Colour and Textures in Jewellery E-Book

Nina Gilbey

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 324

Veröffentlichungsjahr: 2019

Beschreibung

Decorative textures and colour are integral to the design of every piece of jewellery. This beautiful book covers a range of techniques and materials, which can be used to bring excitement, meaning and interest to your designs. Written by two experienced designer-makers and tutors, it encourages you to experiment, make samples, bend the rules (safely) and see what results are possible, before following the detailed technical advice to apply the techniques to your work. Topics covered include: embossing - techniques include hammering, stamping and roll printing to imprint a pattern, design and details onto the surface of the work. There are exercises that demonstrate a technique and experiment with the process, including a comprehensive guide to adding textures and colour to jewellery. It will be an indispensable reference for practising jewellers, designers, jewellery students of all levels and silversmiths, and includes design development sketches and examples of samples and finished pieces. Beautifully illustrated with over 750 colour photographs, it is written by Nina Gilbey and Bekkie Ora Cheesman, two experienced designer-makers and tutors.

Leseprobe

Colour & Texturesin Jewellery

Colour & Textures in Jewellery

Nina Gilbeyand Bekkie Ora Cheeseman

CROWOOD

First published in 2019 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2019

© Nina Gilbey and Bekkie Ora Cheeseman 2019

All rights reserved. This e-book is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorised distribution or use of this text may be a direct infringement of the author’s and publisher’s rights, and those responsible may be liable in law accordingly.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 78500 578 7

Acknowledgements

This book wouldn’t have been possible without the support of a great many people. We are grateful to everyone who has contributed to the project, for the small suggestions and the large chunks of time, or just for putting up with our talking of nothing else. With special thanks to Dave Hardy of Ciqo Photography, for the many hours spent photographing all processes and samples, and his calm and professional manner.

We would also like to thank the following for their support, specialist knowledge and services: Cooksongold for the donation of silver sheet and wire; Fays Metals for the donation of base metals; BAC Casting; James Neville of Sam James Ltd engravers; Brian Fagan; The Hand Engravers Association of Great Britain for permitting the use of images of work from the Paperweight collection; Sarah Arnold for the design drawings in the technical section; Felix Denby; Liane Wolf; Vicki Purnell; Sofia Steffenoni; Judy Ufland; Mirna Una Majer for the section heading photography. Finally, our thanks to all the jewellery makers whose work is featured in the book.

Front cover: Detail of a cloth bowl by Nina Gilbey, press formed and patinated copper. (Photo: Ciqo Photography.)

Frontispiece: Glass ring by Bekkie Ora Cheeseman, multi-coloured pâte de verre glass and brass ring. (Photo: Hatton Garden Studios)

Contents

Introduction

SECTION 1 TECHNICAL

SECTION 2 TEXTURE

CHAPTER 1 Embossed Textures

CHAPTER 2 Textures Created by Removing Metal

CHAPTER 3 Textures Created by Heat

SECTION 3 COLOUR

CHAPTER 4 Combined Metals

CHAPTER 5 Chemical Colouring

CHAPTER 6 Enamelling

CHAPTER 7 Mixed Media

APPENDIX 1 Mould Making

APPENDIX 2 Colour Theory

Index

Introduction

The opportunity to write about a subject we are both so passionate about was an exciting one; our journey has been longer than expected and a little challenging.

Ring by Nina Gilbey. Etched sterling silver with champlevé enamel. PHOTO: CIQO PHOTOGRAPHY

With many years of teaching the subject of jewellery making between us, it was interesting to find that explaining through writing is a very different experience from explaining through demonstration.

It has been a pleasure to rediscover a number of techniques and play with a variety of materials, experimenting, creating samples and utilizing techniques to develop design ideas further.

However many processes we looked into, we always found that there was more to explore, or more techniques to include. It is of course impossible to include every technique that involves the use of colour or texture in jewellery making, but we hope that we have given you plenty of food for thought.

Adornment and jewellery are as old as man. We have numerous reasons for decorating ourselves: for a sense of beauty, a sense of belonging, or to portray a specific image of ourselves to others. Jewellery may be worn to symbolize our marriage status, our place in society, or an affinity with a religion, group or culture. Its form, the materials from which it is made, and the way it relates to the body, all have their own individual meanings and associations.

Materials have their own connotations; however, a supposed non-precious material can be made precious when used in a certain way to convey a particular concept, or when used in combination with an accepted precious material. Therefore wood can be considered precious if it is used to make a wedding band for example, as its purpose will give it special meaning.

How a piece is worn, how it is attached to the body or clothing, further impacts on how it is perceived. Some jewellery is purposely unwearable, this can be used to make a statement or create a reaction.

The texture and colour of a piece of jewellery will further enhance a design. Both can be used to cause a reaction or provoke an emotion. The possibilities of using these in jewellery making are boundless.

The more familiar you become with materials, processes and possible results, the easier it will become to apply these to develop your technical skills and design abilities further. We have tried to make as many of the processes as accessible as possible, using household materials and basic workshop tools.

Rather than accepting that there is only one way to do something, we would encourage you to experiment, make samples, bend the rules (safely of course), and see what results you can achieve.

In each chapter we have completed an exercise, choosing one technique and experimenting with the process. Every exercise includes design development sketches and examples of the samples and pieces we have made.

Creativity and design are both processes: the more you practise, and the more you push the boundaries, the more possibilities will arise. As with cooking, following a tried and tested recipe is good practice and will enable you to achieve a particular result. However, if you feel, like us, that the process of discovery and investigation is inspiring and stimulating, then go ahead and play.

A traditional jeweller’s bench with a curved cut-out and a bench peg, including basic hand working equipment. From left to right: vernier gauge; metal ruler; dividers; scribe; centre punch; piercing saw; bench peg; snips/shears; large flat file; assorted needle files; large half round file; steel block; parallel pliers; snipe pliers; half round pliers; round pliers; flat pliers.

THE JEWELLERY WORKSHOP

As with any craft, to achieve the best results it is beneficial to have the correct equipment. Some jewellery can be made almost anywhere; other techniques require specialist tools and a dedicated space. The correct environment and equipment will enable the maker to work more precisely and with greater safety.

A secure workbench is recommended, and for many techniques it’s also advisable to use a bench peg or pin. Most work is supported on the peg, allowing more pressure to be applied and more control. The wooden bench peg can, in addition, be cut, filed and shaped to suit the piece being made.

If a jeweller’s bench is not an option, a bench peg can be clamped to a secure shelf or a solid table. The peg is replaced once it is worn away, so it should always be clamped or screwed in place, rather than glued.

The bench itself should be of a suitable height whenever possible, higher than a normal table, usually 90–95cm high. The bench peg should sit around the height of the middle of the chest, so either a high bench or a low stool can be used. This will prevent the jeweller from hunching over their work.

An adjustable lamp is imperative to see any marks made in the metal – both those created to guide us, and those that need to be removed. The light should be bright and moveable, as each piece is likely to require a different angle.

The jeweller’s bench has a curved section cut from it, and traditionally the cut-out section was then used to make a three-legged stool. The cut-out enables the jeweller to get close to the work on the peg when necessary, as well as allowing any metal scraps and filings to fall into the skin hanging underneath it. Traditionally a pig skin was used; any material is suitable but it does help if it can be swept out at the end of each session. It is common practice to brush the skin and peg regularly to keep the scrap and avoid any metal filings marking the next job.

If possible, work over a smooth floor, as it is inevitable that small pieces of metal or stones will drop, and these can easily be lost. If hot metal falls, it can damage flooring, so it is worth considering using a heat resistant covering around the work area.

EQUIPMENT

There are endless tools available to the jewellery maker. It can take many years to accumulate all the tools that you need or want, but with a few essentials it is possible to produce a wide range of work. Purchase good quality tools, as cheaper versions will not last.

Soldering, texturing and polishing equipment is described in the appropriate sections within this book. Listed here are the tools that are commonly found in a jewellery workshop. Jewellery can be created using minimal equipment, although often you will find that the more tools you have available to you, the easier it will be to achieve the results you want. When we look at jewellery made in the distant past, it is fascinating to see how much could be achieved without everything we have available to us today.

This list of tools is not exhaustive; nor are all the items listed here essential. The tools you need will depend on the job in hand, your budget and imaginative ability to improvise.

Measuring tools

•Steel ruler: to measure lengths.

•Dividers: to mark out curves, circles and parallel lines.

•Ring sizer: to measure fingers for ring sizes.

•Ring stick: to check the size of a ring.

•Vernier gauge/callipers: to measure internal and external measurements.

•Set square: to check right angles and flat edges.

Cutting tools

•Piercing/jeweller’s saw: used with saw blades to cut and pierce metal.

•Saw blades: these come in a variety of sizes to suit the metal thickness, from size 6 for the coarsest to 8/0 for the finest; most commonly used are sizes 2/0 and 3/0 for general work.

•Snips/shears: to cut solder and fine wires.

•Top/end cutters: to cut wires from the top edge rather than the side.

•Guillotine: to cut metal from flat sheet.

•Tube cutter: to secure metal tubing when being cut.

Files

Files are divided into size, shape and cut. Hand files can be used with or without a handle. Always use the correct profile to suit the job in hand. Needle files are smaller and suitable for filing smaller areas. Escapement files are smaller still and used for very fine work. Broacher files are even finer; they are usually four-sided and are used for jobs like finishing holes. Riffler files are curved and suitable for complex shapes that can’t be reached with other files.

General file shapes include flat, round, half-round, triangular/3-square, barrette/ safety back, crossing and square. Other shapes are available in needle and escapement files such as pillar, oval and knife. The cut refers to how coarse the file is: the coarser the file, the more metal it will remove.

Forming tools

•Mandrels: these are tapered tools usually made of steel, used to form rings, bangles, stone settings and more; generally round, they are also available in other shapes such as oval, square, triangle or cushioned.

•Doming/dapping block and punches: these are used to form domes, using steel or wooden punches.

•Flat plate: used to support work as well as to check flat edges.

•Swage block: a steel block with various sizes of curved grooves, used to curve sheet metal.

•Stakes: steel formers used mostly for silversmithing techniques such as forging, raising and planishing.

•Collet blocks: used to create stone setting collets, available in a variety of shapes and sizes.

Pliers

•Round nose pliers: both jaws are round and taper to a point. Used to create small curves in sheet or wire, or for making jump rings.

•Half round pliers: one flat jaw and one curved. Used to make slightly larger curves and to secure curved pieces without making marks.

•Flat pliers: both jaws are flat. Used to create straight bends, folds and to straighten kinked metal.

•Snipe pliers: both jaws are flat and taper to a point. Used to create smaller bends and folds, as well as to access smaller, hard-to-reach areas.

•Parallel pliers: the jaws of these pliers are always parallel, so they are useful for both holding and shaping metal without leaving any marks. They are available with flat, snipe and curved jaws to suit all manner of work.

Hammers

Hammers are available with different shaped working ends and can be made of various materials. Steel hammers can be used to form, texture and forge. The most commonly used types are a planishing hammer, a jeweller’s/riveting hammer, and a ball pein hammer. It is also possible to purchase texturing hammers with textured faces.

Mallets are made of rawhide, wood or nylon and are used for shaping metal over mandrels or stakes, without leaving marks on the metal or stretching it.

Drilling

To drill metal, high-speed steel twist drill bits are used. Always prepare the metal by striking it with a centre punch, this will ensure that the hole will be drilled in the correct position and stop the drill bit from skidding across the metal surface. Use a drop of oil or wax to lubricate the drill bit; this will also prevent it from blunting quickly. When drilling larger holes, start with a small drill bit and gradually increase the size.

•Pillar drill: a fixed bench drill incorporating a flat work table. Useful for precision drilling sheet metal, the bed can usually be adjusted for height and set angles.

•Hand drill: this can be used to drill, to form jump rings or to twist wire.

•Pendant motor: drill bits and other attachments can be used with the pendant motor, always use a suitably sized chuck for the drill bit.

•Bow drill: a very clever, non-mechanical drill, it uses a push action, creating its own momentum with twisted string.

•Archimedes drill: a small hand-held drill, about the size of a pin vice. This drill has an external spring used to create momentum.

Annealing and soldering

•Torch: a gas torch is used to heat the metal for annealing and soldering.

•Soldering blocks and supports: a flame-resistant surface that protects the work area and assists in the heating process.

•Tweezers: used to position, pick up, support and handle work.

•Flux: this is used to prevent oxidization and to help solder to flow.

•Paintbrush: used to apply flux.

•Pickle: removes oxides and burnt flux from work.

•Solder: used to join metal permanently.

HEALTH AND SAFETY

•When working, it is imperative that precautions are taken to avoid risks and accidents. Most health and safety precautions are down to common sense: if you use yours, with some concentration thrown in, you should have no accidents.

•When using a machine with a spinning or cutting component, always wear goggles, tie long hair back and remove any long chains, scarves or ties. When using chemicals, wear a protective apron, gloves and a respiratory mask, and when using a flame, ensure that you have the correct ventilation and that the area is clear of anything flammable.

•It’s best not to wear expensive or favourite clothing, and always – without fail – wear closed, sturdy shoes. If something heavy or hot falls, feet will need protection.

•If you are working in a shared workshop, there will usually be health and safety regulations to be adhered to, but it’s important to keep this up even when working alone at home. We have all decided at some point that health and safety is a nuisance, but once you have trapped your hair in the pendant motor, singed it with a flame, or drilled into your fingernail, you will appreciate that there is a reason for these regulations.

•Always have a first aid kit, an eye wash and a small fire extinguisher to hand. Always read the manufacturer’s instructions for equipment and chemicals, and use machinery correctly. Remember to always use common sense, concentration and caution.

THE DESIGN PROCESS

Design is often described as something that can’t be taught, that it is an innate talent. Actually the process can be explained. Understanding how a design is developed will give you the tools to explore your own ideas.

Jewellery design can evolve from the desire to create a unique piece, to mark an event, to convey a concept, or to experiment with materials and techniques. Some designers are inspired by the design development process, some from the challenge of construction and technical skill involved, and others by the need to express an idea or point of view.

Whatever your starting point, design development involves a process of inspiration, research and experimentation, recording of information, evaluation and assessment. Each designer follows this process in a way that suits them; however, it is important to analyse the process and record any developments that arise.

Inspiration

Inspiration can come from anywhere, anything that causes a reaction, be it a beautiful object, a mechanism, a technique, a movement, a place or an emotion. Collect images, objects and even words that relate to your concept. A designer should ask questions about why they are inspired or how they might convey an idea, always looking beyond the obvious, thinking laterally rather than literally.

Visit museums and galleries, take photographs, sketch ideas, cut out images from magazines, look up the subject, try and collect as much information as possible to build a rich variety of resources.

Designing with a sketchbook, used to collect and record ideas and processes.

A mood board is a collection of ideas, thoughts, materials and patterns used for inspiration.

A mood board is a great way to collate all visual information in one place, allowing the designer to view everything together, although a scrap book or a box of found objects can achieve the same result.

Design development

Being able to draw is a definite advantage, but a lack of drawing skills should not put people off beginning the design process, as there are other techniques that may be used. There are two stages involved in design development: soft thinking and hard thinking.

Soft thinking involves a degree of playfulness, allowing an exploration of ideas intuitively and imaginatively. Tracing paper can be used to select shapes and play with how the image can be overlaid, overlapped and repeated, flipped, rotated and resized, creating new shapes and forms.

Look at how the spaces between shapes can be redefined as shapes themselves; consider colour, balance and light. Cut up or photocopy images and play around with them, change elements by degrees until you are happy with the results.

Explore ideas further by adding colour, shading, texture and additional materials. Focus on the elements that are most relevant to the idea, concept, materials or technique you are interested in.

These soft thinking ideas then need to be developed into a working design by using hard thinking. This involves literal rather than lateral thinking. Consider the type of piece, the materials it will be made of, how it will be constructed, and how it will attach to clothing or to the body. Hard thinking is concerned with the technical aspects of the design: how and if it will work.

A designer should always be open to changing their design. It is possible that when creating samples or during construction, difficulties or technical issues will occur, and a better alternative solution may be found.

Before making a piece, a drawing should be made to scale. A technical drawing of the piece allows us to consider it from all angles; this helps in working out the stages of construction as well. If necessary graph paper may be used to work out scale drawings.

Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 1.

Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 2.

Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 3.

Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 4.

Soft thinking inspired by the mood board. Initial drawings exploring shapes – Example 5.

Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 1.

Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 2.

Further development of soft thinking, using repetition of shapes, adding shadows and incorporating colour – Example 3.

Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 1.

Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 2.

Hard thinking considering the technical aspects of the design and how it will work as a piece – Example 3.

A technical drawing of a design drawn to scale, used to inform the making process.

The design elements

Irrespective of inspiration or concept, there are a few design principles that should always be considered during design development. These include shape, form, texture, line, colour and balance.

Different shapes have different characteristics – for example a circle is continuous, a square is solid, and a triangle has direction. Each shape can also change its character by its position, as well as its relationship to other shapes. A narrow triangle pointing outwards can be quite aggressive, whereas a wide triangle sitting on a flat base is strong and centred.

Form relates more to the 3D aspect of a shape, and it can drastically change the nature of a design. For example, a cone is both triangular and circular, making the triangle seem less dynamic than a pyramid shaped one. When developing a design it is necessary to think about how the 3D form will impact on the feel of the piece.

Texture can have an enormous impact on a design: it can change, enhance or magnify the perception of a piece entirely. This is both a visual and a sensory effect, as jewellery is something that is held and worn on the body. Texture can make a form seem rough, silky or smooth, just from the way it stimulates our senses. It can also help intensify a design, for example using the imprint of a feather on a feather-shaped pendant, or using a coarse, sharp texture on a piece expressing the concept of violence.

In a similar way, colour can also stimulate our senses, affecting how we perceive a design. It has a language of its own and these days there are numerous ways of utilizing colour in our designs. We are all familiar with the Western world’s concept that red means danger and blue is considered calming; however, it is worth considering that in other cultures colours may often have different connotations.

Balance is about laying out the design in an aesthetically pleasing arrangement, with an equal distribution of visual weight. Symmetry is created by a design that is equal on both sides of a vertical line; this gives a piece stability but can also be a little less exciting. Asymmetry creates balance with contrast, using elements that have unequal visual weight. It is often more interesting and dynamic than symmetry, but may also cause discomfort to the wearer.

Visual weight is influenced by the size of parts, and their relationship to other parts of the design, whatever their size. Texture also affects visual weight as elements with a bolder texture tend to look heavier. Other influences are colour, shape and orientation.

Additional principles that need to be considered are the sensory impact of a design, functionality, and suitability of materials and process. Sight and touch are the most obvious senses that relate to jewellery making; a piece should engage people visually, and different materials and finishes will impact on its tactile qualities. However, sound, smell and taste can play a part in a design too.To clarify, a piece could be edible, but if the design is figurative (particularly in the shape of something edible) it could generate the sense of taste. All of these elements combine together to appeal to people’s emotions.

Functionality should always form part of design development. This is not to say that all jewellery should be wearable, or even comfortable, but it must work. This may require some exploration and experimentation, as function and aesthetics in design go hand in hand. Materials, as well as the processes used, will also impact on both the look of the piece and its functionality.

The sketchbook

An active sketchbook is a valuable tool and can be used in various ways. A sketchbook can be described as a personal diary of research, testing and process. Anything can be included, drawings, doodles, sketches, text, ideas, thoughts, magazine clippings, photos, samples, test pieces and technical notes.

Some designers prefer to have a separate technical log for all making processes, as it can be easier to refer back to at a later date. Either way, it’s important to get everything down on paper as it can be used to reveal developing links.

Occasionally designers experience an epiphany, and a design comes to them fully formed. However, this will usually be a result of a combination of thoughts, experiences, visual stimuli, sounds or even conversations. Things rarely just pop into a person’s head; whether or not we know it, ideas are constantly being processed.

This is why it is useful to have a sketchbook, to see how an idea has developed, and possibly find new or better ideas as a result. As teachers, we often find students may be resistant to using a sketchbook; although it can sometimes be daunting, it can also lead to finding your best designs, as well as being a useful record of samples and processes. Recording issues that arise can prevent repeating the same mistakes by referring back to notes. It can also help to find direction at times when confronting a mental block, offering a constant source of inspiration for new work.

The quality of drawings, or how pretty a sketchbook looks, is irrelevant; it is a personal record of a design journey, an aid to working out thoughts, ideas, questions and problem-solving skills, allowing the designer to enter into a private conversation with themselves. In addition, it is an opportunity to reflect on your personal growth and development as a designer and maker.

Test pieces and model making

Model making is a great way to finalize a design and test if it still has merit in 3D form. It is important to consider if and how a design will work technically, what processes should be used and in what order. This will inform the designer of any issues that may arise during the making process and help avoid making expensive mistakes.

Models can be made in base metals, but in many cases working with paper, cardboard, pipe cleaners, carving wax, gardening wire or modelling clay will be enough to provide answers. If problems arise during this process then perhaps a different material, technique or solution will need to be considered.

Paper and Fimo models used to develop soft and hard thinking.

Copper foil models used to view designs in 3D.

Paper and Fimo models alongside a technical drawing.

Evaluation

Few of us have the luxury of making jewellery for the sake of making. Usually the development of a piece is the result of a customer commission, a student brief, or as part of a collection of work for sale. Therefore there is always a need to assess if it fits the requirements.

Is there a given timescale, budget or marketplace? Does your design fit all the criteria? If not, what could be done to make it fit? Will it work as a piece of jewellery? Will it be wearable, comfortable and viable? These important questions should be explored before a design is finalized.

The brazing hearth or forge, for processes requiring a gas flame, with torches and soldering equipment.

ANNEALING AND SOLDERING

These techniques involve the use of a gas flame to make metal malleable so that it can be worked, and to join metals together. An understanding of both processes is essential when working with metals to create jewellery.

Annealing

This process involves heating metal to remove any stress or tension so that it can be worked. The structure of metal is crystalline, and as the metal is worked by hammering, filing, polishing, rolling, and so on these crystals condense and deform, causing the metal to harden. Annealing returns the crystalline structure to its original state. When metal is worked without annealing, or when overworked, the metal will become brittle. This may cause it to crack or break, therefore it is sometimes necessary to anneal a piece repeatedly.

Each metal has its own annealing temperature, and the time taken to anneal will differ according to the metal type and the amount of metal used. Therefore the only way in which we can tell if the metal has reached annealing temperature is by its appearance.

Always anneal your metal under low light (electric light can distort the colours that appear during heating) and use a slightly bushy flame.

It can be difficult to define the colour that metal should have when it is annealed, as every metal reacts to heat differently, depending on its alloy content. However, if your metal is not changing in appearance in any way, then you are not heating it correctly. When metal is overheated, it will turn a bright red/orange colour and the heat source should be removed immediately to prevent it from melting.

Sterling silver should be heated until a dull pink colour appears, almost like a blush. When the heat source is removed the surface will turn black upon cooling, caused by the oxidization of the copper content in the metal. When silver is annealed multiple times these oxides may not appear or they may be patchy, as the copper content does not remain on the surface, therefore it is necessary to learn to recognize the colour of annealed silver while it is being heated. Always allow your silver to cool for a few seconds before quenching it in water.

Fine silver and gold will not usually need to be annealed, as they are very soft; however, they will need to be annealed after becoming work-hardened.

Wire can be purchased in hard, half-hard and soft form. When annealing a length of wire, form a tight coil and heat it evenly, taking care not to overheat as this can cause parts of the wire to melt. Sometimes it is necessary to turn the coil over and heat from the other side to ensure that it is evenly annealed.

Annealing becomes easier with time, as you learn to recognize the colours of the metal and how it reacts to different amounts of heat. It’s also a good idea to pay attention to how the metal feels when being formed; try to become familiar with how the malleability of the metal changes as it is worked.

Soldering

This is the process of joining metals with the use of heat and solder. The solder should always be of a lower melting temperature than the metals being joined; when the correct temperature is reached, the solder will bind the metals through capillary action.

As with annealing, when metal is heated, its crystalline structure expands, allowing the solder to flow into the minute spaces between the crystals, therefore creating a strong bond.

Certain conditions must first be in place for the solder to work well: ensure that the join is a good fit and that it is clean from grease and oxides. Silver and gold solder are not fillers, so they will only bind metal if the place where they meet is touching closely. Capillary action is only possible when there is little or no gap between the metals being joined.

If you attempt to use solder as a filler in joints that are not closely touching throughout, you will find that the solder will often flow over the metal surfaces, rather than into the gap between them. This is due to the fact that the solder is attracted to the hottest point of the metal surface. Even if you manage to solder the join, it will always be weaker than a join that was correctly prepared, as well as being visibly inferior.

The amount of solder used should also be considered. If too much is used there will be excess which will need to be cleaned up, and this can be difficult in hard-to-reach areas. Assuming that you have a good, close join, you shouldn’t need to use very much solder at all.

The solder should always be placed where it will not affect the design. For example, if you have a textured surface, you may choose to place the solder on the reverse side of the join. The heat of the metal will pull the solder cleanly through to the other side. Make sure the piece is set up correctly so that no parts will move during the soldering process; it’s always better to take time preparing a join and setting up, rather than spending additional time correcting mistakes.

The cleanliness of the piece is extremely important. The capillary action can only work if the metal surface is free from grease and oxides, otherwise the solder will simply not run along the join. Grease can be removed with any degreasing solvents; oxides, burnt flux and other dirt can be removed in a pickling solution. In some cases it may be necessary to use pumice powder to clean the piece after pickling, to ensure the surface is completely clean.

As surface oxides will naturally appear when the metal is heated, it is essential that you use a flux. This creates a protective layer between the metal surface and the atmosphere, preventing oxides and enabling the flow of solder. Different types of flux are available, as discussed later.

Always direct your flame onto the piece rather than the solder. The whole piece should be heated evenly until eventually the heat of the metal will draw the solder to it. Working this way will also prevent the flux from becoming spent and the solder from becoming brittle.

Solder types

The type of solder used should always suit the specific piece being worked on. When working with gold, use solder with the same colour and carat as the piece. However, if soldering a small amount of gold to a silver piece, it is possible to use silver solder.

Silver solder is available in five different grades: enamelling (IT), hard, medium, easy and extra easy. Each of the grades is an alloy of silver with copper and zinc in varying amounts. Each has a different melting point, with enamelling solder having the highest melting temperature.

The reason for having different grades of solder is so that multiple solder joins can be applied to a piece. It is always best to work as much as possible with a solder with a higher silver content, as the colour, look and strength of the join will be better. However, if the piece requires multiple solder joins, plan so that the solder with the highest melting point is used first, and the lowest melting point last, ensuring that previous joins do not melt when more solder is applied.

When silver solder melts, a small amount of the zinc in the alloy will evaporate, causing its melting point to rise. Therefore a number of joins can be soldered using the same grade of solder. However, care should be taken, as when solder is overheated, the solder seam may become pitted and brittle. In some cases when heated repeatedly, the zinc content can also eat into the metal surface.

Enamelling solder is used for enamelled pieces. It has a high melting point, very close to the melting point of silver. It is used because the temperature of the enamelling kiln is also very high and other types of solder are not suitable. If a lower grade of solder is used, pieces would collapse in the kiln.

Solder is generally provided in strip, sheet or wire form, or as a solder paste, which is distributed through a syringe and is already mixed with flux. This is particularly suitable for areas needing a minimal amount of solder at a precise point.

Soldering methods

The choice of technique is often due to maker preference; however, in some cases there are tried and tested methods that are best used in certain applications.

Chip/pallion soldering

This is the most commonly used technique in jewellery making. It involves cutting small bits of solder using snips. Work with very small pieces, as often only a little solder is required. This avoids large amounts of excess solder being created that would need to be cleaned up.

Sweat/tin soldering

This method is used when joining a number of layers, especially when mixing metals or using textured surfaces. Flux is applied to the back of the top layer and the solder melted on to it, then once it has been cooled, pickled and rinsed, more flux is applied between the surfaces. The piece is heated again, allowing the previously applied solder to run between both layers, leaving a cleaner finish than if the solder was positioned along the edges where both metals meet. Ensure the solder flows all the way around the edges by watching it flash through.

Probe/pick soldering

When soldering very small parts such as jump rings, or earring wires, it can be useful to pick up tiny pieces of solder with a probe or pick, and place it in position once the pre-fluxed metal has been heated up.

Stick soldering

This is usually used when working on larger pieces and where a larger amount of solder is required. Flux the join and the strip of solder in preparation, and hold the solder strip with a pair of reverse action tweezers. Once the piece has reached soldering temperature, hold the tip of the pre-fluxed solder strip to the join. The hot metal will draw the solder along the seam using capillary action.

Paste/syringe soldering

Most suited to delicate work with a very small join area. The solder mixed with flux comes in a syringe, which can be used to dispense tiny amounts at a specific point. No other flux is required. This solder is available in hard, medium and easy grades.

Flux and anti-flux

Flux is an essential part of the soldering process – without it the solder will not work. It prevents oxidization and keeps the join clean, helping the solder to flow.

A few types of flux are available, the most commonly used being borax. Borax is a salt-based mineral that dissolves in water. It is supplied in powder form or, more usually, compressed into a cone shape. A small amount of water is added to the borax dish, which has a slightly coarse texture; the borax cone is then ground into it to form a paste. The mixed flux should be milky – if it is too watery then there is not enough borax mixed into it.

The borax should be applied to both sides of a join so that the solder can pull through to the other side. Once it is heated the water will evaporate, causing it to bubble up. After bubbling it will relax back down, eventually becoming red in colour and sticky.