Making good cold connections is an essential skill for every jewelry maker. Don't miss these 7 tips about riveting & other cold connections.
Well, I don't know about you, but I am so ready for Spring to finally show her face! Today, in my neck of the woods it finally is supposed ...
Possibly more than making jewelry, I enjoy experimenting, testing new products and techniques, making samples, trying out ideas. I think that kind of "play" is where great ideas are born, when you have no goal
Making good cold connections is an essential skill for every jewelry maker. Don't miss these 7 tips about riveting & other cold connections.
In this tutorial we will be constructing a split bezel & tab setting for a straight sided, angular shape. The flat shape will be made out of a multicolored piece of polymer clay. As an alternative you can substitute the polymer piece for a torch fired enamel piece. The project can also be turned into a solder-less piece using "cold connections “. The instructions for a customized stainless steel cable necklace with matching clasp are also included in the step-by-step instructions. The tutorial is an instant downloading PDF file, it has 11 pages, 29 photos, a life size template of all the components and plenty of tips! For beginner skill students.
Master 11 metal fabrication skills and 14 cold connections in metalsmithing expert Connie Fox's seven-week online Craft U Master Class!
by Staci Louise Smith It is spring in the studio and lots of things are going on. I am prepping for new shows this spring......which is ...
These 8 tips from metalsmithing expert and instructor Kim St. Jean's video series will improve your metal jewelry-making skills while you make six great earring projects!
Fold forming brings new dimension and life to your metal jewelry designs. Travis Ogden shares tips and tricks and Helen Driggs a fold-forming tutorial.
Learn Helen Driggs' 12 ways to create texture on metal, including how to use multiple hammers together for fresh effects--plus how to hammer evenly!
Watch and learn how easily you can add pure, bright, 24k gold to silver jewelry with Francesca Watson of The Makery using keum boo! Talk about eye-catching!
Making good cold connections is an essential skill for every jewelry maker. Don't miss these 7 tips about riveting & other cold connections.
by Staci Louise Smith It is spring in the studio and lots of things are going on. I am prepping for new shows this spring......which is always fun for me. I also have work in the Spring show at Bethlehem House Gallery- a contemporary art gallery in the heart of Bethlehem, who has featured my work on and off for the last couple years. While at the opening of the Spring show, I fell in love with the work of Dominick Naccarato. You can view his work for sale on the galleries website http://www.bethlehemhousegallery.com/artists/domenick-naccarato/ His work is industrial. It looks worn and old....and of course, that spoke to me. I mean, :swoon:....its dreamy to girl who loves to destroy metal! I grew up in a home who a mom and brother who love to go antiquing. so, old things, in art, its bringing together a couple loves of mine http://www.domenicknaccarato.com/markings-feed-sprocket-access/ I do hope you will take a minute to follow the links and check out the gallery site and his personal website as well. His work is amazing. Anyhow, there was that, which of course, made me long to play with metal again right away. I am always inspired fresh and new after a trip to the gallery. I have always loved the process of disintegration. It fascinates me, the way nature breaks down organic and inorganic matter over time. Rust, fungus, all these sort of things always grab my attention and draw me in. I love how the sea changes things as well, takes rough bright things and washes the color away and smooths them. Worn, old things were once new things, full of life. And as they decompose, they lose one life, yet take on another. This process is just amazing, and watching the beauty of this process is endlessly inspiring to me. That is why, I love taking white polymer clay, and turning it into something that looks like you pulls it out of nature. Or taking bright copper sheet, and making it look as if it had been out in the elements for decades. Anyhow............. Then I ended up at a Clover Market with my mom for the day. I am doing that show in May and June, and wanted to check out the lay of the land, the crowd, and all that good stuff. The show is full of antique vendors, mixed in with artisans. It is such a cool show! I love that you can buy rusty old stuff next to handmade items! I picked up some rusty old keys to use for something some day! For now they are laying on my work table. I did not take any pictures at Clover Market, but here is their facebook banner, and it is good picture of some of the unique items you can find there. My mom loves old tin ceiling tiles, and there was a vendor there who had a booth full! The vendor was Olde Good Things And here is a picture of the tiles from his website http://www.altered-antiques.com/tinstuff.html The textures of the metal tiles had me newly inspired as I browsed through them. Each so different. I loved the washed out old paint added to them.............everything about them was amazing. In checking out the vibe of the market, I thought, I need to have more metal. I have gotten away from all that copper in my work because of time constraints the last couple years. I have been so focused on polymer it hasn't left a lot of play time. So I got to work. I decided to have fun and cut out lots of copper shapes to make fun, fold formed, patina earrings for Clover Market and the gallery. And man, let me tell you, I am so happy I did. I really missed playing around with fire, metal and chemicals! I loved texturing them, and definitely felt the influence of those wall tiles coming through as I hammered in little raised spots and such. Here are the components before I started making them into jewelry. And here are just some of the earrings I made. I had so much fun! I really missed working with the metal and patina. Though I also forgot how labor intensive it is. Thank goodness I love what I do! Do you also find that what you see and places you go inspire you go in a different direction, or revisit an old one? Tell me about it............. And, as promised, a little picture tutorial on fold forming. If you want more information, there are lots of great online classes you can take! But, if you have already played a bit with metal and a torch, this may be all you need to try it out! _____________________________ Cut some shapes in copper sheet, I used 26g since they are going to be for earrings. This keeps it light, but you can use any gauge. File the edges smooth. Line them up on a solder block, and use your torch to heat them until they glow red, and then quench right away Once they are quenched, dry them off a little bit. The process of heating and then quickly cooling them, anneals them and now they are softer and easier to manipulate Fold it over at a place where you want a fold line Use a chasing hammer to flatten at the seam Torch them again to soften them. It is important to do this between each step to keep the metal malleable. Otherwise it could break. Quenched Now you can open it up. If you need to, you can slip a razor blade in the fold to open it enough to grab. Place it on your steel block and hammer again. You can add other hammered designs, or use hole punches to make divets and such. Use a hole punch or drill to make your holes as well. Here is a close up of some finished pieces with patina and all on them! I hope you will try it out, because let me tell you, fold forming is FUN!!!!!
Setting a Stone With Cold Connections: For a long time I did not have the capacity to solder in my home workshop, so I developed this technique for setting flat-backed stones without any soldering - cold connections only! You can of course mix this technique with soldering if you like. T…
In the 13th edition of the chasing and repousse series of Tutorial Tuesday, I demonstrate how to remove a piece of metal from a pitchbowl using heat, and remove…
Get started sawing as you watch and learn how to make a pair of unique and organic earrings with Kim St. Jean.
Making Metal Leaves: On the 19 of January 2015 I challenged myself to make a metal leaf a day for a year. Currently, I am up to 146 leaves. These are but a few to show the evolution of my leaf project and how the use of "leaf" is my design format. All these leaves are h…
Learn all about broom casting metal jewelry, see some broom-cast metal jewelry designs, and try a casting tutorial!
Details Beautifully crafted of silver, a ringing bell tinkles at the end of a sterling rope. Zayd Makarim creates this exquisite bracelet to accompany the wearer with quiet music. The ornate silver patterns are inspired by the curls on the statues of Buddha in Borobudur Temple. .925 Sterling silver 18 grams 0.63 oz Metric US/Imperial Sterling silver Toggle clasp Combination finish Naga chain Made in Indonesia Certified and shipped by our office in Indonesia Product ID: 118896
14 Cold Connections, 11 Metal Fabrication Techniques and 13 Video Tutorials = One Well-Rounded Metalsmith! Did you know there are dozens of different types of cold connections? You're probably familiar with rivets, screws, tabs, jump
Cufflinks. Copper, reclaimed tins, oxidised. Over the years I've used many forms of cufflink backs and never really been entirely happy with any of them. Pre-bought manufactured findings are nearly always in silver or gold and just don't suit my work with their clean, shiny finish and high-end look...... and are quite pricey. I've made solid arched fittings that have no movement (needs to be made from quite thick sheet) and solid arched fittings with tiny wire rivets (too much work when I'm trying to keep my work affordable and costs down). I've used short lengths of either my own hand-made chain or bought chain, but these always seem a bit...well, too pretty for my designs and awkward to solder on to the cufflinks. So I trawled through my books looking for another option and this is the one I chose, a "Swivel Back"...but with a few alterations. You could make yours highly polished or even stamp decoration onto the bars, in fact these backs would look great whatever your own style of jewellery is. Here is how I made mine; First I straightened some 1.7mm wire (this could be between 1.5 and 2mm). I straightened it by rolling it under my mallet on a steel block, back and forth. Next, I cut about 6cm of the wire and folded it in half by hand, before gently squeezing it together with parallel pliers, keeping an open loop at the folded end. Repeat for the second cufflink. I soldered the lengths together with hard solder, using a bit of binding wire to keep them nicely shut. Don't forget to remove the binding wire before you pickle...otherwise you'll end up with a copper-plating solution instead of an oxide-removing bath. These will be the Stems of the cufflinks. Now for the Stops (the non-decorative element of the cufflink which sits on the inside of the wrist, though of course you could have 2 decorative elements for each cufflink). Sometimes my stop is just round wire of between 3 and 4mm, sometimes I make it square. Here I made some square wire by rolling through the grooves of my rolling mill and gradually reducing the gap with each roll-through. Pre-rolling mill days, I would have forged square wire with a creasing hammer then planished flat, or used plenty of oil, sweat and a square-hole draw-plate. When rolling down wire into a square profile, you have to obviously start off with a thickness of wire that's bigger than you want, to allow for the shaping. I sawed the length of the stems down to an appropriate length and the same with the stops, using one of my stock of manufactured findings as a guide...15mm for the length of the stem and 18/19mm for the length of the Stop. I filed the ends of the Stems flat and smooth. I filed the ends of the Stops smooth and flush, rounding off the edges and corners with my favorite emery-nail board to give them a good finish. I soldered the Stem onto the Stop with hard solder. Notice that I have lifted up the stem by propping it on two overlapping saw blades, which serves to raise the Stem up into the centre of the Stop. Here are the finished swivel backs, ready to go on to their decorative counterparts. I laid them on my steel block so the Stems were flat on the surface (with the Stops over the edge out of the way), then used my planishing hammer to flatten off the stems from round to square, whilst leaving the loop still with rounded profile. This gives a nice 'sturdy' look and complements the square profile of the Stop, also strengthening the Stem further. Pickled and brass brushed. The last thing to do is attach the swivel backs to the decorative counterparts by threading them on to loops soldered onto the decorative backs, which are still unfinished. Notice the single hole in the backs which I have drilled to be the same diameter as the loop wire. The loop wire is 1.5mm and the loops, or rather 'n's have one leg slightly longer than the other, so that the longer leg can sit in the drilled hole and make soldering them onto the backs much easier....I don't even have to hold them in place with tweezers. I placed them on a wire mesh and soldered the loops on with hard solder by directing my flame on the other side, with just a quick dart of heat to the front at the point of liquidus (when the solder flashes into it's melted flowing form), thus avoiding annealing the swivel elements. If due to the design I couldn't drill a hole through the piece, then I would instead have used a cotter pin to hold the loops upright. Quick and easy. If the cufflinks had consisted of two decorative elements instead of one and a Stop, then I would use the same concept, but at both ends having the Stem made up with a loop at both ends, so that it looks a bit like a cartoon of a dog bone.
Jewelry making is definitely an art form. You can create something out of almost anything, and this post proves just that. With a sheet of metal, jump rings, and your basic jewelry making tools, …
MONDAY FEBRUARY 2, 2015 9:00 am until 4:00 pm MARY HETTMANSPERGER HINGES, DOORS, BOOKS & LOCKETS $145 one-day class Using copper sheeting, students will design a hinged locket. Students may bring a personal photo, image or favorite paper to place in the locket, or use papers and images that Mary has selected. Mica is used to protect the image and cold connections hold it in place. Students will make one locket with a copper back and a sterling silver front and will have material to make more books and lockets using just the copper. Patinas, texturing, and metal applications, including embossing will also be covered. The focus of this class is to master the hinge using tabs to create a variety of moveable doors. It is a low-tech process with fabulous results. Students will make several different designs. KIT FEE - $45 – PAYABLE TO INSTRUCTOR AT CLASS TIME I will provide all materials for completion of the class project STUDENT SUPPLY LIST Hammer Bench block Texturing hammers if desired Needle nose pliers Bent Nose pliers Metal scissors or snips Wire cutters CONTACT Email [email protected] Website www.maryhetts.com TUESDAY FEBRUARY 3, 2015 9:00 am until 4:00 pm MARY HETTMANSPERGER TORCH FIRE ENAMELING AND TAB BEZELS $145 one-day class Using torch firing in a variety of ways, students will make colorful and unique pieces of jewelry. Copper sheeting, wire, enamels, cold connections and embellishments will all be used to create layering and unusual effects in enameling. Patinas, texturing, and basic wire and metal applications will also be covered. Many torching techniques will be covered, such as adding Glass beads, silver foil, resist, sifting, embedding items, stencils, patinas and more. The focus will be the endless possibilities of torch fire enameling and the benefits of using tab bezels to connect when using enamels. KIT FEE - $48 – PAYABLE TO INSTRUCTOR AT CLASS TIME I will provide all materials for completion of the class project STUDENT SUPPLY LIST Hammer Metal scissors Bench block or small anvil Needle nose pliers Bent nose pliers Wire cutters CONTACT Email [email protected] Website www.maryhetts.com WEDNESDAY FEBRUARY 4, 2015 9:00 am until 4:00 pm MARY HETTMANSPERGER ALTERNATIVE COLORS ON METAL $145 one-day class Students will learn a variety of unique surfaces using patinas, embossing, and colored pencils. Students will also incorporate found items into the jewelry, allowing the pieces to become narrative and personal. A variety of cold connections and weaving techniques will be used instead of soldering to connect and create the pieces. Students will use copper and brass sheet metal for accent and a variety of found objects to construct their pieces. Students are encouraged to bring their budding ideas, and small personal found objects to discover the endless options for assembling and connecting. The goal is to find unique designs and approaches and use personal expression to create the jewelry during the class. Students will have a vast number of new and alternative approaches to surface and construction. KIT FEE - $48 – PAYABLE TO INSTRUCTOR AT CLASS TIME I will provide all materials for completion of the class project STUDENT SUPPLY LIST Hammer Metal scissors Bench block or small anvil Needle nose pliers Bent nose pliers Wire cutters CONTACT Email [email protected] Website www.maryhetts.com THURSDAY FEBRUARY 5, 2015 9:00 am until 4:00 pm MARY HETTMANSPERGER LOOPING OVER GLASS, BEADS, METAL, STONES AND MORE $145 one-day class Using tumbled beach glass base, rocks and other beautiful focal items, students will create a layer of knotless netting using a fine wire. A variety of colored wire along with copper and silver filled wire will be used in this weaving technique. Students will have an opportunity to layer items under the netting, leave areas open and exposed to create visual interest and add beads in the netting for embellishment, use as a layer in metal work and added as texture. Students should finish a couple in the class time, but will be given, several items to loop over and the wire needed to complete all projects. KIT FEE - $48 – PAYABLE TO INSTRUCTOR AT CLASS TIME I will provide all materials for completion of the class project STUDENT SUPPLY LIST Hammer Bench block Texturing hammers if desired Needle nose pliers Metal scissors or snips Wire cutters
The raw materials for this project are a sheet of copper,some square wire and for tools we will use planishing and texturing hammers,plus a torch and vises. The wire is used to make a shape in the metal. It is placed under the sheet and struck with the hammer repeatedly. Then we bend the first fold. The bends will be raised with a hammer after flattening along the seam. The edge of the fold is clamped in the vise and the pieces separated and hammered flat. Then another fold is added. Again the seam is pounded flat and placed in the vise. I continue until the folds cover 3/4 of the length. Alternating direction each time. A planishing hammer is used to flatten the metal and the ribs. I chose to flatten the ribs in a twist..each end goes a different direction . After flattening the ribs the metal is heated to anneal and quenched in cold water. The heat has begun the decoration of the metal. Next the whole is folds down the length. It is flattened again placed in the vise and opened leaving a central ridge. The ridge is then hammered flat locking in the center of the folds and creating a wonderful texture. Next the edge is textured with the linear pattern hammer which gives a ruffled look. To me it seems like the edge of an orchid or iris petal. Pounding continues on the round mandrel and the final shape emerges. To smooth the edges of the metal it is first sanded then buffed on a 6 inch wheel with Tripoli. It is then cleaned in an ultrasonic cleaner and wiped dry. It looks ancient and a bit abused. I think the texture makes it look like a medieval armor cuff. Total time was about 1/2 hour. It could be further polished or textured or colored...from here its all good.
by Staci Louise Smith It is spring in the studio and lots of things are going on. I am prepping for new shows this spring......which is ...
By Staci L. Smith A little while back, Melinda Orr posted a link to this tutorial on fold forming. (I highly reccomend watching it.) I was fascinated. It began my leaf making journey. However, I really wanted to try to make that spiral shape they do in the video. So she posted it again more recently, and I watched it again, and ran right into the studio. Off to make that spiral shape into big, chunky hoop earrings, with a Staci Louise twist on them......I wanted to somehow pierce them through with balled end head pins. First I made just a regular pair to get the feel for it. I looked at them over and over to see where and how I could pierce the holes. I couldn't drill after they were done, they metal is too thin and would crumble up. Then it hit me. So follow along with this little tutorial on how I made some cool pierced boho style earrings. (Now I want to pierce all my metal with pins!!!!) Materials and Tools: hammer with one flattend end steel bench block or anvil chasing hammer or mallet hole punch flush cutters butane torch with a large hot flame (I prefer the jumbo torch from www.cooltools.us for this, my other torches just didn't cut it for heat when balling the wire at the end of the project) soldering block files steel wool or sanding pad (rough) earwires pickle pot with solution 26 gauge copper sheet 1. Anneal two pieces of 26 guage metal, fold it in half, and cut your half circle (just like in the video). (to anneal you heat the metal to a dull red, and quench it) It was at this point I decided to punch my holes, but I had to re-punch them at the end too. I liked doing it first because it helped me to remember which was the folded end. The folded end will become your bottom, and curved part, opposite of how you start out. 2. Take a planishing hammer, or rivet hammer, and strike the folded seam repeated along its length with the thin straight side....overlapping as much as possible. You want to keep your strikes at the halfway point or less of the metal. Use your chasing hammer or mallet to flatten it. Now flip it and repeat. (note: since these were earrings I did both at each stage of instructions to save time) 3. Now anneal again. 4. And hammer the same way again. It will begin to curve at the ends some where around this point. 5. And anneal again. 6. And hammer again, do both sides each time. Repeat until you have the desired curve. It will curve more once you open it up, and you can bend it into a little more of a curve as well. 7. When you have your desired curve, anneal it again, and you can punch or re-punch your holes. 8. Now I used a razor blade to open it up, and my fingers to spread it out. 9. Then I flattend the ends with pliers and punched holes for the earwire to go through. 10. File and sand the edges and rough spots. You are sure to have some on the bottom. Don't file away the textures, just any sharp spots. 11. Now ball some sterling silver head pins. 12. Drop them through the holes. 13. Snip off any excess wire, leave just enough to ball (its ok if they are not even, fold forming is a very organic look and having your head pins ball differently only adds to that imperfection that nature offers) 14. Take your torch and heat the entire piece a little, and then move the heat to the head pins until the other ends ball up. 15. Quench and pickle. It will be very oxidized by this point. 16. Add your earwires. I used handmade earwires, bent one end at a 90 degree angle and stretched them out to fit, and shape them. Make sure they have spring enough to close, yet enough slack to move freely. I had to really play with them to get it just right. You can use either long or short earwires. 17. Tumble to strengthen the piece, earwires and all. 18. Re-rough it up with some sanding pad or steel wool. 19. Give it a liver of sulphur bath and then steel wool the high spots and clean up as desired. TA-DA! You now have pieced, boho hoop earrings! I think you will find that you can use these techniques on many things to add texture, volume and piercings. Remember to STRUT YOUR STUFF if you try this out. We'd love to see what you make!
Last month, I was thrilled to be selected as a “tools for tutorial” match… basically, a great vendor on Etsy who sells tools (Evie’s Tool Emporium) was looking for someone t…
Keirsten Giles has once again written up a fantastic blog post about her studio adventures and explorations. Hopefully you are as inspired ...
Free jewelry tutorials, plus a friendly community sharing creative ideas for making and selling jewelry.
Well, I don't know about you, but I am so ready for Spring to finally show her face! Today, in my neck of the woods it finally is supposed to be warm and sunny. This weekend is the noted Cherry Blossom festival in DC, but my cherry blossoms in the Maryland suburbs are definitely not festival worthy! Pretty, yes, but not quite there! So, I decided to live vicariously by enjoying some Spring flowers created by some of my friends and colleagues and continue the Springtime tour started by Rebekah last Saturday! Karen Totten; Sue Kennedy Kristi Bowman; Lesley Watt Jo Tinley; Rebekah Payne All these wonderful components would be perfect to add to your AJE Earring Challenge creations! Next are some gorgeous floral finished pieces... Linda Landig; Jennifer Cameron Jenny Davies-Reazor; Melissa Meman Another way I have been satisfying my flower craving is to create some of my own..I have been playing with copper sheet and making some fun ones...here is one I created for my Bead Soup partner... Here is a quick "how-to"...especially for metal newbies like me, who haven't gotten the hang of using a jewelry saw yet. Tools/materials needed: Copper sheet or discs - any size set of needle files sanding block steel bench block flush cutters or metal shears texturing hammers or stamps metal punches round nose pliers dapping/punch set patina of choice use straight edge and draw lines for as many petals as you would like...they don't have to be perfect... use metal punch and punch on the lines, making sure to be right on the edge...I usually do several passes until I get the depth I want. with flush cutters or shears, snip the edges off to get the basic shape you want repeat snipping on other side using needle files, start filing...the triangle one works great in the beginning. I like to finish with a soft sanding block...you can get them at the hardware store. You can see mine is pretty well used! Using texturing hammers of your choice and steel bench block, add whatever texture you like. Alternatively, you can stamp designs, use brass design plates, run it through a rolling mill...I use my Big Shot! For the center, I used my center punch and made a bunch of divots I usually dome mine at this point, and use my round nose pliers to curve the petals These are center punched, antiqued with LOS and tumbled for a nice sheen. As you can see, there are all sorts of variations you can do with these...I hope you will give it a try. I promise to keep practicing with my jewelry saw and will share that progress with you at a later date! I am anxiously awaiting Melissa Cable's new book "Metal Jewelry in Bloom" to learn some new flower techniques! You can read a great review by our own Jen Cameron here. Thanks for reading! Happy Spring! Melissa Meman Melismatic Art Jewelry Art. Life. Love.
Free jewelry making tutorials, craft ideas, design inspirations, DIY, projects, tips and tricks and trends
Fold-forming is a hand-working technique applied to single sheets of metal. This aritcle describes how to make a heistad cup.
Free jewelry tutorials, plus a friendly community sharing creative ideas for making and selling jewelry.
Don't Come UnHinged! Transparent Wearable Journals This is the second installment on Transparent Journals for the brave that want to make their own hinge. It's really fun to make hinges and is applicable a lot of different projects. The first step to make a journal is to prepare your paper. It’s important to give it three days to cure before assembling the journal. See the How to Resin Paper Blog for details. To make the metal book covers; first texture, stamp in any lettering and heat patina if desired. Anneal to soften the metal to make forming the hinges easier. Draw the hinge pattern on the sheet metal. In class we use 1.5 x 3 inch pieces, if you are using something different you will need to adjust to your design. Leave ½” at the top then draw another line 1/2” down. Draw out an “E”. Darken the cutting lines to keep from getting lost as you are cutting with your jeweler’s saw. Cut along the lines with a jeweler’s saw. Turn the corners by sawing up and down in place and very gradually turning the saw. File all the cut edges until smooth. Use a pair flat nose pliers to turn the legs of the “E” to a 90 degree angle. Do the same for the top piece too. Using a pair of Bail Making Pliers. I just put them on sale for you...I can do that! These are the easiest because the jaws are even, not tapered. You can use a pair of long round nose pliers and adjust for the taper as you work. Roll the tabs toward the back centering on the sheet. Make sure the hinges line up evenly centered over the sheet metal. File and “futz” the hinge with a pair of chain nose pliers until you can line it all up evenly to put the tubing through. At this point I use the whole tube as it's easier to handle. Now the tubing is in the hinge, cut it off with a jeweler's saw so it protrudes on each end about the width of a 16 gauge wire. Create a tube rivet by spreading the end of the tube with a center punch... then finishing with the ball peen end of a hammer by stroking lightly around the outside edge and flaring the edge enough to hold the hinge together. Drill a 1/8” hole on both sides of the top of the hinge on the front only (they are shown above) If you want to add fringe to the back do it now. Drill a hole or multiple holes to use for jump rings to hold the fringe. See last weeks blog for details. Next create your pages by using the pre-resined paper you have previously created and tear the sheets to fit or nearly fit--however you like them. Use the back cover as a tearing edge. If you want to add color or burn the edges of the pages to age them do this now. Create a stack of pages, then drill front to back through the whole stack. This will go through the previously drilled holes as a marker, through the papers and the metal back of the journal. Slip a long 1/8” eyelet front to back through to hold it all together. Holding tightly, flip the whole "sandwich" over. Using the same technique as above make a tube rivet out of the eyelet.
The blog of ObjectsandElements.com, an online Art Jewelry Supply Store.
