when you need to make a ring larger. Alternatively, keep an extra unfinished casting around to use for this.
• If you have a wire shank, make sure that you insert a piece of wire the same size and profile. If you do not have one on hand, or cannot find one that matches exactly, insert one slightly larger, and file the profile down to match.
You may also be asked by customers to rework a piece for them. Common requests include different ear wires/posts, different chain and clasp, different finishes, or using their stones in one of your pieces. Most of these requests are easily done.
For earrings, I recommend making a new pair rather than switching from ear wires to post or to a clip backing.
If the customer is interested in having you use a stone they already own in a piece of yours, make sure to see and measure the stone first. Unless the customer is familiar with jewelry, they tend to over or underestimate the size. If it is a very expensive stone have them keep the stone until the piece is ready for setting.
Remember to add in a charge for your time in this. You will likely need to buy or make a new setting, and may have to modify the design of your piece to accommodate the stone.
Sunday, April 6, 2014
Lesson: Working with Commerical Chain
Lesson 8: Working with Commercial Chains
Unless you are creating a show-stopper one-of-a-kind piece, you will likely be working with commercial chain. Making your own chain is time consuming, and there are many options out there. When deciding between commercial and handmade chain, consider price point, time, and overall look and audience for the piece.
Non-Metal Chains:
• For any chain that is not metal, you will need to glue or crimp your end caps on. I recommend Devcon 2-ton epoxy. This particular epoxy has worked well for me on various surfaces.
• Longer drying epoxies have more strength, tend to yellow less, and become less brittle over time.
• Look for epoxies that are waterproof. Water –resistant is good also, but waterproof is better.
• If you bead, use superglue for beading only. It is not good for findings or stones; it becomes brittle in under a year.
• When using dyed leather or suede, check to see if the dye is waterproof.
End caps:
• Tube end cap:
o Cut a piece of tubing that the chain just fits into.
o Slip the chain in one end, and either your clasp or jump ring to the other end, and solder.
o If the tubing is wider than your clasp, solder one end of the tube to a piece of sheet, cut and file. Put chain in the open end, and line up clasp on the closed up end and solder.
o You can vary the tube end cap by making different shapes- you can use hollow beads instead of tubing for example.
• Open link chains:
o The neatest way to finish of chains that are made of open links is to solder a jump ring through the last link.
o If you have a tightly woven chain, like foxtail, use your scribe to open up a hole in the last couple of links, and solder a jump ring through.
o Your jump ring doesn’t have to be round- try different shapes.
o Solder a jump ring through the chain and onto an element for a more elaborate look.
Clasps:
• Think about using some of the design in your piece in the clasp as well. Some clasps work very well as a centerpiece also.
• A lot of clasps that are sold commercially have ways that you can modify them- addition of stones, or texture.
• Clasps are something that I recommend making- they personalize the piece, and most clasps can be cast to reduce time spent making them.
Tips:
• Link chains can be tumbled to harden them and give them better strength.
• Chains should NEVER be polished on the polishing machine or flexshaft.
• To polish a chain:
o Wrap one end in leather or thick fabric and secure in the vise. The wrapping is to prevent damage to the chain from the teeth of the vise.
o Rub a polishing cloth or scotchbrite up and down the chain while holding the other end.
• If using commercial end caps and clasps, choose ones appropriate to your design. If you have a simple design, get simple findings.
• Remember that the chains are part of the overall piece. Find ones that work for you. If possible find one or 2 styles, buy them in bulk and use them for multiple pieces.
Unless you are creating a show-stopper one-of-a-kind piece, you will likely be working with commercial chain. Making your own chain is time consuming, and there are many options out there. When deciding between commercial and handmade chain, consider price point, time, and overall look and audience for the piece.
Non-Metal Chains:
• For any chain that is not metal, you will need to glue or crimp your end caps on. I recommend Devcon 2-ton epoxy. This particular epoxy has worked well for me on various surfaces.
• Longer drying epoxies have more strength, tend to yellow less, and become less brittle over time.
• Look for epoxies that are waterproof. Water –resistant is good also, but waterproof is better.
• If you bead, use superglue for beading only. It is not good for findings or stones; it becomes brittle in under a year.
• When using dyed leather or suede, check to see if the dye is waterproof.
End caps:
• Tube end cap:
o Cut a piece of tubing that the chain just fits into.
o Slip the chain in one end, and either your clasp or jump ring to the other end, and solder.
o If the tubing is wider than your clasp, solder one end of the tube to a piece of sheet, cut and file. Put chain in the open end, and line up clasp on the closed up end and solder.
o You can vary the tube end cap by making different shapes- you can use hollow beads instead of tubing for example.
• Open link chains:
o The neatest way to finish of chains that are made of open links is to solder a jump ring through the last link.
o If you have a tightly woven chain, like foxtail, use your scribe to open up a hole in the last couple of links, and solder a jump ring through.
o Your jump ring doesn’t have to be round- try different shapes.
o Solder a jump ring through the chain and onto an element for a more elaborate look.
Clasps:
• Think about using some of the design in your piece in the clasp as well. Some clasps work very well as a centerpiece also.
• A lot of clasps that are sold commercially have ways that you can modify them- addition of stones, or texture.
• Clasps are something that I recommend making- they personalize the piece, and most clasps can be cast to reduce time spent making them.
Tips:
• Link chains can be tumbled to harden them and give them better strength.
• Chains should NEVER be polished on the polishing machine or flexshaft.
• To polish a chain:
o Wrap one end in leather or thick fabric and secure in the vise. The wrapping is to prevent damage to the chain from the teeth of the vise.
o Rub a polishing cloth or scotchbrite up and down the chain while holding the other end.
• If using commercial end caps and clasps, choose ones appropriate to your design. If you have a simple design, get simple findings.
• Remember that the chains are part of the overall piece. Find ones that work for you. If possible find one or 2 styles, buy them in bulk and use them for multiple pieces.
Business: Photography
Business 6: Photography
Good photographs of your work are a must. Most art shows, exhibitions, and publications rely on images to make a decision regarding inclusion of your work.
Art show sites have specific guidelines to follow regarding image sizing and formatting. With digital files, the size of the file and the resolution are very important. Save your initial image at the highest resolution and either tiff or raw format.
Formats:
Digital images can be several different types of files. The most common are JPEG (.jpg) and TIFF (.tif). Most photographers will be shooting the images in RAW (.raw) mode.
RAW: To access a RAW image, you must have a photo-editing program like Photoshop. RAW
Images contain the most pixel information and are shot at the full resolution of the camera. These files are very large (26MB or so). In processing the RAW image, the photographer can correct the white balance of the image, calibrate the colors, and set the temperature of the image to match that of the lighting. All of these things insure that the image is an accurate representation of the piece.
TIFF: TIFF images are smaller than RAW images by a lot, and contain more information than
JPEG files. TIFF files are better for converting to slides. TIFF files are readable by some programs, and not by others. This is a good format to do any editing in.
JPEG: The most common type of image, and is readable by most programs. JPEGs have less
information than TIFF files, but they have a small size which makes them the best choice for websites, emails, etc. Many of the digital jury sites want JPEG images. JPEG gives you a range of compression levels to choose from. For higher quality images save at high (7-9). For web images you can save on medium (5-7) or low (1-4). The lower the number the more compressed the file is. This means that the size of the file is smaller, but also that some data is lost. You will notice this if you open up a JPEG saved on low and blow it up to actual size.
Resolution:
The resolution of a digital image is measured in DPI. The higher the dpi of an image, the more pixels per inch, and the more information it contains. Web images are usually saved at 72 or 150dpi. This makes them a small file, looks good on the web, but blurry when you blow it up large. Images used for postcards and print ads are usually saved at 300 or 600dpi. These are much clearer when you enlarge them. For very large poster sized prints you want an even higher dpi 800-1200dpi. Print shops will let you know the resolution that will give you an optimal result. I recommend saving a high resolution TIFF file (600dpi) and a low resolution JPEG file (150dpi). Resolution can be changed in most photo programs.
Lighting:
For shooting images of jewelry you want a diffused light. This prevents the jewelry from getting hot spots (or areas of overexposure). Most jewelry photographers will have some sort of translucent tent or dome that the piece is placed into. The lights are on the outside, casting a soft glow onto the jewelry.
Different types of lighting are available as well. Instead of normal incandescent and fluorescent bulbs, most photographers will use tungsten lighting. It casts a light more like daylight, and shows colors more accurately.
Catalog v. Jury Images:
Jury and catalog images are designed for two very different purposes. Depending on your goals you may want to have both types of images shot.
Jury images:
These images should be of one piece of work. The shot should be composed in such a way to lend the image movement. Frequently you will see rings shot from a ¾ view to give depth to the piece. This also creates a diagonal in the frame which draws the eye to the left or right depending on the orientation.
For jury images, you want to have a series of 4-6 images of work that flow from one image to another. The work shown should be fairly focused. Do not try to show everything that you do. Stick with a theme. Juries also project their images in a certain configuration. Look at your images in the configuration the jury will be. Make sure that they look balanced and draw your eye through the series.
Jury slides usually have a simple background- the focus is on the work. A graduated grey to black background or a black background with graduated spot on the jewelry are the 2 most common.
Catalog images:
These images are meant to convey your lines to the buyers. Most catalog shots are groupings of several pieces. Common shots are all of the rings in a line or a necklace, earring, and ring set.
Catalog shots should show the variations that you offer for each piece. If you offer a set of earrings in silver, gold, and oxidized silver, show all three. Even if all 3 finishes aren’t in the same image, make sure that the buyer can reference all the finishes and colors in the catalog.
Catalogs are where you can use interesting backgrounds or models wearing the jewelry. Your background should go with your overall image and your work.
Good photographs of your work are a must. Most art shows, exhibitions, and publications rely on images to make a decision regarding inclusion of your work.
Art show sites have specific guidelines to follow regarding image sizing and formatting. With digital files, the size of the file and the resolution are very important. Save your initial image at the highest resolution and either tiff or raw format.
Formats:
Digital images can be several different types of files. The most common are JPEG (.jpg) and TIFF (.tif). Most photographers will be shooting the images in RAW (.raw) mode.
RAW: To access a RAW image, you must have a photo-editing program like Photoshop. RAW
Images contain the most pixel information and are shot at the full resolution of the camera. These files are very large (26MB or so). In processing the RAW image, the photographer can correct the white balance of the image, calibrate the colors, and set the temperature of the image to match that of the lighting. All of these things insure that the image is an accurate representation of the piece.
TIFF: TIFF images are smaller than RAW images by a lot, and contain more information than
JPEG files. TIFF files are better for converting to slides. TIFF files are readable by some programs, and not by others. This is a good format to do any editing in.
JPEG: The most common type of image, and is readable by most programs. JPEGs have less
information than TIFF files, but they have a small size which makes them the best choice for websites, emails, etc. Many of the digital jury sites want JPEG images. JPEG gives you a range of compression levels to choose from. For higher quality images save at high (7-9). For web images you can save on medium (5-7) or low (1-4). The lower the number the more compressed the file is. This means that the size of the file is smaller, but also that some data is lost. You will notice this if you open up a JPEG saved on low and blow it up to actual size.
Resolution:
The resolution of a digital image is measured in DPI. The higher the dpi of an image, the more pixels per inch, and the more information it contains. Web images are usually saved at 72 or 150dpi. This makes them a small file, looks good on the web, but blurry when you blow it up large. Images used for postcards and print ads are usually saved at 300 or 600dpi. These are much clearer when you enlarge them. For very large poster sized prints you want an even higher dpi 800-1200dpi. Print shops will let you know the resolution that will give you an optimal result. I recommend saving a high resolution TIFF file (600dpi) and a low resolution JPEG file (150dpi). Resolution can be changed in most photo programs.
Lighting:
For shooting images of jewelry you want a diffused light. This prevents the jewelry from getting hot spots (or areas of overexposure). Most jewelry photographers will have some sort of translucent tent or dome that the piece is placed into. The lights are on the outside, casting a soft glow onto the jewelry.
Different types of lighting are available as well. Instead of normal incandescent and fluorescent bulbs, most photographers will use tungsten lighting. It casts a light more like daylight, and shows colors more accurately.
Catalog v. Jury Images:
Jury and catalog images are designed for two very different purposes. Depending on your goals you may want to have both types of images shot.
Jury images:
These images should be of one piece of work. The shot should be composed in such a way to lend the image movement. Frequently you will see rings shot from a ¾ view to give depth to the piece. This also creates a diagonal in the frame which draws the eye to the left or right depending on the orientation.
For jury images, you want to have a series of 4-6 images of work that flow from one image to another. The work shown should be fairly focused. Do not try to show everything that you do. Stick with a theme. Juries also project their images in a certain configuration. Look at your images in the configuration the jury will be. Make sure that they look balanced and draw your eye through the series.
Jury slides usually have a simple background- the focus is on the work. A graduated grey to black background or a black background with graduated spot on the jewelry are the 2 most common.
Catalog images:
These images are meant to convey your lines to the buyers. Most catalog shots are groupings of several pieces. Common shots are all of the rings in a line or a necklace, earring, and ring set.
Catalog shots should show the variations that you offer for each piece. If you offer a set of earrings in silver, gold, and oxidized silver, show all three. Even if all 3 finishes aren’t in the same image, make sure that the buyer can reference all the finishes and colors in the catalog.
Catalogs are where you can use interesting backgrounds or models wearing the jewelry. Your background should go with your overall image and your work.
Wednesday, April 2, 2014
Business: Marketing Basics
Business 5: Marketing Basics
Some of the basic marketing tools that you should create:
Resume: List exhibitions, shows, gallery representation, awards, publications, and schooling if appropriate. Include an image or two of your work. This should be different that a job resume. Don’t forget your contact info!
Business Cards: A great tool for artists is to print best known images on the front of your card, and all of your information on the back. This helps people connect a visual image of your work to your contact information. Hand customers the card image side up. This helps to fix the visual in their mind before they turn it over to look at the contact info. I strongly suggest renting a post office box for security. As a jeweler, it is smart not to give people your physical address. Once you have established a relationship with a client, then you can give them your street address if you wish.
A great place for business cards and also mini-cards is http://us.moo.com/
Moo offers an option to upload several images so you don’t have to pick just one for your card.
Postcards/ Photos: Good photographs of your work are a must! You should have both high resolution and low resolution digital images. High res images are used for advertisements and postcards. Low res images are used for websites and email messages. You may want to consider getting a couple of black and white prints of a favorite piece. Some newspapers prefer them. Get a nice photo taken of you as well. You should have one of you at work and one head shot. The headshot can be casual or formal.
Letterhead: Should contain your logo, and all of your contact information. You can also have envelopes printed up if you wish, although it is easy to simply print these at home.
Website: Don’t go for too many bells and whistles. Keep it simple and easy to navigate. Make sure that it will load correctly on all the main browsers. There are many WYSIWYG (what you see is what you get) editors out there. If you are familiar with computers, you will do fine with one of those. If you are apprehensive, hire someone. There are many people out there, so prices are competitive- talk to graphic design and web design students!
Whether or not you sell work directly from your website is up to you. If you don’t sell direct from your site, I would recommend linking to places where customers can purchase your work- galleries or an online store like Etsy.
Press Kit: A standard press kit includes a bio of you, black and white as well as color images of you and your work, business card, and a written statement of 1-2 paragraphs conveying the news or information that you are looking to have the publication print. For example, if you are exhibiting your work at a local gallery, let the local newspapers know. Keep it simple, to the point, and give them an angle that makes it unique. Highlight your connection to the area, an interest of yours, or something else to give the story a human element. Make sure to include digital copies of images, bio, and release.
Some of the basic marketing tools that you should create:
Resume: List exhibitions, shows, gallery representation, awards, publications, and schooling if appropriate. Include an image or two of your work. This should be different that a job resume. Don’t forget your contact info!
Business Cards: A great tool for artists is to print best known images on the front of your card, and all of your information on the back. This helps people connect a visual image of your work to your contact information. Hand customers the card image side up. This helps to fix the visual in their mind before they turn it over to look at the contact info. I strongly suggest renting a post office box for security. As a jeweler, it is smart not to give people your physical address. Once you have established a relationship with a client, then you can give them your street address if you wish.
A great place for business cards and also mini-cards is http://us.moo.com/
Moo offers an option to upload several images so you don’t have to pick just one for your card.
Postcards/ Photos: Good photographs of your work are a must! You should have both high resolution and low resolution digital images. High res images are used for advertisements and postcards. Low res images are used for websites and email messages. You may want to consider getting a couple of black and white prints of a favorite piece. Some newspapers prefer them. Get a nice photo taken of you as well. You should have one of you at work and one head shot. The headshot can be casual or formal.
Letterhead: Should contain your logo, and all of your contact information. You can also have envelopes printed up if you wish, although it is easy to simply print these at home.
Website: Don’t go for too many bells and whistles. Keep it simple and easy to navigate. Make sure that it will load correctly on all the main browsers. There are many WYSIWYG (what you see is what you get) editors out there. If you are familiar with computers, you will do fine with one of those. If you are apprehensive, hire someone. There are many people out there, so prices are competitive- talk to graphic design and web design students!
Whether or not you sell work directly from your website is up to you. If you don’t sell direct from your site, I would recommend linking to places where customers can purchase your work- galleries or an online store like Etsy.
Press Kit: A standard press kit includes a bio of you, black and white as well as color images of you and your work, business card, and a written statement of 1-2 paragraphs conveying the news or information that you are looking to have the publication print. For example, if you are exhibiting your work at a local gallery, let the local newspapers know. Keep it simple, to the point, and give them an angle that makes it unique. Highlight your connection to the area, an interest of yours, or something else to give the story a human element. Make sure to include digital copies of images, bio, and release.
Wednesday, March 26, 2014
Lesson: Other Findings
Lesson 7: Other findings
Pin backs:
• In addition to ear wires, pin backs are also very easy to make and add a lot of value to your piece.
• Use nickel silver instead of sterling- it is stronger and harder.
• You can also use steel. If using steel, remember no pickling!
• Common types of pin backs are the stem and catch (and their endless variations) and the stud variety.
• The stud pin backs are great for heavier brooches/pins that may flop forward if supported by a single stem. You can get these commercially.
• The one drawback of the stud type is that it is harder to affix.
• After soldering your pin backs or stud post, tumble if possible.
• If not tumbling, twist the stud post back and forth with a pair of pliers to harden and hammer the band of the pin stem. If using steel, no hardening is necessary.
Cufflinks:
• Cufflink findings come in several forms: T-Bar, Solid, and Riveted.
• The style preferred by most men is a riveted T-Bar, or T-Bar that is connected with jump rings. This style is easiest to put on and the range of motion keeps the cufflink on better, and puts less stress on the joint between cufflink back and cufflink.
• These can be either hand-made or purchased commercially. If you are planning to use the T-Bar, they are easier to purchase.
Tie Tacks and Tie Clips:
• Tie Tacks are very similar to the Stud style pin back. Some tie tack studs have a small upturned point of metal which helps to keep the tie pin oriented correctly.
• Tie clips slide onto a tie. They are better suited for larger pieces than a tie tack, since the clip finding is larger.
• Both of these are available commercially.
Pin backs:
• In addition to ear wires, pin backs are also very easy to make and add a lot of value to your piece.
• Use nickel silver instead of sterling- it is stronger and harder.
• You can also use steel. If using steel, remember no pickling!
• Common types of pin backs are the stem and catch (and their endless variations) and the stud variety.
• The stud pin backs are great for heavier brooches/pins that may flop forward if supported by a single stem. You can get these commercially.
• The one drawback of the stud type is that it is harder to affix.
• After soldering your pin backs or stud post, tumble if possible.
• If not tumbling, twist the stud post back and forth with a pair of pliers to harden and hammer the band of the pin stem. If using steel, no hardening is necessary.
Cufflinks:
• Cufflink findings come in several forms: T-Bar, Solid, and Riveted.
• The style preferred by most men is a riveted T-Bar, or T-Bar that is connected with jump rings. This style is easiest to put on and the range of motion keeps the cufflink on better, and puts less stress on the joint between cufflink back and cufflink.
• These can be either hand-made or purchased commercially. If you are planning to use the T-Bar, they are easier to purchase.
Tie Tacks and Tie Clips:
• Tie Tacks are very similar to the Stud style pin back. Some tie tack studs have a small upturned point of metal which helps to keep the tie pin oriented correctly.
• Tie clips slide onto a tie. They are better suited for larger pieces than a tie tack, since the clip finding is larger.
• Both of these are available commercially.
Wednesday, March 12, 2014
Lesson: Commercial Stone Settings
Lesson 5: Commercial Stone Settings
In production jewelry, commercial stone settings can be a valuable time saver. You should use commercial settings for smaller stones (1.5-6 or 7 mm) that have standard cuts- round, oval, baguette. For smaller stones, the time saved by purchasing the settings offsets the costs. As stones get larger, commercial settings are harder to find in a variety of styles.
You should not use commercial settings for any unusual cuts, irregular cuts, or for large stones. For these types of stones, you can make the setting easier, and the stone is a larger part of the overall design, so customization and integration of the setting becomes more important.
Commercial finding are usually made one of 2 ways- die-struck or cast. Die-struck settings tend to be cleaner and more exact regarding size. Cast settings usually require more cleanup of the setting to remove mold marks and usually have thicker walls, but are softer.
Bezel settings:
Commercial bezel settings usually come in 2 different types: bezel cups and open back or tapered tube bezels. If you have a faceted stone, get the open backed settings. If you have a cabochon, you can get either setting.
Remember to drill a small hole in the bottom of the bezel cup so that you can pop your stone out prior to setting if needed.
Prong settings:
Some prong settings also have an option of coming pre-notched. Unless you are certain that the gemstones you are setting are calibrated, I recommend against this. Cutting the notches doesn’t take very long, and that way you are assured of a perfect fit every time. The pre-notched settings are aimed for jewelers who are setting tens or hundreds of the exact same stone.
Prong settings also come in different heights. In deciding what height to buy, consider how high you want your stone to sit up from the piece. If you are setting a stone in a concave shape, you may want a higher setting, than if you were setting it on the top of a ring.
Using commercial settings:
• Make sure that the setting is cleaned up, any blemishes or mold marks removed.
• Check to see that the setting fits into your piece. Adjust if necessary.
• Make sure that your stone fits into the setting. If the stone doesn’t fit, see how close it is to fitting. If it is very close, make the minor adjustments to the setting, then retry the stone.
• If the stone is not close to fitting, order a new setting.
• To enlarge the setting slightly, place on mandrel and tap gently with a mallet. This should open the setting up slightly.
• If it is a bezel, or a prong setting with thick prongs, use a setting bur to remove material from inside the setting.
• For bezels, remove any excess thickness on the bezel wall from the outside.
• Solder the setting into place.
• For prong settings, notch the prongs.
• Once the rest of your piece is completed, set the stones.
In production jewelry, commercial stone settings can be a valuable time saver. You should use commercial settings for smaller stones (1.5-6 or 7 mm) that have standard cuts- round, oval, baguette. For smaller stones, the time saved by purchasing the settings offsets the costs. As stones get larger, commercial settings are harder to find in a variety of styles.
You should not use commercial settings for any unusual cuts, irregular cuts, or for large stones. For these types of stones, you can make the setting easier, and the stone is a larger part of the overall design, so customization and integration of the setting becomes more important.
Commercial finding are usually made one of 2 ways- die-struck or cast. Die-struck settings tend to be cleaner and more exact regarding size. Cast settings usually require more cleanup of the setting to remove mold marks and usually have thicker walls, but are softer.
Bezel settings:
Commercial bezel settings usually come in 2 different types: bezel cups and open back or tapered tube bezels. If you have a faceted stone, get the open backed settings. If you have a cabochon, you can get either setting.
Remember to drill a small hole in the bottom of the bezel cup so that you can pop your stone out prior to setting if needed.
Prong settings:
Some prong settings also have an option of coming pre-notched. Unless you are certain that the gemstones you are setting are calibrated, I recommend against this. Cutting the notches doesn’t take very long, and that way you are assured of a perfect fit every time. The pre-notched settings are aimed for jewelers who are setting tens or hundreds of the exact same stone.
Prong settings also come in different heights. In deciding what height to buy, consider how high you want your stone to sit up from the piece. If you are setting a stone in a concave shape, you may want a higher setting, than if you were setting it on the top of a ring.
Using commercial settings:
• Make sure that the setting is cleaned up, any blemishes or mold marks removed.
• Check to see that the setting fits into your piece. Adjust if necessary.
• Make sure that your stone fits into the setting. If the stone doesn’t fit, see how close it is to fitting. If it is very close, make the minor adjustments to the setting, then retry the stone.
• If the stone is not close to fitting, order a new setting.
• To enlarge the setting slightly, place on mandrel and tap gently with a mallet. This should open the setting up slightly.
• If it is a bezel, or a prong setting with thick prongs, use a setting bur to remove material from inside the setting.
• For bezels, remove any excess thickness on the bezel wall from the outside.
• Solder the setting into place.
• For prong settings, notch the prongs.
• Once the rest of your piece is completed, set the stones.
Business: Logo and Image
Business 4: Logo and Image
It’s important to set yourself apart. We’ve discussed how to make your work unique, now it’s time to think about branding your business. You want to create a business image that conveys to customers what to expect. Creating your logo is the first step.
You want your logo to be easily identifiable. Things to consider including in your logo: name or initials, your signature, a shape that repeats in your jewelry.
Besides use on business cards and other company materials, jewelers often sign their work with their logo. It is important to sign your work as it increases the value of the work to buyers and collectors. In addition to a signature or logo, you should also mark the jewelry with what metal(s) it is made from.
Many suppliers carry metal marking stamps with the common alloys. Stamps usually come in 2 types- a straight shank stamp, which is good for marking most items; and a curved shank stamp, which is good for marking hard to reach areas and the inside of rings.
Some pieces are not easily stamped. In this event, you can also sign your piece and denote the metal by hand. Use a very small bur in the flexshaft to engrave the information onto your piece.
Common abbreviations for metals:
STER, .925, SS: sterling silver
.999, FS: fine silver
18K, .750: 18 karat golds
14K, .580: 14 karat golds
10K: 10 karat golds
PLAT, 900PLAT, 950PLAT: Platinum
Also think about your overall “look” and image. This includes your logo, any fonts you use for typed documents, your display when selling jewelry, your website. Think of how you want to be portrayed- Simple and Elegant? Quirky? Colorful? An excellent example of branding is Tiffany & Co. Those blue boxes and bags are iconic.
It’s important to set yourself apart. We’ve discussed how to make your work unique, now it’s time to think about branding your business. You want to create a business image that conveys to customers what to expect. Creating your logo is the first step.
You want your logo to be easily identifiable. Things to consider including in your logo: name or initials, your signature, a shape that repeats in your jewelry.
Besides use on business cards and other company materials, jewelers often sign their work with their logo. It is important to sign your work as it increases the value of the work to buyers and collectors. In addition to a signature or logo, you should also mark the jewelry with what metal(s) it is made from.
Many suppliers carry metal marking stamps with the common alloys. Stamps usually come in 2 types- a straight shank stamp, which is good for marking most items; and a curved shank stamp, which is good for marking hard to reach areas and the inside of rings.
Some pieces are not easily stamped. In this event, you can also sign your piece and denote the metal by hand. Use a very small bur in the flexshaft to engrave the information onto your piece.
Common abbreviations for metals:
STER, .925, SS: sterling silver
.999, FS: fine silver
18K, .750: 18 karat golds
14K, .580: 14 karat golds
10K: 10 karat golds
PLAT, 900PLAT, 950PLAT: Platinum
Also think about your overall “look” and image. This includes your logo, any fonts you use for typed documents, your display when selling jewelry, your website. Think of how you want to be portrayed- Simple and Elegant? Quirky? Colorful? An excellent example of branding is Tiffany & Co. Those blue boxes and bags are iconic.
Wednesday, March 5, 2014
Lesson: Working with Castings
Lesson 4: Working with Castings
The Tools
When working on the flexshaft: Always wear eye protection!! Don’t over tighten bits in the flexshaft. Make sure to return chuck key to drawer! Leave flexshaft handpiece hanging, not on the desk or in the drawer.
Types of flexshaft bits:
Heatless Grinding (mizzy) wheels: White
Highly aggressive removal of material. Used for grinding down a lot of excess metal, or sprues from castings. Use mask and grinding box.
Hard Abrasive points: Usually green or brown.
These are shaped bits used to aggressively remove material. Can get places a file can’t. They usually leave a rough texture.
Rubberized Abrasive wheels: Various colors for different grits.
For the ones we use… White= coarse Black= medium Blue= fine (pre-polish)
Knife-edge wheels are good for joints, textures, crevices. Regular wheels are better for flat surfaces. Start with white, and then move to black, then blue. For the best results, keep wheels moving and use light pressure. Use mask and grinding box.
Steel burs-
We have a variety of different sizes and shapes. Use all of these with bur-life. All aggressively remove metal.
Ball Bur: all purpose for concave areas. Cup Bur: good for rounding ends of prongs,
ear wires or shaping balled ends of wires
Bud Bur: good for crevices and tight spaces Hart Bur: good for setting, cutting grooves
Setting Bur: good for settings
Sandpaper rolls: Great for inside ring bands and bracelets, concave curves. Use mask.
Sandpaper discs: Great for flat or convex surfaces. Can sand in areas files don’t reach. Removes metal much quicker than regular sandpapering because of the rotation. Go from coarse to fine. Use mask.
3M Bristle Discs: yellow= 80grit red=220grit blue=400grit
Good for finishing tight areas and Matte finishing. Gets into everywhere. They do wear out quickly. You must use 2+ discs at a time. Use mask.
Polishing wheels: We have hard felt in both point and wheel shape as well as soft muslin in wheel
shape. Felt is good for flat surfaces or if you want to polish high points of texture. Points are good for inside rings, or concave shapes. Muslin is better for getting a bumpy or uneven surface. You must use polishing compound with these. Use mask and grinding box.
Bristle wheels: We have natural bristle wheels that can be used with polishing compound to polish in small hard to reach areas. Gets into filigree and fine details better than muslin buffs do.
Also have brass and steel bristle wheels that burnish the surface of the metal. Not as even as a polished surface, but a high shine.
Bits: general term for flexshaft thingies.
Buffs: specific to polishing bits, especially wheels (they buff a piece)
Burs: any steel bits
Soldering, Cleaning, Finishing
Working with castings is much the same as working with any other metal piece. There are some important differences to remember.
• Castings are solid, and tend to be heavier than fabrications. Make sure that when soldering you concentrate your flame on heating the casting. Most findings are small and light to begin with. Use a third hand to hold the findings and act as a heat sink when possible.
• Castings have a tendency to be a bit “soft” when you get them back. When sheet and wire are made, they are put under pressure to form them into sheet or wire. Castings are poured metal, and haven’t been under any pressure. Before soldering, it helps to either burnish or file the areas you are gong to be soldering to remove some of that “softness”. You can also tumble the pieces prior to soldering. This makes the soldering go much more smoothly.
To clean your castings (this is where that flexshaft comes in…):
• Saw off the sprue with a large size saw blade (1– not 1/0, 3, or 4)
• Cut as close to the piece as you can with out cutting the piece!
• Use the bur life on your saw blade and be patient
• Use the mizzy wheels to grind down the remainder of the sprue stump to the surface of the piece. Grind down any big lumps or bumps in the piece.
• If possible, use your files now to even out the ground areas.
• GO to the sandpaper discs or the rubber abrasive wheels and begin to finish any areas.
• You can use the tumbler to achieve either a matte, satin or polished look for your pieces.
o Green ceramic media: matte finish
o White ceramic media: satin finish
o Steel shot: polished finish
• Remember that the shot doesn’t remove metal so it will not take away any scratches in your piece, it will just polish the scratches.
• For the green and white media, you can stop finishing with the flexshaft about halfway- black wheels or red bristle discs, or 400 grit sandpaper
• For the shot, you need to go up to pre-polish- blue wheels, pink bristle discs, or 1000 grit sandpaper.
To tumble:
• Put appropriate shot into tumbler, enough to cover your piece(s).
• Put your piece in.
• Fill with water to cover both media and piece.
• Add about ½ capful of soap solution.
• Screw on top.
• Put tumbler on base with top facing out.
• Turn on.
• Check for any leakage.
• Let tumble: 45min-1hr for matter or satin finish; 2-4 hours for hardening.
• After done, take sieve and place in sink.
• Open tumbler and pour contents into sieve. This will retain your pieces and the media while getting rid of the dirty water.
• Pluck your pieces out and dry.
• Rinse the shot and air dry.
• For a gunmetal finish, you can tumble with steel shot after using liver of sulfur. If you do this, make sure that you wash out the inside of the tumbler with soap and water, and wash the shot thoroughly before air drying.
The Tools
When working on the flexshaft: Always wear eye protection!! Don’t over tighten bits in the flexshaft. Make sure to return chuck key to drawer! Leave flexshaft handpiece hanging, not on the desk or in the drawer.
Types of flexshaft bits:
Heatless Grinding (mizzy) wheels: White
Highly aggressive removal of material. Used for grinding down a lot of excess metal, or sprues from castings. Use mask and grinding box.
Hard Abrasive points: Usually green or brown.
These are shaped bits used to aggressively remove material. Can get places a file can’t. They usually leave a rough texture.
Rubberized Abrasive wheels: Various colors for different grits.
For the ones we use… White= coarse Black= medium Blue= fine (pre-polish)
Knife-edge wheels are good for joints, textures, crevices. Regular wheels are better for flat surfaces. Start with white, and then move to black, then blue. For the best results, keep wheels moving and use light pressure. Use mask and grinding box.
Steel burs-
We have a variety of different sizes and shapes. Use all of these with bur-life. All aggressively remove metal.
Ball Bur: all purpose for concave areas. Cup Bur: good for rounding ends of prongs,
ear wires or shaping balled ends of wires
Bud Bur: good for crevices and tight spaces Hart Bur: good for setting, cutting grooves
Setting Bur: good for settings
Sandpaper rolls: Great for inside ring bands and bracelets, concave curves. Use mask.
Sandpaper discs: Great for flat or convex surfaces. Can sand in areas files don’t reach. Removes metal much quicker than regular sandpapering because of the rotation. Go from coarse to fine. Use mask.
3M Bristle Discs: yellow= 80grit red=220grit blue=400grit
Good for finishing tight areas and Matte finishing. Gets into everywhere. They do wear out quickly. You must use 2+ discs at a time. Use mask.
Polishing wheels: We have hard felt in both point and wheel shape as well as soft muslin in wheel
shape. Felt is good for flat surfaces or if you want to polish high points of texture. Points are good for inside rings, or concave shapes. Muslin is better for getting a bumpy or uneven surface. You must use polishing compound with these. Use mask and grinding box.
Bristle wheels: We have natural bristle wheels that can be used with polishing compound to polish in small hard to reach areas. Gets into filigree and fine details better than muslin buffs do.
Also have brass and steel bristle wheels that burnish the surface of the metal. Not as even as a polished surface, but a high shine.
Bits: general term for flexshaft thingies.
Buffs: specific to polishing bits, especially wheels (they buff a piece)
Burs: any steel bits
Soldering, Cleaning, Finishing
Working with castings is much the same as working with any other metal piece. There are some important differences to remember.
• Castings are solid, and tend to be heavier than fabrications. Make sure that when soldering you concentrate your flame on heating the casting. Most findings are small and light to begin with. Use a third hand to hold the findings and act as a heat sink when possible.
• Castings have a tendency to be a bit “soft” when you get them back. When sheet and wire are made, they are put under pressure to form them into sheet or wire. Castings are poured metal, and haven’t been under any pressure. Before soldering, it helps to either burnish or file the areas you are gong to be soldering to remove some of that “softness”. You can also tumble the pieces prior to soldering. This makes the soldering go much more smoothly.
To clean your castings (this is where that flexshaft comes in…):
• Saw off the sprue with a large size saw blade (1– not 1/0, 3, or 4)
• Cut as close to the piece as you can with out cutting the piece!
• Use the bur life on your saw blade and be patient
• Use the mizzy wheels to grind down the remainder of the sprue stump to the surface of the piece. Grind down any big lumps or bumps in the piece.
• If possible, use your files now to even out the ground areas.
• GO to the sandpaper discs or the rubber abrasive wheels and begin to finish any areas.
• You can use the tumbler to achieve either a matte, satin or polished look for your pieces.
o Green ceramic media: matte finish
o White ceramic media: satin finish
o Steel shot: polished finish
• Remember that the shot doesn’t remove metal so it will not take away any scratches in your piece, it will just polish the scratches.
• For the green and white media, you can stop finishing with the flexshaft about halfway- black wheels or red bristle discs, or 400 grit sandpaper
• For the shot, you need to go up to pre-polish- blue wheels, pink bristle discs, or 1000 grit sandpaper.
To tumble:
• Put appropriate shot into tumbler, enough to cover your piece(s).
• Put your piece in.
• Fill with water to cover both media and piece.
• Add about ½ capful of soap solution.
• Screw on top.
• Put tumbler on base with top facing out.
• Turn on.
• Check for any leakage.
• Let tumble: 45min-1hr for matter or satin finish; 2-4 hours for hardening.
• After done, take sieve and place in sink.
• Open tumbler and pour contents into sieve. This will retain your pieces and the media while getting rid of the dirty water.
• Pluck your pieces out and dry.
• Rinse the shot and air dry.
• For a gunmetal finish, you can tumble with steel shot after using liver of sulfur. If you do this, make sure that you wash out the inside of the tumbler with soap and water, and wash the shot thoroughly before air drying.
Lesson: Earring Findings
Lesson 3: Earring Findings
Making ear wires is so easy that I recommend that you make your own.
Creating your own findings adds value to your jewelry by setting it apart. It can distinguish your piece from your competitor’s. Make the shape of your ear wire go with the overall design of your piece- customize!
Ear wires: Usually 20ga. wire. Some people prefer 22ga.
• Cut 2 lengths of wire.
• Some common ways to attach ear wires are:
o Soldered directly to the earring
o End balled, attached through a jump ring
o End forming a ring, attached through a hole or jump ring
o End balled or T, wire run through hole in piece for ball/socket joint
• Use the bezel mandrel or round/flat pliers to for shape.
• To test balance and to make sure the earrings hang at the same level, hang them over the handle of your needle files, or a pencil. If the earring tips forward you need a longer wire in the back. The earring tipping forward means that the wire is not counterbalancing the weight of the earring, and makes it likely that it will work its way out of the ear.
• Using the round/flat pliers, give the end of the wire a slight bend, which also helps make it harder to slip out of the ear.
• Make sure the wires are the same length.
• Use your cup/concave bur on the ends so that they are not sharp.
• If tumbling, tumble the earrings to harden the wires.
• If you aren’t tumbling, use the flat side of the goldsmith’s hammer on the curve of the wire to give tension.
• Consider soldering a piece of wire on to create a hook for the wire to latch into. Added security!
Ear posts: Ear posts and their backs are one finding I recommend that you buy. There are several different types of ear posts available. Most posts have notches cut into them, so that they snap into the backs at that point. Ear posts are available in different thicknesses (.028-.036”) - .030” is a good standard thickness.
Posts are also available as a straight post or with pads or cups on the ends.
Posts with pads are very useful. They are available in a variety of different size pads, and the pad helps you to position the ear post perpendicular to the earring.
If you are going to be soldering posts onto a very narrow area, you will be better off with a straight post.
Ear posts with cups are good for curved surfaces. Some of the posts with cups have a small post in the center of the cup. These are for gluing a pearl onto to create the classic pearl ear stud.
Posts are also sometimes available with a ball on the end and a small jump ring soldered to the ball. These are best suited for beadwork.
There are also threaded ear posts available where the ear nut is screwed onto the post as opposed to being held on by tension. These are great for expensive earrings and good as a special order option.
Ear nuts: Most ear nuts are tension based. The two most common designs are the bullet style and the friction style.
The bullet back has rubber inside of it, which puts pressure on the entire length of the post. These are often more comfortable that the friction style for people with thinner ears, and they cover more of the post. The bullet backs are not available in a wide a variety of sizes.
The friction style is the most common. It is available in many sizes and weights. The light-weight backs are pretty flimsy- I would suggest medium or heavy weight. It is better to get a larger size than to increase the weight of the metal. The largest size of friction backs is popular with older women who have one hole that has stretched as it holds most styles of studs upright and centered on the hole.
Omega Backs: Omega backs are a versatile earring back since they can be used either as a clip or in combination with a post. Many women like them with a post since this eliminates the need to keep track of an earring back.
Most Omega backs come unassembled. There are 3 parts to the back- the joint, the rivet, and the clip.
To use an Omega Back:
• To determine the placement of the joint, fit the clip into the joint.
• Lay assembly against the back of your earring.
• Mark where the joint should be soldered, and remove the clip from the joint.
• Solder the joint onto your piece after sanding your piece, but before pre-polishing.
• Solder before stone setting, enamelling or epoxy, patination.
• Pickle and finish cleaning and polishing your piece.
• Do any tumbling.
• Fit the clip into the joint. The holes in the clip and the holes in the joint should line up.
• Fit the rivet wire into the hole and pull through until it stops.
• The rivet wire comes with one end flattened, so it will not pull all the way through.
• If you have trouble getting the rivet in, make sure that the holes are the correct size, and open up with a drill if needed.
• Place with flattened end against a steel block and rivet.
• Use the black and blue wheels to clean up the rivet and polish.
• Test the clip.
• You can bend the joint to adjust the distance between clip and earring back.
• If you are using with a post, solder the post on first, then figure out joint placement.
Screw backs: Screw backs are another style of clip earring back. They come preassembled. The front of the finding has a pad on it, which you solder to the back of your piece. A nice feature about the screw back is that it is adjustable for different ear thicknesses. When soldering, coat the screw with yellow ochre to prevent it from seizing.
Lever backs: Lever backs are a style of hook ear wire that has a back part that flips up. The wire goes through your ear, and then a channeled back flips up to cover the end of the wire and protect the earring from falling out. Many people prefer the lever back because of the security it offers. Lever backs usually come preassembled, and the earring is simply soldered onto the finding. Use a third hand (or chill gel) as a heat sink to keep the tension in the back from loosening.
Making ear wires is so easy that I recommend that you make your own.
Creating your own findings adds value to your jewelry by setting it apart. It can distinguish your piece from your competitor’s. Make the shape of your ear wire go with the overall design of your piece- customize!
Ear wires: Usually 20ga. wire. Some people prefer 22ga.
• Cut 2 lengths of wire.
• Some common ways to attach ear wires are:
o Soldered directly to the earring
o End balled, attached through a jump ring
o End forming a ring, attached through a hole or jump ring
o End balled or T, wire run through hole in piece for ball/socket joint
• Use the bezel mandrel or round/flat pliers to for shape.
• To test balance and to make sure the earrings hang at the same level, hang them over the handle of your needle files, or a pencil. If the earring tips forward you need a longer wire in the back. The earring tipping forward means that the wire is not counterbalancing the weight of the earring, and makes it likely that it will work its way out of the ear.
• Using the round/flat pliers, give the end of the wire a slight bend, which also helps make it harder to slip out of the ear.
• Make sure the wires are the same length.
• Use your cup/concave bur on the ends so that they are not sharp.
• If tumbling, tumble the earrings to harden the wires.
• If you aren’t tumbling, use the flat side of the goldsmith’s hammer on the curve of the wire to give tension.
• Consider soldering a piece of wire on to create a hook for the wire to latch into. Added security!
Ear posts: Ear posts and their backs are one finding I recommend that you buy. There are several different types of ear posts available. Most posts have notches cut into them, so that they snap into the backs at that point. Ear posts are available in different thicknesses (.028-.036”) - .030” is a good standard thickness.
Posts are also available as a straight post or with pads or cups on the ends.
Posts with pads are very useful. They are available in a variety of different size pads, and the pad helps you to position the ear post perpendicular to the earring.
If you are going to be soldering posts onto a very narrow area, you will be better off with a straight post.
Ear posts with cups are good for curved surfaces. Some of the posts with cups have a small post in the center of the cup. These are for gluing a pearl onto to create the classic pearl ear stud.
Posts are also sometimes available with a ball on the end and a small jump ring soldered to the ball. These are best suited for beadwork.
There are also threaded ear posts available where the ear nut is screwed onto the post as opposed to being held on by tension. These are great for expensive earrings and good as a special order option.
Ear nuts: Most ear nuts are tension based. The two most common designs are the bullet style and the friction style.
The bullet back has rubber inside of it, which puts pressure on the entire length of the post. These are often more comfortable that the friction style for people with thinner ears, and they cover more of the post. The bullet backs are not available in a wide a variety of sizes.
The friction style is the most common. It is available in many sizes and weights. The light-weight backs are pretty flimsy- I would suggest medium or heavy weight. It is better to get a larger size than to increase the weight of the metal. The largest size of friction backs is popular with older women who have one hole that has stretched as it holds most styles of studs upright and centered on the hole.
Omega Backs: Omega backs are a versatile earring back since they can be used either as a clip or in combination with a post. Many women like them with a post since this eliminates the need to keep track of an earring back.
Most Omega backs come unassembled. There are 3 parts to the back- the joint, the rivet, and the clip.
To use an Omega Back:
• To determine the placement of the joint, fit the clip into the joint.
• Lay assembly against the back of your earring.
• Mark where the joint should be soldered, and remove the clip from the joint.
• Solder the joint onto your piece after sanding your piece, but before pre-polishing.
• Solder before stone setting, enamelling or epoxy, patination.
• Pickle and finish cleaning and polishing your piece.
• Do any tumbling.
• Fit the clip into the joint. The holes in the clip and the holes in the joint should line up.
• Fit the rivet wire into the hole and pull through until it stops.
• The rivet wire comes with one end flattened, so it will not pull all the way through.
• If you have trouble getting the rivet in, make sure that the holes are the correct size, and open up with a drill if needed.
• Place with flattened end against a steel block and rivet.
• Use the black and blue wheels to clean up the rivet and polish.
• Test the clip.
• You can bend the joint to adjust the distance between clip and earring back.
• If you are using with a post, solder the post on first, then figure out joint placement.
Screw backs: Screw backs are another style of clip earring back. They come preassembled. The front of the finding has a pad on it, which you solder to the back of your piece. A nice feature about the screw back is that it is adjustable for different ear thicknesses. When soldering, coat the screw with yellow ochre to prevent it from seizing.
Lever backs: Lever backs are a style of hook ear wire that has a back part that flips up. The wire goes through your ear, and then a channeled back flips up to cover the end of the wire and protect the earring from falling out. Many people prefer the lever back because of the security it offers. Lever backs usually come preassembled, and the earring is simply soldered onto the finding. Use a third hand (or chill gel) as a heat sink to keep the tension in the back from loosening.
Tuesday, February 25, 2014
Business: Pricing
Business 1: Pricing!
The most realistic and accurate pricing is a dual approach.
First, the Formula:
The two most important things when figuring out a price for your jewelry are time spent and materials. As you are working on pieces, keep track of the time you spend on each piece. There are a variety of formulas out there, and formulas change for custom work versus production work. This is for production work.
A common price formula:
Labor= hours x rate
(Labor + materials) x 2 = wholesale price
Wholesale price x 1.5 or 2 = retail price.
Example:
A piece takes me 3 hours. I pay myself $35/hr.
Labor= 3 x 35 = $115
Materials = $4 in silver + $6 in pearls + $15 gemstone + $4 ear post/backs = $29
Wholesale price= (115 + 29) x 2 = $288
Retail price= $432 – 576
You can see the importance of your time in this equation. If the same piece took 2 hours to make, we’d be looking at a retail price of $297-396. That's a pretty big difference!
This formula is by no means set in stone. You can adjust your price so that you fit into the market. This does give you a good starting point for figuring out how much you need to make on a piece to make money.
Beginning jewelers working in stores usually make $10-15/hour.
Second, the research:
Look at comparable pieces in galleries, at shows, online. See what the market will bear for similar work. This gives you a good benchmark to measure your formula against and see if changes need to be made. When researching- look at what is handmade and what isn’t. What methods are they using/ What materials? Gold plate or vermeil versus gold is a big price difference.
Also, Another good question to ask is “How much would someone have to pay me for me to make this again?” This is where the “PITA” (pain in the ass) tax can factor. If you realize that a certain design is a royal pain to make, charge more! If it’s easier than you thought, you might be willing to take a little less.
After looking at both sets of numbers you should havea good idea of what to charge. Pricing is not an exact science, and it is likely you will make changes as you go. The important thing is to set the starting price as accurately as possible, and don’t sell your work too low.
While marking a piece up double and more may seem like a lot, it isn’t. The money from that markup covers business expenses such as materials, travel, bills, displays, office supplies, show fees, etc. After doing business for 6 months to a year, look at your expenses and what you are making off of each piece. You may see that the markup isn’t covering all of your costs and then you need to add more into the markup to cover what is called “overhead”. Overhead typically consists of rent, utilities, and monthly business expenses that occur.
One important thing to remember is that with the internet, information is available to all. I know some artists who in the past have raised prices for higher income areas (NYC, Miami) and lowered them for less affluent ones. With information easily accessible, this is harder to do nowadays as customers may find out they were charged a different amount based on where they live. This is a practice I don’t agree with, but it is another pricing tactic.
If you are being represented by galleries, it is important to make sure that the galleries know how much you sell your work for, so that they aren’t being undercut by you. I tell all my galleries that I do a straight “keystone” markup of the wholesale price. A keystone markup is when the retail price is double the wholesale price. This is the industry standard for retail prices. If the gallery chooses to mark it up higher, that’s fine, but this way they know what I retail it for as well.
Keep your prospective market in mind while figuring out preliminary costs. If your prices seem too high or low, figure out why. If they seem to low, raise them. If they seem too high: Can you reduce the amount of time spent? Can you reduce your materials cost? - find a new supplier that has better prices, buy findings in bulk, or lessen the amount of metal in the piece. If none of these will work, you may need to put that idea on the shelf until something changes.
Figuring out your time
Figuring out exactly how much time you spend on a piece is critical to pricing it. It is also one of the most difficult things to do because we multi task so much. If you are extremely organized, look at the clock every time you switch tasks or pieces and jot down the time spent on that piece. However, most of us will forget to do that. The method I have found that works pretty well is the following, and your homework assignment for all of your pieces throughout the semester.
Homework:
Every time you sit down to work, note your starting time, your ending time and what you worked on during that period. If you take a break, make a note of that too. Also note what you did during the period also.
Example:
10am-11:15am Filed, soldered, and sanded 5 pairs of leaf earrings. Made 8 waxes of leaf necklace and cleaned waxes up.
This way you can see over time how long pieces are taking you, and have an accurate accounting of your time for pricing purposes. Over time you will get faster as you get more comfortable and adept with the tools.
You will be responsible for keeping a log of your time throughout the semester. When you are working on a prototype, notate that also.
The most realistic and accurate pricing is a dual approach.
First, the Formula:
The two most important things when figuring out a price for your jewelry are time spent and materials. As you are working on pieces, keep track of the time you spend on each piece. There are a variety of formulas out there, and formulas change for custom work versus production work. This is for production work.
A common price formula:
Labor= hours x rate
(Labor + materials) x 2 = wholesale price
Wholesale price x 1.5 or 2 = retail price.
Example:
A piece takes me 3 hours. I pay myself $35/hr.
Labor= 3 x 35 = $115
Materials = $4 in silver + $6 in pearls + $15 gemstone + $4 ear post/backs = $29
Wholesale price= (115 + 29) x 2 = $288
Retail price= $432 – 576
You can see the importance of your time in this equation. If the same piece took 2 hours to make, we’d be looking at a retail price of $297-396. That's a pretty big difference!
This formula is by no means set in stone. You can adjust your price so that you fit into the market. This does give you a good starting point for figuring out how much you need to make on a piece to make money.
Beginning jewelers working in stores usually make $10-15/hour.
Second, the research:
Look at comparable pieces in galleries, at shows, online. See what the market will bear for similar work. This gives you a good benchmark to measure your formula against and see if changes need to be made. When researching- look at what is handmade and what isn’t. What methods are they using/ What materials? Gold plate or vermeil versus gold is a big price difference.
Also, Another good question to ask is “How much would someone have to pay me for me to make this again?” This is where the “PITA” (pain in the ass) tax can factor. If you realize that a certain design is a royal pain to make, charge more! If it’s easier than you thought, you might be willing to take a little less.
After looking at both sets of numbers you should havea good idea of what to charge. Pricing is not an exact science, and it is likely you will make changes as you go. The important thing is to set the starting price as accurately as possible, and don’t sell your work too low.
While marking a piece up double and more may seem like a lot, it isn’t. The money from that markup covers business expenses such as materials, travel, bills, displays, office supplies, show fees, etc. After doing business for 6 months to a year, look at your expenses and what you are making off of each piece. You may see that the markup isn’t covering all of your costs and then you need to add more into the markup to cover what is called “overhead”. Overhead typically consists of rent, utilities, and monthly business expenses that occur.
One important thing to remember is that with the internet, information is available to all. I know some artists who in the past have raised prices for higher income areas (NYC, Miami) and lowered them for less affluent ones. With information easily accessible, this is harder to do nowadays as customers may find out they were charged a different amount based on where they live. This is a practice I don’t agree with, but it is another pricing tactic.
If you are being represented by galleries, it is important to make sure that the galleries know how much you sell your work for, so that they aren’t being undercut by you. I tell all my galleries that I do a straight “keystone” markup of the wholesale price. A keystone markup is when the retail price is double the wholesale price. This is the industry standard for retail prices. If the gallery chooses to mark it up higher, that’s fine, but this way they know what I retail it for as well.
Keep your prospective market in mind while figuring out preliminary costs. If your prices seem too high or low, figure out why. If they seem to low, raise them. If they seem too high: Can you reduce the amount of time spent? Can you reduce your materials cost? - find a new supplier that has better prices, buy findings in bulk, or lessen the amount of metal in the piece. If none of these will work, you may need to put that idea on the shelf until something changes.
Figuring out your time
Figuring out exactly how much time you spend on a piece is critical to pricing it. It is also one of the most difficult things to do because we multi task so much. If you are extremely organized, look at the clock every time you switch tasks or pieces and jot down the time spent on that piece. However, most of us will forget to do that. The method I have found that works pretty well is the following, and your homework assignment for all of your pieces throughout the semester.
Homework:
Every time you sit down to work, note your starting time, your ending time and what you worked on during that period. If you take a break, make a note of that too. Also note what you did during the period also.
Example:
10am-11:15am Filed, soldered, and sanded 5 pairs of leaf earrings. Made 8 waxes of leaf necklace and cleaned waxes up.
This way you can see over time how long pieces are taking you, and have an accurate accounting of your time for pricing purposes. Over time you will get faster as you get more comfortable and adept with the tools.
You will be responsible for keeping a log of your time throughout the semester. When you are working on a prototype, notate that also.
Lesson: Altering a Wax
Lesson 6: Altering a Wax
One way to add variety to your production pieces is to alter them in the wax form. When they are wax, you can resize rings, add texture to pieces, and connect parts together easier than in the metal.
Ways to alter the wax:
• Put in a texture!
• Carve grooves, add bumps!
• Drill pilot holes for stone settings
• Meld 2 pieces together to create a different piece.
To add texture: Use the burs, files, tools etc.
To connect elements together: Use a thin knife-style tip, slip between the parts you want to connect. Add additional wax to seal the seam. Remove any additional wax.
To size a ring larger:
• Cut with an Xacto knife along the back of the ring or at a good breaking point in the pattern.
• Slide the wax onto a steel ring mandrel to the correct size. Melt extra wax into the gap.
• File and sand the wax to match rest of ring.
• If necessary, redo any patterns.
• If the gap is wide enough, or the ring has an all around pattern, it may be easiest to cut a piece out of a second wax that is the correct size to fit the gap and melt the edges together with hot wax tool.
To size a ring smaller:
• Cut with an Xacto knife along the back of the ring or at a good breaking point in the pattern.
• Slide the wax onto a steel ring mandrel to the correct size.
• Hold the wax tight around the mandrel. The ends of the wax should be overlapping.
• Use the Xacto to cut away the overlapping area.
• Melt the ends of the wax together.
• If necessary, add in extra wax.
• File and sand to match the rest of the ring.
• Redo any patterns that got melted.
One way to add variety to your production pieces is to alter them in the wax form. When they are wax, you can resize rings, add texture to pieces, and connect parts together easier than in the metal.
Ways to alter the wax:
• Put in a texture!
• Carve grooves, add bumps!
• Drill pilot holes for stone settings
• Meld 2 pieces together to create a different piece.
To add texture: Use the burs, files, tools etc.
To connect elements together: Use a thin knife-style tip, slip between the parts you want to connect. Add additional wax to seal the seam. Remove any additional wax.
To size a ring larger:
• Cut with an Xacto knife along the back of the ring or at a good breaking point in the pattern.
• Slide the wax onto a steel ring mandrel to the correct size. Melt extra wax into the gap.
• File and sand the wax to match rest of ring.
• If necessary, redo any patterns.
• If the gap is wide enough, or the ring has an all around pattern, it may be easiest to cut a piece out of a second wax that is the correct size to fit the gap and melt the edges together with hot wax tool.
To size a ring smaller:
• Cut with an Xacto knife along the back of the ring or at a good breaking point in the pattern.
• Slide the wax onto a steel ring mandrel to the correct size.
• Hold the wax tight around the mandrel. The ends of the wax should be overlapping.
• Use the Xacto to cut away the overlapping area.
• Melt the ends of the wax together.
• If necessary, add in extra wax.
• File and sand to match the rest of the ring.
• Redo any patterns that got melted.
Lesson: Injecting a Mold
Lesson: Injecting a Mold
• Turn on wax injector, let it heat up.
• Make sure that the temperature dial is pointing to the black band.
• Check that air hose is connected.
• To connect air hose:
• Pull down on brass collet.
• Push end of hose up against fitting on injector.
• Release the collet.
• If the hose is on properly, releasing the collet will lock it in place.
• If it is not on properly, it will detach immediately. Repeat above steps and push harder when fitting onto injector.
• Once indicator light is not constantly on, the wax should be molten. Adjust the pressure to be between 5-10psi.
• Adjust the pressure by twisting knob to the right for more pressure.
• If the pressure is too high, twist knob to the left, then pull up on brass ring on the top of the injector. The ring releases and resets the pressure inside the injector.
• Make sure dish/non-stick foil is under wax injector spout.
• Place aluminum plates on top and bottom of mold.
• Have mold opening just at or slightly beyond edge of plates.
• Hold plates and mold tightly.
• Press against injector nozzle.
• Pull away.
• This injector works very quickly. You do not need to hold the mold against the nozzle- it takes less than a second to inject.
• The wax is hot! It is molten at approx. 165 degrees. Please be careful!
• Let mold cool approx. 30sec-1min. The mold should be cool to the touch, and the button of wax at the end of the mold should be opaque.
• Open up and gently pull out wax.
• Repeat.
• If you are the last one here- make sure to turn injector off!!!
Opening and Closing the Wax Injector:
• Disconnect the air hose, and release the pressure in the injector.
• Using the welding gloves, loosen the 2 top screws.
• Push the lid back.
• Close be returning lid to original position.
• Tighten screws.
• Reconnect the air hose. The pressure will automatically reset once the hose is connected.
Troubleshooting:
• My mold isn’t filling completely: Hold mold against injector a bit longer. Make sure you are holding the mold straight, not tilted up or down.
• My wax is sticking to the mold: Brush a light coat of talc on both sides of mold, making sure to get into all crevices. Or spray Mold Release on both sides of mold. Do not aim mold release up or at another person. Do not use near flame or hot objects. Use your face mask with mold release spray as it is an aerosol.
• The wax is going everywhere: Hold mold tighter between plates. Press against nozzle for less time.
• The injector is making a spluttering noise when I inject a wax: Open the top lid and check the wax. If the level seems low (less than ½ full) add more wax. If you see a solid chunk of wax upon opening the lid, wait a bit longer- the wax is still heating up.
• Turn on wax injector, let it heat up.
• Make sure that the temperature dial is pointing to the black band.
• Check that air hose is connected.
• To connect air hose:
• Pull down on brass collet.
• Push end of hose up against fitting on injector.
• Release the collet.
• If the hose is on properly, releasing the collet will lock it in place.
• If it is not on properly, it will detach immediately. Repeat above steps and push harder when fitting onto injector.
• Once indicator light is not constantly on, the wax should be molten. Adjust the pressure to be between 5-10psi.
• Adjust the pressure by twisting knob to the right for more pressure.
• If the pressure is too high, twist knob to the left, then pull up on brass ring on the top of the injector. The ring releases and resets the pressure inside the injector.
• Make sure dish/non-stick foil is under wax injector spout.
• Place aluminum plates on top and bottom of mold.
• Have mold opening just at or slightly beyond edge of plates.
• Hold plates and mold tightly.
• Press against injector nozzle.
• Pull away.
• This injector works very quickly. You do not need to hold the mold against the nozzle- it takes less than a second to inject.
• The wax is hot! It is molten at approx. 165 degrees. Please be careful!
• Let mold cool approx. 30sec-1min. The mold should be cool to the touch, and the button of wax at the end of the mold should be opaque.
• Open up and gently pull out wax.
• Repeat.
• If you are the last one here- make sure to turn injector off!!!
Opening and Closing the Wax Injector:
• Disconnect the air hose, and release the pressure in the injector.
• Using the welding gloves, loosen the 2 top screws.
• Push the lid back.
• Close be returning lid to original position.
• Tighten screws.
• Reconnect the air hose. The pressure will automatically reset once the hose is connected.
Troubleshooting:
• My mold isn’t filling completely: Hold mold against injector a bit longer. Make sure you are holding the mold straight, not tilted up or down.
• My wax is sticking to the mold: Brush a light coat of talc on both sides of mold, making sure to get into all crevices. Or spray Mold Release on both sides of mold. Do not aim mold release up or at another person. Do not use near flame or hot objects. Use your face mask with mold release spray as it is an aerosol.
• The wax is going everywhere: Hold mold tighter between plates. Press against nozzle for less time.
• The injector is making a spluttering noise when I inject a wax: Open the top lid and check the wax. If the level seems low (less than ½ full) add more wax. If you see a solid chunk of wax upon opening the lid, wait a bit longer- the wax is still heating up.
Wednesday, February 19, 2014
Lesson: Mold Making
Lesson 2: Mold Making
Mold Overview
Molds can be used to create multiple casting of one original piece. There are several types of molds. Most industry made jewelry molds are vulcanized rubber molds. Rubber is put under both heat and pressure until it hardens, yet retains its flexibility. This process helps increase the life of the mold. Vulcanized rubber molds last a long time. However, these molds are unsuitable for molding anything that cannot take heat or pressure.
For molding items that are heat or pressure sensitive, RTV (room temperature vulcanizing) molds are the best option. RTV molds can be either silicone or polyurethane plastic. Depending on the mold material, these also have a long life, and require less equipment to produce. Alginate and brushable latex can also be used to create molds.
Standard molds are comprised of 2 halves. The halves fit into each other snugly with out movement. Brass “buttons” can be used to register the halves, or tabs cut into the mold. These are called “closed” or 2-part molds.
Depending on the original, you can also make an “open” or 1 part mold. These molds are easier to produce since they don’t require cutting or separating the mold, but can only be used on pieces that doesn’t have a lot of undercutting.
In order to create multiples of a piece, the mold is injected with molten wax, creating a wax version of the piece. Multiple waxes are created, and then each wax is cast.
A wax injector is used to shoot the wax into the mold. Simply pouring the wax into the mold will not get a full impression of the piece. The wax cools too quickly for that. By using compressed air to get force behind the wax as it comes out of the injector, you can be assured of complete waxes.
Open molds can be filled by pouring wax into them.
Both molds can be used for casting other materials than wax.
RTV Molds:
• Read the instructions for the compounds. RTV Molds are usually comprised of a Part A and a Part B (activator or catalyst). You need to check to see whether the molds need to be vacuumed during mixing and what the mixing ratio is.
• Make sure that your mold frame is clean, and spray with mold release.
• If making an injector mold, attach sprue and funnel to original.
• Spray original with mold release.
• Arrange original in the mold frame. Check that orginal is placed so that it is only touching the frame at the designated opening.
• Mix mold compound. Wear gloves. Measure very carefully and stir completely and thoroughly.
• Pour compound smoothly, slowly, and evenly into frame.
• Let mold cure.
• Once cured, remove mold from frame. Thin flexible spatulas can assist in this.
• If a 2 part mold, separate and cut apart.
• Trim any excess from the mold.
• Your RTV mold is ready to use!
Mold Overview
Molds can be used to create multiple casting of one original piece. There are several types of molds. Most industry made jewelry molds are vulcanized rubber molds. Rubber is put under both heat and pressure until it hardens, yet retains its flexibility. This process helps increase the life of the mold. Vulcanized rubber molds last a long time. However, these molds are unsuitable for molding anything that cannot take heat or pressure.
For molding items that are heat or pressure sensitive, RTV (room temperature vulcanizing) molds are the best option. RTV molds can be either silicone or polyurethane plastic. Depending on the mold material, these also have a long life, and require less equipment to produce. Alginate and brushable latex can also be used to create molds.
Standard molds are comprised of 2 halves. The halves fit into each other snugly with out movement. Brass “buttons” can be used to register the halves, or tabs cut into the mold. These are called “closed” or 2-part molds.
Depending on the original, you can also make an “open” or 1 part mold. These molds are easier to produce since they don’t require cutting or separating the mold, but can only be used on pieces that doesn’t have a lot of undercutting.
In order to create multiples of a piece, the mold is injected with molten wax, creating a wax version of the piece. Multiple waxes are created, and then each wax is cast.
A wax injector is used to shoot the wax into the mold. Simply pouring the wax into the mold will not get a full impression of the piece. The wax cools too quickly for that. By using compressed air to get force behind the wax as it comes out of the injector, you can be assured of complete waxes.
Open molds can be filled by pouring wax into them.
Both molds can be used for casting other materials than wax.
RTV Molds:
• Read the instructions for the compounds. RTV Molds are usually comprised of a Part A and a Part B (activator or catalyst). You need to check to see whether the molds need to be vacuumed during mixing and what the mixing ratio is.
• Make sure that your mold frame is clean, and spray with mold release.
• If making an injector mold, attach sprue and funnel to original.
• Spray original with mold release.
• Arrange original in the mold frame. Check that orginal is placed so that it is only touching the frame at the designated opening.
• Mix mold compound. Wear gloves. Measure very carefully and stir completely and thoroughly.
• Pour compound smoothly, slowly, and evenly into frame.
• Let mold cure.
• Once cured, remove mold from frame. Thin flexible spatulas can assist in this.
• If a 2 part mold, separate and cut apart.
• Trim any excess from the mold.
• Your RTV mold is ready to use!
Wednesday, February 12, 2014
Business: Efficiency- Less time, more money
Business 2: Efficiency-More Money, Less Work
In production, you are looking to streamline your making process. The goal is to eliminate as much down time as possible and to make the most out of each hour in the studio. Since time is money, thinking ahead and save you time, and increase your profits.
Tips:
Are there elements like jump rings, holes for stone settings, bails, or tubes for settings or hinges that you can include on your prototype and have molded, do so. Think in terms of time- it may take 2 minutes to solder a jump ring on, but 10 seconds to clip it off. In that case, have the mold made with the jump ring. Overall it saves you time.
Make sure your prototype is well finished. Any scratches or dents will be in every single piece, adding time.
Work on a task with an array of pieces. Solder a bunch of things in one session rather than going back and forth to the soldering area. Spend concentrated time on the flexshaft or with files. Get a bunch of pieces ready to patina or stone set and then do all of them at once. By working in this way, you will become more efficient at each set of tasks, reducing time.
Also, work smart and set yourself apart. What you can sell your piece for is not simply a product of the pricing formulas. You are also subject to the fancy and whims of the overall market and the perception of worth.
There are several ways that you can increase the perceived value of your work without spending a great deal of time or money.
• First of all, you can make such original designs that there isn’t anything out there like you! This is easier said than done, additionally you won’t know if you have succeeded until you get out there.
• If you are using a specialized technique or skill that is time consuming, educate your customers. Tell people through signs and in discussion. Practice a “cocktail party” version of the skill that makes the piece so great. Be able to clearly describe the technique in laymen’s terms in 30 seconds to a minute.
• Add value through additions. Gemstones/pearls are an excellent example of this. Patinas are another great example.
• Do the extra little things that you can point to. Make your own clasps, and make them distinctive. Use unusual cuts of stones. Finish the backs of pieces in a distinctive way. Pierce the walls or undersides of bezels.
• Use gold accents or bimetal instead of gold. This gives the looks of gold without the gold price.
• Stress anything unique about the piece. If you made a couple of a particular item and decided you don’t like it, it’s a limited edition!
In production, you are looking to streamline your making process. The goal is to eliminate as much down time as possible and to make the most out of each hour in the studio. Since time is money, thinking ahead and save you time, and increase your profits.
Tips:
Are there elements like jump rings, holes for stone settings, bails, or tubes for settings or hinges that you can include on your prototype and have molded, do so. Think in terms of time- it may take 2 minutes to solder a jump ring on, but 10 seconds to clip it off. In that case, have the mold made with the jump ring. Overall it saves you time.
Make sure your prototype is well finished. Any scratches or dents will be in every single piece, adding time.
Work on a task with an array of pieces. Solder a bunch of things in one session rather than going back and forth to the soldering area. Spend concentrated time on the flexshaft or with files. Get a bunch of pieces ready to patina or stone set and then do all of them at once. By working in this way, you will become more efficient at each set of tasks, reducing time.
Also, work smart and set yourself apart. What you can sell your piece for is not simply a product of the pricing formulas. You are also subject to the fancy and whims of the overall market and the perception of worth.
There are several ways that you can increase the perceived value of your work without spending a great deal of time or money.
• First of all, you can make such original designs that there isn’t anything out there like you! This is easier said than done, additionally you won’t know if you have succeeded until you get out there.
• If you are using a specialized technique or skill that is time consuming, educate your customers. Tell people through signs and in discussion. Practice a “cocktail party” version of the skill that makes the piece so great. Be able to clearly describe the technique in laymen’s terms in 30 seconds to a minute.
• Add value through additions. Gemstones/pearls are an excellent example of this. Patinas are another great example.
• Do the extra little things that you can point to. Make your own clasps, and make them distinctive. Use unusual cuts of stones. Finish the backs of pieces in a distinctive way. Pierce the walls or undersides of bezels.
• Use gold accents or bimetal instead of gold. This gives the looks of gold without the gold price.
• Stress anything unique about the piece. If you made a couple of a particular item and decided you don’t like it, it’s a limited edition!
Monday, February 3, 2014
Syllabus
Production Jewelry
Design
MICA- Jewelry Department
Spring 2014
Jenn Parnell, Instructor
Course Description
In
order to be successful in today's market, artists must also be entrepreneurs
and small-business people. This class explores the practical world of making a
living as a contemporary jeweler while gaining financial success. The focus of
this class is on the design, production, marketing and pricing of your work.
Included are techniques for: one-of-a-kind to mass production, fabrication,
consistent quality finishes, use of findings and presentation from inception to
completion. Geared to anyone interested in making a living as an artist, this
class will satisfy the needs of the novice as well as the professional. Some
jewelry making experience is helpful but not required.
Requirements
Attendance is a must. A lot of information will be covered in
class. You will be held responsible for
all materials covered.
Demonstrations will usually
be held in the beginning of class, therefore, please be on time.
Completed projects and all
technical exercises must be completed on time and turned in at the end of the
semester.
You will be responsible for
discussing your work and participating in all class discussions and critiques.
Unexcused absences will
negatively impact your grade. 3 unexcused absences is an automatic failure of
the course.
Week 1- January 28
- Introductions
- Studio Tour- introduction to the equipment, basic
safety for the machinery, shop protocol
- Discussion: Production Jewelry- what does that mean?
- Introduction of Projects
- Discussion: How to reproduce your pieces? Methods
and materials
- Lesson 1: Prototyping
- Homework: 2-3 paragraphs on where you want to go
with your jewelry and how production fits into that. Talk about your
future career goals, financial goals, and artistic goals.
- Homework: Sketches and rough maquettes for
project- steps 1 and 2 of prototyping
Week 2- February 4
- Drawings for projects due
- Discuss designs
- Business 1: Time Management
- Business 2: Efficiency- More Money, Less Work
- Homework: Refine design prototypes- step 3 of
prototyping
- Homework: Lay out line- pieces, intended price
points, thoughts on production methods and supplies needed.
Week 3- February 11
- Work time
- Lesson 2: Mold Making
- Homework: Work on final prototypes
Week 4- February 18
- Work time
- Homework: Make a mold
Week 5- February 25
- Business 3: Pricing
- Lesson 3: Earring Findings
- Lesson 4: Working with Castings- Soldering,
Cleaning, Finishing
Week 6- March 4
- Lesson 5: Commercial Stone Settings
- Lesson 6: Altering a Wax/ Injecting a Mold
- Business 4: Logo, Image, and Brand
- Homework: Create 5-10 logo ideas.
Week 7- March 11
- Discussion: What role can production play for
you?
- For outsourced casting, waxes should ship this
week.
- Lesson 7: Other Findings
- Homework: Final logo
No Class March 18
Week 8- March 25
- Work time
- Business 5: Marketing Basics
- Homework: Write a draft of your resume, artist
statement, and bio
- Homework: 5 ideas for business cards
Week 9- April 1
- Business 6: Photography
- Discussion: Variations and Expanding a Line
- Lesson 8: Working with Commercial Chains
- Last day to ship any outsourcing
Week 10- April 8
- Work time
- Lesson 9: Resizing and Reworking
- Homework: Final resume, statement, and bio.
- Homework: Final business card design
Week 11- April 15
- Work time
- Business 7: Resources
Week 12- April 22
- Work time
- Business 8: Avenues for your work
- Homework: Research avenues of interest to you and
apply to 2 opportunities.
Week 13- April 29
- Work time
Week 14- May 6
- Everything due!
- Individual Critiques
- Fill out reviews, discuss class
Wednesday, January 29, 2014
Methods and Materials to Produce your pieces
Methods and Materials of Production
Casting- outsourced
For repeatable results, the best casting method is lost wax casting. This involves a wax version of each piece you want in metal. The wax pieces are attached to a wax “tree” and encased in a very fine plaster called investment. The bottom of the tree trunk sticks out from the plaster. The wax is then melted out of the plaster leaving perfect voids of your pieces. Liquid metal is the injected into the plaster, filling the voids and giving you the metal version of your pieces.
Pros:
• Quick to make the same piece many times
• Reduces labor costs
• You can get textures and volume difficult or not possible with metal sheet and wire.
Cons:
• Hollow pieces are more difficult
• Cleaning up mold lines can be time consuming
• Pieces are soft after casting and require hardening
• Pieces thinner than 24ga. cannot be reliably cast
• Since this is outsourced, you must add in 2-3 weeks for the pieces to be cast and returned to you.
Materials:
Bronze, sterling, anti-tarnish sterling, golds, platinum
Casting- in-house
We can make our own molds and cast metal as well as plastic, resin, and rubber in house. If you have taken the casting class, you can cast in metal, otherwise you are limited to alternative materials. Molds are RTV and the best products both for casting and molds come from either Smooth-On or Polytek. Plastics and rubbers are hand mixed and poured into RTV molds, let cure, then removed and the next one poured. You are limited by the number of molds and the curing time.
Pros:
• Quick results!
• Many plastics are quick curing, allowing for quick reproduction
• Can do in the studio- no additional time
• Lightweight pieces
• Inexpensive
• Same texture and volume as casting
Cons:
• Alt Materials: Can’t solder, so cold connections or built in connections
• Hazardous materials
• Messy
• Very thin and delicate pieces are difficult to do as the only force to fill the mold is gravity
• Air holes can be an issue. There are tricks to minimize this.
• Same challenges as casting above
Materials:
Metals, Plastic, Polyurethane rubber, silicone rubber, latex rubber, epoxy
Laser cutting/ Laser etching
Using Adobe Illustrator you can create 2D line files of your pieces which can then be sent to a laser cutting service, such as Ponoko (www.ponoko.com) which will then produce the pieces in the material specified.
Pros:
• Extremely detailed and symmetric designs
• Quick to put together
• If use space well can be extremely cheap
• Unusual materials
• Can be combined with metal or other materials post-cutting
Cons:
• Computer knowledge required
• You can’t solder the pieces, so cold connections, tab and slot, and other creative connections need to be used.
• This is a very trendy technique so it can be hard to set yourself apart
• Need to build in extra time for cutting and shipping
Materials:
felt, acrylic, thin metal, wood veneer, bamboo, cardboard
Waterjet cutting
Similar to laser cutting, but a wider array of materials are available to work with as the water doesn’t get hot.
Pros and Cons same as Laser cutting
Materials:
same as laser cutting plus leather, rubber, fabric, paper, silicone, etc.
RP (Rapid Prototyping)
RP is a 3D print from a computer file of your piece. There are several 3D modeling programs- Sketchup, Rhino, Solidworks- that you can use. These programs produce files which you can send to a RP service such as Shapeways (www.shapeways.com) and have them printed. There are several types of RP, with differing levels of detail and materials.
Pros:
• Excellent way to get very intricate and difficult 3D forms
• Computer knowledge is an absolute must
• Can be used to make molds for casting as well
Cons:
• Can be expensive
• Programs have varying degree of difficulty to learn
• Clean up still likely needed on pieces
Materials:
plaster, plastics, metal
Casting- outsourced
For repeatable results, the best casting method is lost wax casting. This involves a wax version of each piece you want in metal. The wax pieces are attached to a wax “tree” and encased in a very fine plaster called investment. The bottom of the tree trunk sticks out from the plaster. The wax is then melted out of the plaster leaving perfect voids of your pieces. Liquid metal is the injected into the plaster, filling the voids and giving you the metal version of your pieces.
Pros:
• Quick to make the same piece many times
• Reduces labor costs
• You can get textures and volume difficult or not possible with metal sheet and wire.
Cons:
• Hollow pieces are more difficult
• Cleaning up mold lines can be time consuming
• Pieces are soft after casting and require hardening
• Pieces thinner than 24ga. cannot be reliably cast
• Since this is outsourced, you must add in 2-3 weeks for the pieces to be cast and returned to you.
Materials:
Bronze, sterling, anti-tarnish sterling, golds, platinum
Casting- in-house
We can make our own molds and cast metal as well as plastic, resin, and rubber in house. If you have taken the casting class, you can cast in metal, otherwise you are limited to alternative materials. Molds are RTV and the best products both for casting and molds come from either Smooth-On or Polytek. Plastics and rubbers are hand mixed and poured into RTV molds, let cure, then removed and the next one poured. You are limited by the number of molds and the curing time.
Pros:
• Quick results!
• Many plastics are quick curing, allowing for quick reproduction
• Can do in the studio- no additional time
• Lightweight pieces
• Inexpensive
• Same texture and volume as casting
Cons:
• Alt Materials: Can’t solder, so cold connections or built in connections
• Hazardous materials
• Messy
• Very thin and delicate pieces are difficult to do as the only force to fill the mold is gravity
• Air holes can be an issue. There are tricks to minimize this.
• Same challenges as casting above
Materials:
Metals, Plastic, Polyurethane rubber, silicone rubber, latex rubber, epoxy
Laser cutting/ Laser etching
Using Adobe Illustrator you can create 2D line files of your pieces which can then be sent to a laser cutting service, such as Ponoko (www.ponoko.com) which will then produce the pieces in the material specified.
Pros:
• Extremely detailed and symmetric designs
• Quick to put together
• If use space well can be extremely cheap
• Unusual materials
• Can be combined with metal or other materials post-cutting
Cons:
• Computer knowledge required
• You can’t solder the pieces, so cold connections, tab and slot, and other creative connections need to be used.
• This is a very trendy technique so it can be hard to set yourself apart
• Need to build in extra time for cutting and shipping
Materials:
felt, acrylic, thin metal, wood veneer, bamboo, cardboard
Waterjet cutting
Similar to laser cutting, but a wider array of materials are available to work with as the water doesn’t get hot.
Pros and Cons same as Laser cutting
Materials:
same as laser cutting plus leather, rubber, fabric, paper, silicone, etc.
RP (Rapid Prototyping)
RP is a 3D print from a computer file of your piece. There are several 3D modeling programs- Sketchup, Rhino, Solidworks- that you can use. These programs produce files which you can send to a RP service such as Shapeways (www.shapeways.com) and have them printed. There are several types of RP, with differing levels of detail and materials.
Pros:
• Excellent way to get very intricate and difficult 3D forms
• Computer knowledge is an absolute must
• Can be used to make molds for casting as well
Cons:
• Can be expensive
• Programs have varying degree of difficulty to learn
• Clean up still likely needed on pieces
Materials:
plaster, plastics, metal
What is Production Jewelry
What is Production Jewelry?
Production Jewelry for the purposes of this class is defined as jewelry made in multiples with the intent it be for sale. There are many levels of production from the stamped out diamond solitaire earrings at Zales up to hand fabricated works of art. The goal of this class is to introduce you to some of the techniques used to create multiples of the same piece in an efficient and professional manner.
Some of the things to consider while thinking about creating production jewelry:
Who is my clientele?
What is my market?
What are my goals- personal and business?
The art jewelry market can be roughly stratified into 4 areas:
High End: usually starting at $2500 +; platinum, high karat golds, precious stones, collectors are important part of business, almost all one-of-a-kind pieces
Upper End: usually starting at $750 +; some platinum, mostly gold, semi and precious stones; can be one-of-a-kind, limited production, or production with fine materials
Mid Range: usually starting at $100 +; silver, some gold; mostly semi precious stones; limited production with finer materials, or production
Low End: usually starting at $10 +; silver, copper or white metal, crystals, beads, some pearls. This usually falls into Costume jewelry designation. Impulse buyers are and important part of business, almost exclusively large scale production
The Vocabulary:
One-of-a-Kind: A piece that is made by hand once. It may be part of a series, but it is not produced in multiples. This is the type of piece you have been creating. The cost of such a piece is usually high due to the time spent making it. This type of piece is also attractive to serious jewelry connoisseurs and collectors, as it is unique.
Limited Production: A piece made in multiple for a set amount of time or pieces (i.e. spring 2007 or 50 pieces). These pieces use the production techniques but may be either too intricate or time-consuming to make all the time.
Production: Pieces made in multiple with time saving techniques. These pieces have a variety of prices depending on the materials used and are available to consumers on an ongoing basis.
Lines: A “line” of jewelry is at the core of all production work. Whether it is a look, specific technique, or a one-of-a-kind piece that starts you off, the line is a series of pieces that are all related to each other. A typical line will include: 2 pair of earrings- 1 hanging, 1 post; 1 ring; 1 bracelet; a necklace. Other items to consider are: cufflinks, brooches.
Findings: Findings refer to items non integral to the designing that are commonly purchased or are readily available for sale. These items commonly include stone settings, ear wires and posts, ear nuts, pin backs, chains, clasps, etc. While there may be purchased, for most of these items, making your own is just a cost effective and brings more personality to your work.
White Metal: This is a blend of non-precious metals that is used in casting inexpensive mass produced jewelry. It is difficult to work with, and aggravates allergies in people with metal sensitivities. It is usually plated to give a better appearance.
Precious Gems: Used in referring to diamonds, sapphires, rubies, and emeralds.
Semi-Precious Gems: Covers just about everything else- garnet, amethyst, aquamarine, tanzanite, iolite, peridot, etc.
Karat: The karat is the pureness of a gold alloy. Pure gold is 24 parts pure gold. 18k gold is 18 parts pure gold and 6 parts alloying metals. The higher the karat the richer the gold color is, and the softer the metal.
Carat: Carat is the unit of measurement for weighing gemstones. Carat weight is determined by the physical weight of the gemstone. Some stones are heavier than others, so the same size of stone will weigh different carat amounts over the different stones. Knowing the carat weight is important as this is how price is calculated.
Production Jewelry for the purposes of this class is defined as jewelry made in multiples with the intent it be for sale. There are many levels of production from the stamped out diamond solitaire earrings at Zales up to hand fabricated works of art. The goal of this class is to introduce you to some of the techniques used to create multiples of the same piece in an efficient and professional manner.
Some of the things to consider while thinking about creating production jewelry:
Who is my clientele?
What is my market?
What are my goals- personal and business?
The art jewelry market can be roughly stratified into 4 areas:
High End: usually starting at $2500 +; platinum, high karat golds, precious stones, collectors are important part of business, almost all one-of-a-kind pieces
Upper End: usually starting at $750 +; some platinum, mostly gold, semi and precious stones; can be one-of-a-kind, limited production, or production with fine materials
Mid Range: usually starting at $100 +; silver, some gold; mostly semi precious stones; limited production with finer materials, or production
Low End: usually starting at $10 +; silver, copper or white metal, crystals, beads, some pearls. This usually falls into Costume jewelry designation. Impulse buyers are and important part of business, almost exclusively large scale production
The Vocabulary:
One-of-a-Kind: A piece that is made by hand once. It may be part of a series, but it is not produced in multiples. This is the type of piece you have been creating. The cost of such a piece is usually high due to the time spent making it. This type of piece is also attractive to serious jewelry connoisseurs and collectors, as it is unique.
Limited Production: A piece made in multiple for a set amount of time or pieces (i.e. spring 2007 or 50 pieces). These pieces use the production techniques but may be either too intricate or time-consuming to make all the time.
Production: Pieces made in multiple with time saving techniques. These pieces have a variety of prices depending on the materials used and are available to consumers on an ongoing basis.
Lines: A “line” of jewelry is at the core of all production work. Whether it is a look, specific technique, or a one-of-a-kind piece that starts you off, the line is a series of pieces that are all related to each other. A typical line will include: 2 pair of earrings- 1 hanging, 1 post; 1 ring; 1 bracelet; a necklace. Other items to consider are: cufflinks, brooches.
Findings: Findings refer to items non integral to the designing that are commonly purchased or are readily available for sale. These items commonly include stone settings, ear wires and posts, ear nuts, pin backs, chains, clasps, etc. While there may be purchased, for most of these items, making your own is just a cost effective and brings more personality to your work.
White Metal: This is a blend of non-precious metals that is used in casting inexpensive mass produced jewelry. It is difficult to work with, and aggravates allergies in people with metal sensitivities. It is usually plated to give a better appearance.
Precious Gems: Used in referring to diamonds, sapphires, rubies, and emeralds.
Semi-Precious Gems: Covers just about everything else- garnet, amethyst, aquamarine, tanzanite, iolite, peridot, etc.
Karat: The karat is the pureness of a gold alloy. Pure gold is 24 parts pure gold. 18k gold is 18 parts pure gold and 6 parts alloying metals. The higher the karat the richer the gold color is, and the softer the metal.
Carat: Carat is the unit of measurement for weighing gemstones. Carat weight is determined by the physical weight of the gemstone. Some stones are heavier than others, so the same size of stone will weigh different carat amounts over the different stones. Knowing the carat weight is important as this is how price is calculated.
Project
Projects:
For this class you will design and make a line of jewelry. Each of the pieces should relate to a central design theme. The theme can be a new idea, or based off of a piece you have made previously, it can be a formal element or a concept. The pieces should be clearly related to the theme and to each other. A basic line of jewelry includes: ring, earrings, bracelet, necklace/pendant, and brooch. Many lines have multiple styles of rings, earrings, bracelets, and pendants as well.
Your line must include: a pendant or brooch, a ring, and 1 pair of earrings.
You line must also include 2 selections from below, bringing the total number of pieces in your line to 5.
Options: bracelet- linked, bracelet- cuff, necklace- linked, cufflinks, pendant (if picked brooch above), brooch (if picked pendant above), another pair of earrings, another ring
For next class:
Do 15 sketches for main pieces- the piece that the line is created off of. Use this piece to identify what the central theme or concept of your line will be. Don’t try to focus too narrowly on any piece or theme. Sketch what comes to mind, and organize them later.
Make rough maquettes of the top 3-5 ideas.
Expand on the top 3 ideas and sketch 5 ideas for each piece in your line. Pieces should not all be smaller and larger versions of the same thing… play around!
• Start noting what materials you might want to use and what embellishments such as stones or patinas you might want to employ.
• Bring in any pieces that you have made in proper classes that you are interested in using as a base for production pieces.
Things to consider when designing:
• Fit and comfort! Light earrings are more comfortable than heavy ones. Earrings should weigh less than 11g as a pair.
• A slightly curved inside on a ring shank is much more comfortable than a straight one. (referred to as Comfy fit or EZ fit)
• People invariably have every size finger under the sun. Magazines and books say that the most common size for a woman is 6-6.5: this is for engagement rings. I have found that a lot of women fall into the 7-8.5 size range as well.
• A lot of customers look for rings to fit on finger other than just the ring finger.
• How easy is your ring design to resize after it is finished? How easy is it going to be for you to make different sizes during the process? Rings that have a shank and top are much easier to resize and adjust during the process than band style rings where the pattern goes all the way around.
• Common chain lengths are 16”, 18”, and 24”. I have found that 17” is a great length on just about everyone. This means I make my own clasps, but I seldom have to vary the length!
• Think about making your pieces versatile and open to variations.
• The two most common ways to have the same piece of jewelry look different are material and color. Metals can include bronze, silver, bimetal, different color and karat gold, platinum. Alternative materials can make a piece look completely different. Color can either be in the form of gemstones, enamel, resins, or patinas.
• You can also use an element in multiple pieces of jewelry. Top of a ring becomes an earring; a pendant becomes a brooch or the top of a cuff bracelet.
For this class you will design and make a line of jewelry. Each of the pieces should relate to a central design theme. The theme can be a new idea, or based off of a piece you have made previously, it can be a formal element or a concept. The pieces should be clearly related to the theme and to each other. A basic line of jewelry includes: ring, earrings, bracelet, necklace/pendant, and brooch. Many lines have multiple styles of rings, earrings, bracelets, and pendants as well.
Your line must include: a pendant or brooch, a ring, and 1 pair of earrings.
You line must also include 2 selections from below, bringing the total number of pieces in your line to 5.
Options: bracelet- linked, bracelet- cuff, necklace- linked, cufflinks, pendant (if picked brooch above), brooch (if picked pendant above), another pair of earrings, another ring
For next class:
Do 15 sketches for main pieces- the piece that the line is created off of. Use this piece to identify what the central theme or concept of your line will be. Don’t try to focus too narrowly on any piece or theme. Sketch what comes to mind, and organize them later.
Make rough maquettes of the top 3-5 ideas.
Expand on the top 3 ideas and sketch 5 ideas for each piece in your line. Pieces should not all be smaller and larger versions of the same thing… play around!
• Start noting what materials you might want to use and what embellishments such as stones or patinas you might want to employ.
• Bring in any pieces that you have made in proper classes that you are interested in using as a base for production pieces.
Things to consider when designing:
• Fit and comfort! Light earrings are more comfortable than heavy ones. Earrings should weigh less than 11g as a pair.
• A slightly curved inside on a ring shank is much more comfortable than a straight one. (referred to as Comfy fit or EZ fit)
• People invariably have every size finger under the sun. Magazines and books say that the most common size for a woman is 6-6.5: this is for engagement rings. I have found that a lot of women fall into the 7-8.5 size range as well.
• A lot of customers look for rings to fit on finger other than just the ring finger.
• How easy is your ring design to resize after it is finished? How easy is it going to be for you to make different sizes during the process? Rings that have a shank and top are much easier to resize and adjust during the process than band style rings where the pattern goes all the way around.
• Common chain lengths are 16”, 18”, and 24”. I have found that 17” is a great length on just about everyone. This means I make my own clasps, but I seldom have to vary the length!
• Think about making your pieces versatile and open to variations.
• The two most common ways to have the same piece of jewelry look different are material and color. Metals can include bronze, silver, bimetal, different color and karat gold, platinum. Alternative materials can make a piece look completely different. Color can either be in the form of gemstones, enamel, resins, or patinas.
• You can also use an element in multiple pieces of jewelry. Top of a ring becomes an earring; a pendant becomes a brooch or the top of a cuff bracelet.
Lesson: Prototyping
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Benefits to prototyping:
Working out technical and wearability issues before you spend the money to get a lot of pieces made
Refining the way the piece can be put together or assembled to maximize efficienty
Good tool for brainstorming on related pieces
For prototypes:
• Begin with quick sketches.
• Narrow ideas down and make quick rough maquettes. These can be out of whatever material you like best- computer, card stock, clay, tinfoil, wax, etc.
• Narrow down again, and make more detailed maquettes. These should be refined enough to be able to test balance, weight, wearability. Metal, plastic, wax, computer are all good materials.
• Finalize details, make changes, and create the final moldable piece.
Things to consider when making your prototypes:
• Do not make your prototype thinner than 20ga.
• You can solder on any jump rings, or tubing for connections, bails, etc. You can also solder on posts for pearls and settings for gemstones to your prototype before having it molded. This way all of those items are there in the piece already. This is best for anything that you would be soldering on repeatedly anyways. If you aren’t sure if you want to have the same size stone on every piece, don’t solder the setting to the prototype.
• If you think you will be using the same clasp or end caps a lot, get molds of them also.
• If the piece is hollow, it will cast solid.
• In order for it to remain hollow, cut the piece in half. The mold will contain each half. You can either put them together after injecting the mold or solder the halves together after they are cast.
• Mold-making will decrease the thickness of the metal, as well as the overall size of the piece slightly. The exact shrinkage depends on your piece.
• If you want the final castings to be 20 ga., make your prototype from 18ga., and so on.
• If your prototype will have jump rings or other connective elements (tubing for hinges, bails) make them a bit thicker than you otherwise would.
• If you will be soldering links or clasps connecting t a cast jump ring, make sure to twist your jump rings slightly so that when they are molded and cast, they are in an open position.
• If you are casting bezels or prongs, make the setting slightly larger or thicker than you would. A thicker bezel or prong gives you more versatility in fitting the stone since you can remove material from either the inside or outside to have it fit the stone. For a 4mm bezel, I’d recommend making it 4.1mm and out of 22ga instead of 24-26ga.
• Finish the piece as best you can. If you want a polished finish, polish the prototype. While the cast pieces will not come back polished, this tremendously cuts down on the amount of cleaning up.
• Make any textures stronger than you want them as some texture will be lost in the injecting process.
• If making a ring, pick a middle size: 7-8, so you can size up or down.
• Is there anything about your pieces that will be easier to fabricate after you do the castings? If so do, then do them. Casting is not an all-purpose short cut.
• Things that are better to do after casting: ear wires, ear posts, pin backs, most findings, anything that is either precision, or will need a lot of tension. The metal pieces returned from casting are dead soft. It is usually more time consuming to clean them up then harden as opposed to soldering them on later.
• If you want 2 different metals in a piece, you must cast the metals separately and then solder or rivet together later.
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Lesson 1: Prototyping
The first step in production is prototyping. Prototyping can be done in a variety of materials. The end result of this process is a test piece- one that you can mold to begin your production.
Benefits to prototyping:
Working out technical and wearability issues before you spend the money to get a lot of pieces made
Refining the way the piece can be put together or assembled to maximize efficienty
Good tool for brainstorming on related pieces
For prototypes:
• Begin with quick sketches.
• Narrow ideas down and make quick rough maquettes. These can be out of whatever material you like best- computer, card stock, clay, tinfoil, wax, etc.
• Narrow down again, and make more detailed maquettes. These should be refined enough to be able to test balance, weight, wearability. Metal, plastic, wax, computer are all good materials.
• Finalize details, make changes, and create the final moldable piece.
Things to consider when making your prototypes:
• Do not make your prototype thinner than 20ga.
• You can solder on any jump rings, or tubing for connections, bails, etc. You can also solder on posts for pearls and settings for gemstones to your prototype before having it molded. This way all of those items are there in the piece already. This is best for anything that you would be soldering on repeatedly anyways. If you aren’t sure if you want to have the same size stone on every piece, don’t solder the setting to the prototype.
• If you think you will be using the same clasp or end caps a lot, get molds of them also.
• If the piece is hollow, it will cast solid.
• In order for it to remain hollow, cut the piece in half. The mold will contain each half. You can either put them together after injecting the mold or solder the halves together after they are cast.
• Mold-making will decrease the thickness of the metal, as well as the overall size of the piece slightly. The exact shrinkage depends on your piece.
• If you want the final castings to be 20 ga., make your prototype from 18ga., and so on.
• If your prototype will have jump rings or other connective elements (tubing for hinges, bails) make them a bit thicker than you otherwise would.
• If you will be soldering links or clasps connecting t a cast jump ring, make sure to twist your jump rings slightly so that when they are molded and cast, they are in an open position.
• If you are casting bezels or prongs, make the setting slightly larger or thicker than you would. A thicker bezel or prong gives you more versatility in fitting the stone since you can remove material from either the inside or outside to have it fit the stone. For a 4mm bezel, I’d recommend making it 4.1mm and out of 22ga instead of 24-26ga.
• Finish the piece as best you can. If you want a polished finish, polish the prototype. While the cast pieces will not come back polished, this tremendously cuts down on the amount of cleaning up.
• Make any textures stronger than you want them as some texture will be lost in the injecting process.
• If making a ring, pick a middle size: 7-8, so you can size up or down.
• Is there anything about your pieces that will be easier to fabricate after you do the castings? If so do, then do them. Casting is not an all-purpose short cut.
• Things that are better to do after casting: ear wires, ear posts, pin backs, most findings, anything that is either precision, or will need a lot of tension. The metal pieces returned from casting are dead soft. It is usually more time consuming to clean them up then harden as opposed to soldering them on later.
• If you want 2 different metals in a piece, you must cast the metals separately and then solder or rivet together later.
Syllabus
Production Jewelry
Design
MICA- Jewelry Department
Spring 2014
Jenn Parnell, Instructor
Course Description
In
order to be successful in today's market, artists must also be entrepreneurs
and small-business people. This class explores the practical world of making a
living as a contemporary jeweler while gaining financial success. The focus of
this class is on the design, production, marketing and pricing of your work.
Included are techniques for: one-of-a-kind to mass production, fabrication,
consistent quality finishes, use of findings and presentation from inception to
completion. Geared to anyone interested in making a living as an artist, this
class will satisfy the needs of the novice as well as the professional. Some
jewelry making experience is helpful but not required.
Requirements
Attendance is a must. A lot of information will be covered in
class. You will be held responsible for
all materials covered.
Demonstrations will usually
be held in the beginning of class, therefore, please be on time.
Completed projects and all
technical exercises must be completed on time and turned in at the end of the
semester.
You will be responsible for
discussing your work and participating in all class discussions and critiques.
Unexcused absences will
negatively impact your grade. 3 unexcused absences is an automatic failure of
the course.
Week 1- January 28
- Introductions
- Studio Tour- introduction to the equipment, basic
safety for the machinery, shop protocol
- Discussion: Production Jewelry- what does that mean?
- Introduction of Projects
- Discussion: How to reproduce your pieces? Methods
and materials
- Lesson 1: Prototyping
- Homework: 2-3 paragraphs on where you want to go
with your jewelry and how production fits into that. Talk about your
future career goals, financial goals, and artistic goals.
- Homework: Sketches and rough maquettes for
project- steps 1 and 2 of prototyping
Week 2- February 4
- Drawings for projects due
- Discuss designs
- Business 1: Time Management
- Business 2: Efficiency- More Money, Less Work
- Homework: Refine design prototypes- step 3 of
prototyping
- Homework: Lay out line- pieces, intended price
points, thoughts on production methods and supplies needed.
Week 3- February 11
- Work time
- Lesson 2: Mold Making
- Homework: Work on final prototypes
Week 4- February 18
- Work time
- Homework: Make a mold
Week 5- February 25
- Business 3: Pricing
- Lesson 3: Earring Findings
- Lesson 4: Working with Castings- Soldering,
Cleaning, Finishing
Week 6- March 4
- Lesson 5: Commercial Stone Settings
- Lesson 6: Altering a Wax/ Injecting a Mold
- Business 4: Logo, Image, and Brand
- Homework: Create 5-10 logo ideas.
Week 7- March 11
- Discussion: What role can production play for
you?
- For outsourced casting, waxes should ship this
week.
- Lesson 7: Other Findings
- Homework: Final logo
No Class March 18
Week 8- March 25
- Work time
- Business 5: Marketing Basics
- Homework: Write a draft of your resume, artist
statement, and bio
- Homework: 5 ideas for business cards
Week 9- April 1
- Business 6: Photography
- Discussion: Variations and Expanding a Line
- Lesson 8: Working with Commercial Chains
- Last day to ship any outsourcing
Week 10- April 8
- Work time
- Lesson 9: Resizing and Reworking
- Homework: Final resume, statement, and bio.
- Homework: Final business card design
Week 11- April 15
- Work time
- Business 7: Resources
Week 12- April 22
- Work time
- Business 8: Avenues for your work
- Homework: Research avenues of interest to you and
apply to 2 opportunities.
Week 13- April 29
- Work time
Week 14- May 6
- Everything due!
- Individual Critiques
- Fill out reviews, discuss class
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