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  • (Cynthia Deis) Beading With Filigree Beautiful Je (BookFi)

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    [Cynthia Deis] Beading With Filigree Beautiful Je(BookFi)

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    [Cynthia Deis] Beading With Filigree Beautiful Je(BookFi)

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    7 vues123 pages

    (Cynthia Deis) Beading With Filigree Beautiful Je (BookFi)

    Transféré par

    jen
    [Cynthia Deis] Beading With Filigree Beautiful Je(BookFi)

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    Senior Editor Valerie Van Arsdale Shrader Art Director Stacey Budge Cover Designer Cindy LaBreacht Production Editor Austrator Jaime Allene Photographer Stewart O'Shields Author Photo. Kurt Schlatzer Library of Gongress Cataloging-in- Publication Data ‘Beading wih filigree = beni jewelry, Deis, = tated pen Includes index, ISBN-13: 978-1-60039-187-7 (hesple with jacke = lk. paper) ISBN-L0* 1-60138-187-6 (heeple wih packet: alk. paper) 1, Jewelry making. 2. Beadwork. 4. Wirecrali-. Fligree. 1. Tt, ri12.Da45 2008 TTR? ple techniques / Cynthia 2007048728 wosvesaae1 se ttiion Published by Lark Books, A Division of Sterling Pablishing Co, Line. 8387 Park Avenue South, New York, NY 10016 Text © 2008, Cynthia Des Photography © 2008, Lark Books Ilustratiens © 2008, Lark Books Distributed in Ganda by Sterling Publishing: Canadian Manda Group, 165 Dufferin Street Toronto, Ontario, Canada MOK 9H6 Distribused inthe United Kingdom by GME Distibution Services, CCasle Pace, 166 High Sireet, Lewes, Kat Suse, Eng BN7 XU Distributed in Australia by Capricorn Link (Australia) Pry Lt PO, Box 704, Windsor: NSW 2756 Australia "The written instructions, photographs, designs, patterns, and projects in this ve are intended for the personal se ofthe reader andl may be reproduced {or tia purpose only. Any other use, especially commercial we, lorbilen under la without writen permission of the copyright holder ery efor has been sae up ensure that all the information in this hook secure. However, due to difering conditions ols, and individ skis he ‘publisher cannot be responsible for any injuries, losses, and over damages that may tesul from the axe ofthe information in this bh I you have questions or comments aout this book, please contact Lark Books 87 Broadway Astesille, NE 28801 828-289.0867 Mamufaesved in ‘il rights reserved SBN 13: 978-1-600504187-7 For information about custom editions, special sles, and premium andl corporate purchases, please contact Sterling Special Sales Department at 800-805-5480 or speciakales@steringpub cou, Introduction Basics Filigree Primer....... Sea alse cee 8 Getting Started .........0.0..0005 12 Materials. 2 Tools wie 20 Workspace oes wl Basic Techniques .......... 005054422 Wire Looping Bi asteau rh Ole, sD Opening and Closing Rings 225 Sewing Beads to Filigree 26 Knotting. Crimping 23 Forming Filigree 2s Changing Metal Finshes.......0.ececeeseees+ 0 The Projects Red Lantern ......6.seecccseeeseeseeeeseee eM Pavlova ‘ es Barcelona... 3 39 Pearl Pointe..........+ Se umareeaerst eae Flora 4 Trillium 46 Dinner at Eight... er 48 Whirlwind... . ss cece BO Coral Blossom 53 Byzantine . 57 Lisbon = 60 Stans Giser pe anevada tena ooeaisB Parisienne 65 Snowllake 68 Lucille a ‘Twinkling Leaf 74 Blossoms... 76 Elizabeth .. 78 Joie de Vivre 82 Louise. ot Paisley 86 Queen Anne's Laces... Letiaeoscen at Coral Fringe 93 Violet... PR inn ae Catena 98 Lotus 101 Florentine Lace. ceceeees o]O4 Verdi lee edger gas pce wee TOR Camille oe : seoeagave 108 Eleanor as 112 Venice Jade 15 Golden Shimmer . . ra sees sH18 Helen wi : eel: Acknowledgments...........++++127 Index remember a beaded filigree hair comb that sat ina jewelry ox in my Aunt Judy's house. She was glamorous and nerous, her baubles weren't roo precious to couch, and be silver comb had a bie of beading along the rim. It’s my Best memory of filigree. Iwas enthralled with the curled lace, wishing my sparse hair could hold thac comb. I gor older, I saw in books and old-fastioné magazines bat filigree had been popular fora very long time. ‘The andl forms from various eras were somewhat similar but differenc combinations of beads or finish resulted in a completely changed look. -noticed filigree agtin and again in antique shops and sy flea markers. I collected broken bits, combining them c9 make jewelry that mixed vintage and new element, “Bar didn' think of curning my obsession with sparkle into {business until 1996, Ac the time, I created displays ata “loching bouique, and eventually worked up the courage to pproach he buyer about earrying my jewelry. She agreed ine.” I didn’c have one, really —jusea dozen an old velveteen box. I hoped to trade “them for the shoes Thad placed on lay-away. I showed up ‘fr our appointment with nothing but my designs. The syer patiently gave me paper and pen to take her onder, I vvalked home elated, with my first commission! started showing my samples ac other boutiques, and “continued to poke around antique stores, occasionally ‘coming across a container of unused filigree dangles or “fosettes. One weathered, illegible box bore the name of a Gligrce manufacturer. Imagine my joy when I discovered “ie was still in business! The company directed me to many. places chat supplied filigeee, and when the catalogs arrived, "Twas delirious at the variety of shapes Id never seen before, “and many I recognized, too. My jewelry collection became ‘a real line, which I began selling to department stores and ‘catalog companies a far away as Japan and France, This book refleets pieces | created for my jewelry line, Bedizen Ornaments, and designs that re-creace antique pieces from my collection. While some projects may seem trendy or new to you, they're really old favorites. Golden Shimmer (page 118) is very similar to pieces that adomed the necks of Art Nouveau beauties almast a hundred years ago, and Helen (chown at lefe and on page 121) could have been worn by a chic Park Avenue socialite in the 1950s. ‘Over time, filigree has remained consistently fashionable and consistently feminine. Changes in beads or metal finish allow che versatile shapes and timeless motifs to be “on trend” every season. In case youre curious about this beautifil material, 1 describe it in the Filigree Primer. I then tell you about all the other mat ils and tools you'll need in a section called Setting Started; if you've made jewelry before, you're likely to have many of chese items on hand. My construction methods are explained in the Basic Techniques section, Jes best co familiarize yourself with these processes before ‘making any of che 33 projeccs tha follow. Although I've designed most of the projects in this book specifically for che beads and filigree pieces listed in the inseruetions, you may want to make substitutions, and should feel free to do so. The Susan brooch (page 62) fr Pearl Poin ring (page 42), for example, would look entitely different with changes in beads or filigree shapes, and the Paisley necklace (page 86) would be the perfect home for a family photo oF stone cabochon. Don't hesitate wo experiment with the projects in this bool: to make them your own, Play around with the differene ways of bending and beading filigree. Youll see that you, too, ean create trendy yet enduring designs from a dassic maverial chat has ahvays proven to be of the moment. Introduction 7 8 Filigree Primer Filigree Primer Think of your favorite lace, maybe the cuff ofa blouse or the trim on a wedding dress. Now imagine those delicate ‘svists and intricate swirls cranslared into wie. ‘The appeal of fligre lies in char contrast—the juxtaposition of dainty lace shapes wrought in tough, durable meral. What Is Filigree? jgree is as old as metalworking itself. In the hot deserts of ancient Egyprand Mesoporamia, for example, artisans ‘worked with simple tools and fires stoked to tremendous heat by slaves to create filigree pieces of amazing intricacy. Drawing thin, even wire down from a sttip of hand- ‘wrought metal cook days, as the craftsmen carefully pulled and heated the meral repeatedly. Each pull stretched the length and thined the metal, and hammering rounded the Wire unl che artisan was tewarded with a fine metallic fla- ment. The wire could then be braided, twisted, or looped tw form a sort of lace, one far more durable than any made of linen or coxton fiber. (In later forms of filigree, che wires ‘were fused with silver dust, making them even stronget.) This work decorated the heads and necks of just the ruling classes, since only dhe wealthy could afford to wear an item that took weeks of skilled labor to produce Filigree exists in some form in all human civilizations that have worked metal Most often made of silver (although some cultures used gold), the arti- facts of Asia, che Middle East, South America, Afiica, and Europe include diverse items decsrated with filigree: figurines, belts, reliquaries,einy purses, The back of a vintage button spoon handles—and of course, all sors ‘of adornments, from clasps and buttons to headpieces and jewelry. The tradition persists to this day around che world. Hand-wrought pieces continue to be intensely laborious, requiring days to make even with machine-made wire, gas torches, and electric tools for coiling and looping. mide" 960: Mongolia hhow did we get from the handmade to machine-stamped figree? We can thank the wives of Parisian doctors and ondon stackbrokers. In the bustling days of the extly dustrial revolution, the emerging merchant and middle clamored for the finer things once reserved for nobil- = The introduction of mechanized means of production sade this possible, Fine adornments, once reserved for the csidents of the palace and the chaceau, were copied and produced by stamping out lacy bits of filigree from solid Sheets of metal “The process was relatively simple. A block of ion, ‘elle! a die, was carved with a parrern of curves and -arabesques: placed in a press, the die punched out the ‘acgative shapes ofthe filigree from a thin sheet of metal Today's powerful, mechanized presses make a loud ‘hunk and whoosh as they stamp out the metal, but in ‘he French workshop of the late 1700s, the machine ‘would have been hand cranked by a young apprentice ‘oF two, grunting and exerting themselves migh ‘Since its invention, stamped filigree has been used widely in ‘costume and production jewelry. Look carefully at Vicro- sian portraits and you'll spor stamped filigree beaded with ‘complex patterns of jet beads. Under their bobbed hair, fappers sported dangly earrings with sparkling filigree bead ‘caps. Pearl-accented filigree adorned the necks'of the torch singers of the 1930s and 1940s, and the beaded button- style earrings favored by housewives in post-war suburbia were based on filigree rosettes. Because its pretty in and of Clockwise from left a Turkish pendant bought in the conterpora rod Russian influences chainmail purse ‘uth fligree li, ound in an Engish antique sore Chinese bracelet with itself but readily accepts beads or accents, filigree was and is still a popular feature in jewelry Metal filigree continues to be produced using steel dies, in many cases the same ones thac first stamped out cheir metal Jace more than a century ago. ‘the production is highly mechanized so thar a single machine can produce thousands of pieces in a day. Factories in the Ur manufacture most of the stampings sold worldwide. ited States and France Types of Metal Stamped filigree pieces are available in a variety of metals, but they're most often made from brass, a highly malleable alloy of copper and zinc with trace amounts of nickel. In its navural state, brass has an appealing golden finish, bur when left unsealed, the air gives ica rich bronze patina, Brass can also be plated easily to resemble sterling silver, gold, or copper Raw or natural bras filigree is unplaced and will range in color from bright gold to a deep bronze, IF you like the color of raw brass, seal it to maintain the color. I'you wish to darken or antique the brass you can apply heat wich a torch, gas stove, or kiln to darken the metal (see page 30) In antiqued bras filigree, che metal is darkened wich heat or chemicals, and then the finish i sealed with a skin-safe lacquer. Te has a warm patina and is often my first choice when using brass findings. Antiquing does nor ‘cause the mecal to stiffen and the lacquer can easily be Plated brass filigree is available in a vavity of Finishes. BY Because plating of any metal increases the hardness of BB the core metal and adds an addition plating—these components will be J, stiff layer—the htly more brittle than their unplaced brass counterparts. Cate must be taken if bending or forming plated filigre so thar the finish doesnt crack or flake off: Keep in mind that bending this ‘ype of filigree too much can result in breakage. Like other brass filigree, plated finishes ean be heat-teated and painted fage31), Solid sterling siloer or gold stamped filigneeis very rarely available, bur icean be used in many of the same ways as bras filigree. Pure metals like sterling silver or gold are more flexible than alloys such as brass, so these elements will bend quite eas- ily. Do noze that avisted wire filigree should nor be bent, because pressure applied to sol- deted joints and wire wists can cause breakage. 10 Filigree Primer ligree Shapes gree components come in an assortment of shapes, ging from tiny teardraps to large flowers to beads. From to item, you'll frequently see the sume shapes repli- Qo and repeated. For instance, a small, filigrSed teardrop sight also appear as che petal of a large lower, or three of teardrops might be grouped together asa fan. Filigree are often symmetrical, drawing fiom decorative cif seen in textiles and architecture as well as stylized Batural forms. The symmetry of filigree is also an expression ‘manufacturing limits and functional uses. Creating a ign rakes time and it's more efficient co tweak an ing shape and die than to come up with an entirely ‘one, Producing a shape in a variety of sizes also makes versatile; a design of fligre pieces stacked and artached snake earrings translates well into a set by using larger tical elements, also stacked and attached, fora ‘lace pendant. only does 2 wide array of flat shapes exist, Bu filigree is also available in three-dimensional “shapes. Some are bowed, some are cupped, and oth- still are completely spherical to form beads. The “shaping, when accomplished by a machine, is called dapping, and ic generally takes place before any plat- “ing or surface Finish is applied. Machine dapping cre- ares elements that are slightly stiffer than fac Filigree, but the trade-off is smooth, complex curves or sharp folds. Bead caps, for example, begin life as Hat rosettes, and curved fans stare out as fat triangles of filigree. Dapped pieces can be mixed and combined with gt pieces to produce layered effects. I did this wich Lorus (page 101) and Elizabeth (page 78), for example. You can also hand- bend flat components to give them simple curves, as did om the links for Pavlova (page 36). 1 explain how to make these types of bends on page 28. Filigree Primer 11 g Started Metal filigiee can be vintage or graphic, daborace or simple. Ie’s strong and malleable and you'l find that you ‘an transform the look of juse abour any cype of filigree shape using beads, ribbon, or paint ro create a look that’s all_your own. I love using filigree in. my designs because it lends a histozical touch, but can it still look completely contemporaty. You may have never thought of using filigree in your own jewelry, bur T hope you fall in love with filigree the way I did while creating the projects in this book. Creating beaded jewelry using filigree components as the base is relatively easy to do, but it does require some basic know-how: First, you'll want ro learn abou all the materials on your shopping list. Then, read up on tools to find out what gadgets you'll need at your design station. Ger some good ideas on setting up your work- space. And finally, go on to the next section to find all the basic techniques you need to know to make each project, You'll be on your way to making stunning filigree jewelry in no time, Materials Filigree is beautiful in its own right, but adding the glitz aiid glamour of beads brings it up another notch. Here’ more information about beads and the other materials you need to ercare sensational beaded filigree jewelry. ie rue! In Beading with Filigree, most beads are described in metric measurements, the initial measurement from hole to hele. For instance, a 6 x 8-mm bead is 6mm from hole to hole and 8 mm wide. Round beads ere measured with one number: 3 mm, 4 mm, etc, For seed bead sizing, see the box on page 14 and Stones come in a dizaying variety of sizes and sifapes, use matching specific beads can be difficulr, 've ified sizes forall the beads used in the projects in this Bur please do yourself a favor—be creative as you Your own projects, and don be affaid to try out nt color combinations than the ones I suggest. ns and glass bevels are used in this book for setting bent filigree. They have domed tops and flar backs, ate available in variety of stone types and glass colors. for smooth, unscratched tops when purchasing, Glass 1s with the shank removed can be used in place of jons. Jewelty insiders and bead geeks will sometimes ‘eabochons ‘cabs’ when they are showing off Cabochons come in various shapes and sizes, (Goystal beads are very sparkly and are ideal when you want toad maximum glitter to & your projects. You can substicute similar- ly sized machine-cuc exystal or Czech fire-polished glass for any project. Rhinestone flat backs are clear ot colored crystals with mirrored backs set into mecal. They add an extra bit of sparkle to any jewelry project and can be atcached to filigree by sewing (see page 26). Crystal beads Gapstal pear! beads are man-made pearls available in 2- to 40-mm sizes. | often work with erystal pearls because oftheir even, finish and realistic weight. Fire:polished Ceech fire-polished glas beads ate round, — @ ‘beac slightly oval, or rondelle-shaped beads with facets on the sides. They have a lovely sparkle and are widely available at bead stores and bead shows. My favorite sizes for beading with filigree are 3,4, 6, and 8 mm. I buy five or six strands ‘of a color I like whenever | see them. ‘These @ bbeads vary in color and finish and may _be opaque translucent, or transparent. Sometimes youll find a type of Czech fire-polished bead thar mixes a variery of colors and finishes called giomé (pronounced gee-vray,) I use givré fire-polished beads in several projects in this book. o°e e ® eos @ ® i at Getting Started 13 Seed beads have their own nomenclature when size in question. The bead size goes up as the bead size number goes down. This means a size 6° ("six- aught" or “six-0") seed bead is larger than a size 12° bead. if you're wondering why seed bead numbers, get larger as the beads themselves get smaller, it’s helpful to think of the way seed beads are made. A thin, hollow tube of glass, about the diameter of a pencil is stretched repeatedly and then cut into small ‘sections that are then tumbled to make the rounded seed beads, Each stretch makes the glass tube thin- ner and longer. This is why the beads get smaller ‘asthe numbers get larger. A 6° seed bead wes stretched six times, while an 8° bead got stretched eight times. 14 Getting Started las of pressed glass beads, druks, natural pearls te iy Ceech presed glass beads are avilable in a variety of shapes and sizes, including iconic shapes such as leaves, Faces, hearts, etc. Many vintage glass beads are Czech pressed glass. Druks are round pressed glass beads. Natural pearl beads area lovely choice for working @ with filigree. Look for consistent open- ings and smooth luster. I will always buy a serand of tiny freshwarer pearls ina Favor- ite color to have on hand for including in a beaded project. H'you are making your work co sel, freshwater pearls are popular with jewelry buyers. Seed beads aze made by cutting tiny tubes of glass and then umble-polishing until the beads are smooth. They are sized from under a millimeter to 5 mm long. For the projects that include seed beads inthis book, I've primarily used sizes 8° to 11°, Note: Seed beads that have been cut with one facet are called charlortes. | prefer the more sparkly size 9° three-cut sced beads for filigree projects, although any seed bead can be substituted. Japanese cylinder beads can alo be used, but I prefer che rounded edges of the rumbled Cacch beads for embellishing filigree. Semiprecioys stone beads are made from natural stone in a range of sizes, shapes, and finishes. Any of the designs in this book can be made with stone beads in the appropriate sizes, Look for large holes thac will rake the beading, wire yoo wish to use, Left to right: bead caps, lobster clasps, spring ring clasps, hooks cd findings, Clasps, jump sings, eat wires, and other I parss are available in the same variety of finishes as and you can choose to match your filigree or mix metals. Dorit be ataid to combine colors if you cant End an exact march! Mixed metal jewoley is very sophisti- el and by including several colors of metal you can add interest to your work. A simple way ro make your ced metal designs flow is to remember to repeat and nate the metals; if you use a silver clasp with copper you should also use silver jump rings berween the pieces. Of you could use brass chain and charms, sining copper and silver jump rings with a toggle thac is copper, half silver. ve mixed metas in the Coral Blos- pin (page 53) in chis way caps are often lower- or leafshaped metal domes, or caps’ that accent and enhance beads. The size of bead caps generally given as an outside measurement oF che size of he bead the cap is designed to fit. covers ate small clamshell-shaped metal findings that used to cover knots or crimps in designs. I use them to fish strands of beads strung on silk or cord. o 8$°2 Clasps are available in many styles, and I've used box, hook, lobster claw, spring ring, and toggle seyles for the projects in this book. When selecting a clasp, make sure ichas a secure hold and wont slip open. Crimp covers are small open beads tha slip around crimped beads and close with chain-nose pliers. They are used to hide crimped beads, allowing the attachment to blend into adesign. Toggles are simple

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