How to Make Fingerprint Jewelry · 17 Making a Fingerprint Key 60 18 Keepsake Bracelet Bead 63 19...

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Fingerprint Jewelry How to Make www.MakeFingerprintJewelry.com Maggie Bergman

Transcript of How to Make Fingerprint Jewelry · 17 Making a Fingerprint Key 60 18 Keepsake Bracelet Bead 63 19...

Page 1: How to Make Fingerprint Jewelry · 17 Making a Fingerprint Key 60 18 Keepsake Bracelet Bead 63 19 Fingerprint Ring 66 20 Applying a Patina 71 21 Polishing & Tumbling 74 22 Changing

Fingerprint JewelryHow to Make

www.MakeFingerprintJewelry.com

Maggie Bergman

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Copyright © 2010 Maggie Bergman. All rights reserved. No portion of this book may be reproduced mechanically, electronically, or by any other means, includ-ing photocopying, without written permission of the publisher. It is illegal to copy this book, post it to a web site, or distribute it by any other means without permission from the publisher.

www.MakeFingerprintJewelry.com

Limits of Liability and Disclaimer of Warranty The author and publisher shall not be liable for your misuse of this material. This book is strictly for informational and educational purposes.

Warning – Disclaimer The purpose of this book is to educate and entertain. The author and/or pub-lisher do not guarantee that anyone following these techniques, suggestions, tips, ideas, or strategies will become successful. The author and/or publisher shall have neither liability nor responsibility to anyone with respect to any loss or damage caused, or alleged to be caused, directly or indirectly by the information contained in this book.

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ContentsIntroduction� v

What�is�it�about�Keepsake�jewelry�that�makes�it�so�very�special?� 6

1� Taking�Clear�Fingerprints� 8

2� Preparing�Artwork�for�a�Photo�Polymer�Plate� 11

3� Taking�Children’s�Hand�&�Foot�Prints� 13

4� Making�a�Simple�Rubber�Mold� 16

5� Turning�Children’s�Drawings�into�Jewelry� 19

6� Shapes�&�View�Finders� 22

7� How�to�Make�a�Photo�Polymer�Plate� 27

8� Metal�Clay�Basics�-�Tools�&�Materials� 33

9� Metal�Clay�Basics�-�Working�with�Metal�Clay� 35

10� Making�a�Simple�Hand�or�Footprint�Charm� 39

11� Use�Your�Child’s�Art�to�Make�a�T-Shirt�Pendant� 42

12� Heart�Pendant�with�Fingerprint� 44

13� Birthstones�&�Firing�Stones�in�Metal�Clay� 47

14� Setting�Stones�in�Metal�Clay� 51

15� Key�Ring�with�a�Fingerprint�&�Handwritten�Name� 54

16� Stamping�Letters�in�Fired�Metal�Clay� 57

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17� Making�a�Fingerprint�Key� 60

18� Keepsake�Bracelet�Bead� 63

19� Fingerprint�Ring� 66

20� Applying�a�Patina� 71

21� Polishing�&�Tumbling� 74

22� Changing�a�Hobby�into�a�Business� 77

23� Setting�Up�a�Home�Business�-�Checklist� 80

24� Conclusion� 82

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©2010��-��How�to�Make�Fingerprint�Jewellery���~���http://makefingerprintjewellery.com� � v

I�think�I�have�been�creative�all�my�life!�My�very�first�memories�are�the�ones�where�I�was�making�things,�crazy�things,�pretty�things,�whatever�I�could�get�my�hands�on�at�the�time.

My�creativity�these�days�is�taken�up�by�jewelry�in�all�its�forms,�Sterling�silver,�Copper�and�of�course;�Metal�Clay!

This�amazing�material�has�changed�my�life!�I�was�one�of�the�first�group�of�Certified�Senior�Instruc-tors�for�Artclay�Silver�to�qualify�here�in�Australia,�then�12�months�later�I�became�a�Senior�Teacher�for�PMC�when�it�arrived�here.�I�have�been�teaching�metalclay�workshops�since�2004,�from�beginners�to�advanced�subjects.

In�2007�I�was�honoured�to�be�one�of�15�people�around�the�world�who�helped�guide�the�set-ting�up�of�the�Metal�Clay�Masters�program,�this�exciting�program�is�now�well�on�its�way�and�presents�a�new�challenge�to�artists�all�around�the�globe.

Lately�the�requests�for�my�workshops�have�changed!�People�email�me�wanting�to�learn�how�to�make�Fingerprint�jewelry,�and�they�have�been�flying�in�from�all�states�just�to�get�the�ba-sics.�Not�everyone�can�afford�to�do�this�of�course�and�I�have�had�many�emails�from�people�ask-ing�me�to�come�to�their�town,�or�to�recommend�someone�to�teach�them�locally.�This�was�not�something�I�can�do�easily�so�at�last�I�decided�to�write�this�book.

The�first�8�chapters�are�all�about�basic�techniques�to�make�your�life�easier�when�making�keepsake�jewelry.�How�to�take�clear�fingerprints,�working�with�children’s�drawings,�taking�baby’s�hand�&�foot�prints�and�more.

The�jewelry�making�projects�are�presented�with�the�simplest�ones�first�and�all�can�be�done�by�a�beginner�as�long�as�they�are�attempted,�one�at�a�time,�in�the�order�they�are�set�out.�If�you�have�never�worked�with�Metal�clay�before,�please�be�sure�to�thoroughly�read�chapter�9�‘Metal�Clay�Basics’,�it�is�the�foundation�that�all�the�other�projects�are�build�on.

I�hope�you’ll�have�fun�trying�the�different�techniques�presented�here!

GET YOUR FREE BONUS TEMPLATESAs�a�thank�you�for�buying�this�book,�I�have�prepared�a�free�Pdf�for�you�to�download.�It�has�over�100�shape�templates�to�help�you�get�started�with�great�designs�for�all�your�jewelry.�

Go�to:���http://MakeFingerprintJewelry.com/bonus0147.htm

Enter�this�code:��fpjeb0147����then�fill�in�your�name�and�email�address�and�I�will�send�you�the�templates�immediately!

Introduction

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What is it about Keepsake jewelry that makes it so very special?

To�capture�a�moment�in�someone’s�life,�whether�it�is�a�child’s�special�birthday,�a�couple�at�their�engagement�or�wedding,�or�an�ageing�parent.�

Fingerprints

Take�their�fingerprint�and�then�make�it�into�a�special�piece�of�jewelry�that�the�wearer�will�cherish�for�life.

These�pieces�of�jewelry�are�often�handed�down�through�the�generations,�they�be-

Shared joy is a double joy; shared sorrow is half a sorrow. Swedish Proverb

come�heirlooms,�even�adding�other�family�member’s�fingerprints�to�the�collection;�treasured�memories�made�in�precious�metal.�I�feel�that�we,�as�jewelry�makers,�are�blessed�to�be�part�of�the�process�and�help�people�capture�those�special�memories.

Hand & Foot prints

Newborn�babies�do�not�have�clearly�marked�fingerprints�yet,�but�their�tiny�hands�&�feet�make�beautiful�prints�that�we�can�use�instead.�The�process�of�taking�the�prints�is�so�easy,�anyone�can�do�it�and�the�results�are�lovely�pieces�of�jewelry�that�carry�the�memory�of�a�very�special�time.

CHildren’s drawings

Sometimes�a�child�will�bring�a�drawing�home�that�is�just�too�precious�to�lose,�or�some�chil-dren�will�draw�the�same�thing�for�years,�making�them�very�memorable!�

These�drawings�can�be�scaled�down�and�reproduced�in�silver,�making�gorgeous�charms,�pendants�or�cuff�links.

An�added�bonus�could�be�the�addition�of�colour�to�the�artwork,�from�simple�resin�work,�to�

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more�challenging,�but�beautiful�and�durable,�enamelling.

Put�the�child’s�name�on�the�back�of�the�pendant,�written�in�their�own�handwriting�perhaps,�or�their�Mum’s,�and�maybe�the�date�the�print�was�taken,�makes�it�an�amazing�treasure.

All�these�pieces�make�lovely�gifts�for�Mums�&�Dads,�Grandmothers�&�Aunties.

They�also�make�great�pieces�to�sell�for�fund-raisers,�at�the�local�school,�or�church�fair.�The�popularity�of�this�kind�of�jewelry�is�in�a�league�of�its�own,�the�pieces�sell�themselves,�which�is�great�for�artists�that�don’t�like�selling.

So,�let’s�get�started…..�

At�the�beginning…..

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Section I Preparing the Artwork & Mold Making

1 Taking Clear Fingerprints

Taking�a�clear�fingerprint�is�not�as�easy�as�it�sounds!

Not�only�is�the�process�tricky,�if�you�are�taking�prints�of�small�children�the�materials�you�use�must�be�nontoxic�and�easy�to�wash�off.

�� There�are�Inkless�kits�on�the�market,�these�were�developed�for�maternity�hospitals,�they�work�great�and�were�designed�to�be�non-toxic�for�use�with�babies.�

�� You�can�also�use�special�stamping�pads,�look�for�them�in�stamping�shops�or�online.�These�are�great�to�use,�select�one�that�is�nontoxic�and�can�be�taken�off�with�a�baby’s�wet-wipe.

The�general�principle�is�the�same�for�any�method:

�� Take�the�print�onto�a�sheet�of�white�copy�paper

�� Look�for�good�contrast�between�the�black�and�white�of�the�whorls�in�the�print.

�� Redo�if�the�results�were�less�than�satisfactory.

A�great�starting�point:��a�good�fingerprint�print,�with�just�enough�black�and�white�definition�to�take�into�Pho-toshop�or�a�similar�image�editing�program.

After�manipulation�in�an�image�editing�program�and�ready�for�making�a�Photo�polymer�plate.

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�� A�Steadler�Mars�Lumograph�100�pencil�in�8B��or�a�good�quality�black�colouring�pencil�as�a�second�choice.

�� A�piece�of�#400�or�finer�sandpaper�the�grit�is�not�crucial,�nearly�anything�will�work,�just�don’t�use�the�very�rough�sandpapers,�they�don’t�give�you�a�fine�enough�powder.

�� Wide�clear�Sticky�tape.

�� A�sheet�of�white�copy�paper

tHese are tHe materials required:

An�easy,�low-tech�-�low�cost,�way�to�take�fingerprints�at�home�is�like�this:

We’ll�use�a�very�dark�pencil�for�this�method,�a�Steadler�Mars�Lumograph�100�in�8B,�is�by�far�the�best�pencil�I�found�for�this.�It�can�be�bought�from�a�good�art�materials�supplier�or�from�an�online�art�store.��(See�Resources�P��)

Although�it�might�look�like�a�normal�pencil,�it�has�a�different�composition.�Most�pencils�have�a�graphite�lead,�which�is�a�greyish�material,�these�Lumograph�8B�pencils�are�made�from�another�material�and�are�much�blacker.

The�print�you�get�from�an�ordinary�pencil�is�nowhere�near�the�quality�the�non-graphite�pencil�will�give.�You�might�as�well�get�everything�working�at�an�optimum�level�from�the�start!�������������If�you�can’t�find�the�Lumograph�pencil�you�can�try�a�good�quality,�soft�black�colouring�pencil,��this�comes�closest�in�blackness�for�the�contrast�we�want�to�get.

metHod:

�� Rub�the�pencil�on�a�bit�of�sandpaper�until�you�have�a�little�powdered�material,�tap�the�sandpaper�on�its�side�to�remove�the�loose��powder.

�� Gently�rub�the�finger�into�the�black�area,�picking�up�just�enough�material�to�make�the�fingertip�black,�but�without�picking�up�any�lumps.

�� Rub�the�finger�very�gently�on�some�scrap�paper.�This�evens�out�the�powder�collected�and�makes�the�print�smooth.�Take�care�not�to�rub�too�hard,�this�will�drive�the�black�pow-der�into�the�grooves�of�the�fingerprint.

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Big Tip!Sometimes there is not enough defini-tion in a fingerprint, very young babies are especially hard to print! Try doing a hand or footprint for them!

�� Press�the�finger�smoothly�down�on�the�adhesive�side�of�a�piece�of�wide�sticky�tape.��Be�careful�to�press�down�in�one�smooth�movement,�don’t�use�too�much�pressure,�the�print�should�not�be�too�black�all�over.�I�suggest�you�try�this�on�yourself�first,�just�to�get�the�feel�of�the�pressure�required�and�to�learn�how�to�judge�the�results.

�� Remove�the�tape�from�the�fingertip�and�stick�it�down�onto�the�copy�paper.�Now�you�can�judge�the�print�and�See�how�well�you�did.�A�nice,�clearly�defined�print�will�show�the�whorls�with�a�good�contrast�between�black�and�white�in�between�the�lines.�If�the�print�is�too�light�or�too�dark�it�would�be�best�to�try�again.�Leave�the�tape�with�the�print�stuck�on�the�paper,�this�keeps�the�print�protected�while�you�handle�it.�

�� Write�the�name�and�date�next�to�it�for�future�record,�together�with�contact�details�of�the�customer.

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BlaCK will Be silVer!

When looking at your design, the easiest way to remember how it will look in the finished piece, is that anything that is black in the

artwork, will be raised silver in the final metal piece.

So if you made a plate with some handwriting, you would have to make the writing white on a black background if you wanted the

writing to go down into the metal clay. If you applied a patina to the fired metal and removed it from

the high areas, the writing would stay black and the background would be bright silver.

These�instructions�apply�to�any�artwork,�not�just�fingerprints.�If�you�are�making�artwork�from�kid’s�drawings,�or�handwriting,�don’t�do�step�#3,�with�line�work�or�writing�no�filters�are�nec-essary.

2 Preparing Artwork for a Photo Polymer Plate

1. Scan�the�print�into�your�computer�using�a�300�dpi��resolution.�This�will�give�you�the�fine�detail�you�need�to�keep�while�working�on�it�in�your�image�editor�(such�as�Photoshop�or�Gimp)�but�with�not�too�much�information,�which�causes�problems�when�you’re�trying�to�get�good�con-trast.�Set�the�scanner�to�Colour�Photo�or�Best�quality,�this�depends�on�the�type�of�scanner�you�use.

2. In�Photoshop�(or�equivalent)�go�to:�Image�>�Adjustments�-�in�the�Menu�bar�-�increase�the�con-trast�by�using�Levels,�just�enough�to�get�some�definition.

3. Go�to:�Filters�>�Sketch�>�Photocopy�-�make�sure�you�have�‘Preview’�ticked,�play�with�the�sliders�until�you�get�a�result�you�are�happy�with.�Aim�for�a�good�balance�of�black�&�white�lines.

4. Zoom�into�the�image�so�you�can�just�See�the�pixels,�make�sure�they�are�pure�black�&�white,�no�grey.�If�necessary�you�can�apply�Levels�one�more�time�or�use�‘Brightness�&�Contrast’�in:�Image�>�Adjustments�>�Brightness�&�Contrast.�Slide�the�contrast�slider�all�the�way�to�the�right,�then�adjust�the�brightness�until�you�are�happy�with�the�results.����

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5. If�you�know�how�to�make�crop�marks,�use�them,��but�not�too�close�to�the�print,�otherwise�use�a�couple�of�letters,�also�away�from�the�image,�as�registration�marks.�

6. Fingerprints�are�very�hard�to�line�up�without�them.

7. Make�sure�you�have�enough�black�space�around�each�print,�this�prevents�unwanted�marks�on��your�clay�later.

preparing tHe artworK using a pHotoCopier

This�same�process�can�also�be�done�with�a�good�photocopier;�Make�sure�the�setting�is�fairly�dark�for�maximum�contrast,�do�a�few�test�prints�to�See�detail.�Sometimes�it�works�to�copy�the�first�photocopy�you�made�(ISO�the�original)�this�will�increase�the�contrast.

Reversing�the�colours,�sizing�to�the�right�scale,�and�printing�onto�a�transparency,�can�all�be�done�with�a�good�copier�and�are�all�done�by�the�operator.�

It’s�best�to�go�to�a�very�good�copy�centre,�who�have�well�trained�staff,�explain�what�you�want�to�do�and�you�would�have�no�trouble�getting�your�artwork�ready�for�a�Photo�polymer�plate.�Remember�that�pure�white�as�well�as�solid�black�lines�are�essential�for�this�process�to�work.

You�are�now�ready�to�make�your�Photo�polymer�plate.�(See Chapter 6 ‘How to make a Photo polymer Plate’)

8. Double�up�the�image�in�Photoshop,�so�you’ll�print�out�two�identical�prints�on�the�same�sheet

9. Print�out�the�images�onto�an�overhead�transparency�at�the�highest�quality�your�printer�will�allow.�If�you�are�using�an�ink�jet�printer�you�need�to�get�special�transparencies,�most�brands�have�their�own,�but�generic�ink�jet�brands�work�fine�as�well.�Any�large�office�supply�store�stocks�these.

10. Cut�the�transparency�in�half�so�you�have�2�images,�place�them�on�top�of�each�other�so�they�line�up�perfectly�-�putting�them�on�a�sheet�of�white�paper�makes�it�easier�to�See�the�fine�detail�-�start�by�lining�up�the�registration�marks�to�get�a�quick�start,�then�check�the�artwork�itself�to�make�sure�all�the�detail�is�exactly�lined�up.�

11. Use�clear�sticky�tape�on�4�sides�to�keep�images�securely�together.�You�are�now�ready�to�make�a�Photo�polymer�plate!

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3 Taking Children’s Hand & Foot Prints

Children's�hand�and�foot�prints�are�like�a�snapshot�in�their�life,�like�a�growth�chart!�One�of�my�friends�takes�a�set�of�both�her�kids�every�year!

These�prints�have�a�delightfully�graphic�quality�and�work�beautifully�on�jewelry�pieces,�they�are�especially�suited�to�very�small�items,�like�charms.�Even�at�the�smallest�size,�and�al-though�they�loose�fine�detail,�they�are�still�a�true�picture�of�the�handprint.

Taking�the�prints�is�easy,�you�only�need�some�very�simple�equipment,�things�most�people�have�around�the�house�already.

tHese are tHe tools & materials you need

�� Olive�Oil

�� A�small,�soft�paint�roller,�like�the�ones�you�use�for�painting�walls

�� A�piece�of�glass�or�plastic�to�roll�the�paint�out�(a�board�with�some�plastic�taped�over�it�works�fine,�or�a�roller�tray,�like�the�ones�you�use�when�painting�the�walls)

�� Black�poster�paint

�� White�copy�paper

�� Some�news�papers

�� Rags

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Here’s How you do it:

1.� Wipe�a�very�thin�layer�of�olive�oil�on�the�hands�or�feet�to�be�printed,�wipe�all�of�it�off�again,�so�only�a�very�thin�film�remains.�This�will�make�the�paint�come�off�much�easier.�A�good�barrier�cream�would�work�as�well.

2.� Put�a�dollop�of�poster�paint�on�the�glass�and�spread�it�out�a�little�with�a�brush.

3.� Use�the�roller�to�roll�an�even�coating�on�the�glass.

4.� When�the�glass�(or�plastic)�has�an�even�coating�the�roller�will�be�ready�to�use�on�your�children’s�hands.

5.� Start�with�the�hands,�kids�will�get�it�quickly�and�there�will�be�less�trouble�doing�the�feet.�Roll�a�thin�even�layer�onto�the�hands�and�have�the�child�print�the�hand�on�a�piece�of�copy�paper.�Roll�out�and�repeat�with�the�other�hand,�then�do�the�same�with�the�feet.�

6.� If�you�think�it�would�help,�do�some�test�prints�on�newspaper�first,�it�gets�the�kids�into�the�spirit�of�it,�no�need�for�perfection,�no�pressure�to�‘get�it�right’,�just�fun!

7.� When�you’re�finished,�take�off�excess�with�the�rag�and�some�water,�then�just�wash�up�with�soap.

8.� Lay�the�prints�flat�to�dry,�don’t�worry�if�they�buckle�a�little,�it�all�adds�to�the�charm�and�the�spirit�of�the�moment.

When�the�prints�are�thoroughly�dry�they�are�ready�to�be�scaled�down�and�the�colours�re-versed�to�white�on�black,�then�printed�into�overhead�transparency�ready�to�make�a�Photo�polymer�plate.��(See Chapter 2 - How to prepare your artwork, ready for a Photo polymer plate)

Artwork�ready�for�making�a�Photo�polymer�plate.

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using an inKless system

There�is�a�less�messy�way�to�get�hand,�foot�or�fingerprints:�these�are�the�Inkless�Wipes.�These�kits�have�a�special�wet�wipe�that�can�be�used�on�babies�hands,�they�are�then�pressed�onto�the�special�paper�that�comes�in�the�kit.

These�kits�are�a�more�professional�method�for�you�to�use�on�other�people’s�children,�or�to�send�by�mail�for�customers�to�use�at�home.�

They�are�affordable,�super�easy�to�use�and�come�with�good�instructions.�Search�for�them�online,�a�while�ago�I�found�some�on�Ebay�which�came�from�the�UK.

Be careful of your budget, these kits can add quite a bit to your expenses, the wipes that come with the kits dry up fast and can’t be used again. On the plus side they are available in bulk, which brings down the price a lot.

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4 Making a Simple Rubber Mold

Pressing�a�finger�into�Metal�clay�is�the�most�direct�way�to�get�a�beautiful�fingerprint�impres-sion.�This�is�of�course�not�always�possible,�family�can�live�far�away�and�you�have�no�way�of�taking�the�prints�yourself.�I�believe�the�best�way�is�to�send�an�Inkless�Wipe�kit�and�then�make�a�photopolymer�plate.

Using�Kneadable�Silicon�rubber�is�another�option,�I�must�stress�here�that�it�is�my�least�fa-vorite�way�for�fingerprints.�Trying�to�get�a�clear�impression�from�a�small�child’s�finger�is�very�difficult,�there�just�isn’t�enough�definition�in�the�fingerprints�of�babies�&�toddlers.�You�might�consider�moulding�a�couple�of�the�fingers,�the�toes,�or�the�whole�little�hand,�it�would�be�a�great�alternative�and�look�very�cute.

But….�some�people�might�still�want�to�try�this�method�so�here’s�the�way�you�could�try.

measuring tHe ruBBer

Kneadable��rubber�comes�in�2�parts�which�are�mixed�in�equal�quantities,�Part�A�&�Part�B.�If�you�have�scales�that�are�accurate�to�a�gram,�it�is�easy�enough�to�get�the�2�parts�perfectly�equal,�but�things�get�a�bit�tricky�when�you�do�not�have�scales�like�that.

The�material�is�fairly�forgiving�and�this�is�how�I�do�it�when�I�don’t�have�any�scales�handy:

1.� Take�a�small�quantity�of�Part�A,�you’ll�need�to�use�your�judgement�here,�better�to�use�a�little�more�than�to�run�short,�this�gets�easier�with�experience.

2.� Roll�the�rubber�into�a�short,�thick�coil,�about�the�size�of�your�pinky,�make�sure�the�ends�are�nice�and�square.

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3.� Now�take�roughly�the�same�amount�for�Part�B�and�roll�it�into�a�coil�of�equal�thickness�to�the�first�one.�Lay�the�two�coils�next�to�each�other�and�chop�to�the�same�length.�You�can�use�a�tissue�blade�or�a�scalpel�if�you�have�one,�even�a�simple�craft�knife�will�do�the�job.

4.� Flatten�both�coils�and�layer�them�on�top�of�each�other.�Now�just�press�together�and�double�up,�then�cut�in�half�and�double�it�up�again,�layering�as�you�go.�Knead�the�rub-ber�until�it�is�well�mixed,�but�do�not�take�too�long�to�mix�the�material,�the�curing�proc-ess�starts�the�minute�you�mix�the�2�parts�together,�try�to�get�it�mixed�in�under�2�min-utes.����Please note: The mix does not have to be totally even in colour, a little marbled colour does not seem to affect its performance.

now we’ll maKe tHe mold:

5.� Roll�the�mixed�rubber�into�a�ball�and�put�it�on�a�smooth�surface,�without�pressing�it�down.�A�piece�of�glass�or�plastic�works�well,�anything�that�is�firm�when�pressure�is�ap-plied�will�be�fine.

6.� Lightly�wipe�the�finger,�or�the�baby’s�hand�you�want�to�mould,�with�a�little�vegetable�oil�and�then�wipe�all�of�it�off�again,�enough�oil�will�stay�behind�to�make�it��release�easily.

If you are taking a very young child’s finger print it would be advisable to hold their finger yourself and press it down evenly, firmly, but not too hard. Do not wiggle from side to side, it should go straight down.

7.� To�remove�the�finger,�hold�down�the�rubber�on�both�sides,�then�just�lift�the�finger�out�of�the�rubber.

8.� Leave�the�rubber�undisturbed�for�15�or�more�minutes,�go�by�the�manufacturer’s�in-structions,�leaving�it�longer�only�makes�it�stronger.

9.� This�type�of�rubber�typically�cures�in�24�hours,�but�they�can�be�used�as�soon�as�they�set,�I�leave�mine�for�approx..�30�minutes�before�I�use�them�with�metal�clay.�

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10.�The�mold�is�now�ready�to�use,�it�does�not�need�oiling,�but�I�usually�do�anyway,�just�to�play�it�safe.�Make�sure�to�wipe�off�any�excess,�it�might�interfere�with�the�delicate�pattern�of�a�fingerprint.

So�now�you�have�the�mold,�but�when�you�roll�out�the�clay�you’ll�find�that�the�fingerprint�is�raised,�as�opposed�to�the�nor-mal�indentation�you�get�when�pressing�a�finger�into�the�fresh�clay.�

To�overcome�this�we’re�going�to�have�to�make�a�second�mold,�pressing�another�bit�of�mixed�kneadable�rubber�into�the�oiled�mold�you’ve�just�made.��Just�keep�in�mind�that�you�are�going�to�loose�more�detail�in�

this�second�mold,�this�can’t�be�helped�it’s�just�part�of�the�process.

Keep�the�rubber�high�while�pressing�into�the�first�mold,�this�eliminates�ridges�that�might�make�a�mark�on�the�clay.�Trim�any�ridges�with�a�sharp�blade.�This�is�the�substitute�finger�that�can�be�pressed�into�the�clay,�which�then�can�be�trimmed�into�the�shape�you�want.

��

Just�remember�that�not�everyone�has�very�clear�fingerprints,�even�adults�prints�can�be�indis-tinct,�so�if�you��are�not�getting�a�clear�print�in�the�rubber,�try�making�one�with�a�Photo�poly-mer�plate�instead.�

(See Chapter 1 ‘Taking Clear fingerprints’)

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5 Turning Children’s Drawings into Jewelry

All children are artists. The problem is how to remain an artist once he grows up.

Pablo Picasso

There�is�nothing�so�appealing�as�a�child’s�drawings,�they�have�spontaneity�and�di-rectness,�an�innocent�use�of�line�&�colour�that�is�striking�and�has�a�powerful�artistic�expression.�Many�established�artists�would�love�to�have�that�childhood�freshness�back�in�their�own�work!

School,�and�all�sorts�of�other�external�pres-sure�kids�are�exposed�to,�will�often�destroy�the�spontaneity�of�their�drawings.�This�makes�it�even�more�important�to�‘capture’�the�feeling�of�that�early�time�in�their�life,�when�they�were�just�having�fun,�and�keep�it�forever�as�a�precious�memory.

Scaled-down�drawings�can�be�used�for�any�kind�of�jewelry,�charms,�pendants,�rings,�cuff-links,�key�rings�and�more.

But�because�children�are�so�uninhibited�in�their�use�of�colour�and�scale,�the�resulting�draw-ing�can�be�a�nightmare�to�reproduce�in�the�solid�black�&�white�artwork�we�need�for�our�pur-pose.�It�is�vital�to�establish�some�boundaries�for�the�little�artist,�allowing�him�or�her�to�draw�in�a�relaxed�way,�but�still�making�it�easy�for�you�to�convert�the�drawing�into�a�transparency�.

(See Chapter 2 - How to prepare your artwork, ready for a Photo polymer plate)

As�you�have�probably�observed,�kids�will�draw�on�anything�and�grab�any�pen�or�marker�they�can�get�their�hands�on!�We�can�use�that�to�our�advantage�by�giving�them�paper�that�is�smaller�&�closer�to�the�shape�of�our�pieces,�together�with�a�fat�black�marker�that�is�fun�to�draw�with�but�suits�our�work�as�well.

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The�reason�for�this�is�obvious�when�you�think�about�it,�the�drawing�will�have�to�be�reduced�down�to�jewelry�size,�and�in�that�process�you�can�lose�the�thickness�of�the�original�lines,�making�them�spidery�and�harder�to�repro-duce.�

To�avoid�any�problems,�make�up�this�draw-ing�kit�for�your�own�child,�or�to�give�to�your�friends�for�their�children’s�use:

�� Cut�some�copy�paper�in�half,�and�then�in�half�again,�making�4�-�A6�size�pieces�from�each�sheet�(about�10�cm�x�15�cm�or�4”�x�6”).�Make�a�small�stack�of�these�for�each�child�(draw-ing�is�a�great�kid’s�activity�for�a�Keepsake�Jewelry�Party,�while�the�Mums�make�up�their�mind�what�to�buy�from�you!)

�� Give�them�a�fat,�black�marker,�nothing�else,�no�colours�allowed�for�this!

Give�these�to�the�child�and�then�just�let�them�draw�for�as�long�as�they�are�happy�to�do�it.�If�they�are�not�too�interested,�leave�the�paper�&�marker�there,�they�might�come�back�to�it�after�a�while.

A�single�figure�per�page�works�best,�but�if�your�child�likes�to�draw�complete�scenes,�that’s�okay�too,�just�look�for�portions�of�the�drawing�that�you�could�use.�Mum,�Dad�&�child�stand-ing�in�front�of�the�house�could�be�split�up�for�instance,�the�family�dog�or�cat�are�also�good�subjects.

You�could�give�them�suggestions�for�specific�pieces�you�would�like�to�make;�they�could�draw�Grandma,�if�the�jewelry�is�intended�as�a�gift�for�her.

Or�draw�something�especially�for�Daddy�to�make�a�key�ring�for�him.

Get�the�child�to�write�his�or�her�name,�if�they�can,�on�one�of�the�drawings,�this�could�also�be�made�into�a�photo�polymer�plate�and�used�in�a�jewelry�piece,�either�by�itself�or�as�an�extra�touch.

Think�of�how�you�could�combine�their�drawing�with�a�fingerprint,�a�hand�or��footprint,�their�name,�written�by�themselves�or�by�Mum,�to�make�a�charm�bracelet�or�a�necklace�cluster.�This�is�a�great�idea�when�you�are�turning�this�into�a�home�based�business,�returning�custom-ers�are�your�best�customers.

Carefully follow the directions on page 12 ‘How to Prepare your Artwork, ready for a Photo polymer Plate’ starting at #6

A�client�could�buy�a�bracelet�or�necklace�chain�with�one�charm�to�start,�then�add�more�at�any�time�in�the�future.�This�could�go�on�for�years�-�think�of�the�Pandora�craze�a�while�ago

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Keep�a�folder�with�a�client’s�particulars�such�as:

�� Birth�dates�for�the�whole�family�-�for�relevant�information�on�birthstones,�star�signs�etc.

�� Drawings�&�writing

�� Fingerprints�

�� Hand�&�foot�prints.�

All�of�these�can�be�used�by�your�client’s�friends�and�family�whenever�they�want�to�give�an-other�charm�as�a�present�-�they�could�come�and�See�you,�or�even�call�you,�to�arrange�for�a�charm�to�be�made.�You�could�even�organise�postage�or�delivery�to�their�friend�directly,�in�gift�packaging�and�with�a�nice�card�from�the�sender.��If�you�have�a�web�site�this�becomes�even�easier!

Of�course�you�need�to�separate�any�artwork�from�the�collection�once�it�has�been�used�for�a�charm�-�an�envelope�or�small�bag�will�keep�it�all�together,�without�losing�vital�bits�&�pieces.

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6 Shapes & View Finders

Having�children�drawing�into�the�right�shape�for�the�piece�of�jewelry�you�want�to�make�will�save�you�lots�of�time�when�it�comes�to�scaling�it�down�and�getting�it�to�the�right�proportions.

You�will�find�some�shapes�sell�well�and�are�used�a�lot,�and�you�can�scale�up�that�particular�shape�on�the�computer�or�with�a�photocopier,�to�fit�onto�an�A6�piece�of�paper�(a�sheet�of�photocopy�paper,�folded�in�half�and�then�in�half�again)

I�have�given�you�some�shapes�to�start�with�on�the�next�few�pages,�they�can�be�used�in�2�ways:

1.� Print�them�out�and�let�the�children�draw�inside�the�shapes.

2.� Print�them�out�and�cut�the�shapes�out�of�the�background,�then�use�them�as�a�view�finder�on�a�child’s�drawings

You�might�have�to�scale�these�templates�in�a�couple�of�sizes�to�make�the�most�of�them.�Smaller�drawings�need�smaller�view�finders.

Just�hold�the�viewfinder�over�the�drawing�to�isolate�the�sections�you�would�like�to�use.�Viewfinders�simplify�the�process�by�masking�some�of�the�sur-rounding�‘clutter’

For�‘odd’�shaped�pieces�you�may�want�to�simplify�the�design�area�to�fit�inside�the�piece.

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oVals

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dog-tags

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square&

CirCle

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Hearts

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7 How to Make a Photo Polymer Plate

Photo�polymer�plates�are�probably�the�most�useful�of�all�my�tools,�I�can�use�them�for�my�hand�&�footprints,�fingerprints,�handwriting�and�kid’s�drawings,�to�name�just�a�few�of�their�many�uses.�

The�first�time�you�make�a�Photo�polymer�plate,�or�PPPs�as�they�are�known,�you�might�find�it�very�confusing,�you�have�to�think�in�reverse,�even�if�your�brain�is�going�forward!�

As�a�beginner,�the�best�thing�to�do�is�to�just�try�and�follow�the�instructions�closely�to�make�a�couple�of�plates:�expect�the�first�few�to�be�less�than�satisfactory,�just�try�them�a�few�times�as�a�learning�experience.�

You’ll�be�amazed�at�how�easy�they�are�to�make,�once�you�get�used�to�working�with�them�and�your�own�lights�setup.

preparing tHe artworK

When�you�want�to�make�a��PPP�everything�depends�on�getting�the�artwork�right.All�artwork�to�be�used�for�a�Photo�polymer�plate�must�be�in�solid�Black�&�White�only,�no�grey�areas,�or�faint�lines.

(See Chapter 2 - Preparing artwork for a Photo polymer Plate)

eXposure metHods

Photo�polymer�plates�can�be�exposed�using�different�UV�exposure�methods:

Sunlight:�Not�easy�to�control,�it�is�hard�to�determine�the�exposure�times,�they�would�be�very�different�from�morning�to�noon,�from�one�day�to�the�next,�or�through�different�sea-sons.�It�can�be�done�though,�use�a�very�small�test�strip�just�before�you�are�ready�to�expose�a�plate,�you�might�find�that�in�time�you’ll�develop�an�uncanny�sense�of�the�exposure�time�needed.�You�don’t�even�need�sun,�it’s�the�UV�rays�you�want�and�they�are�there�most�of�the�time,�even�when�it’s�overcast.

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Home made UV exposure unit:�This�is�fairly�easily�constructed�if�you�are�handy�-�it�is�basically�a�box�of�some�sort,�I�used�a�plastic�toolbox,�fitted�with�armatures�that�allow�the�UV�tubes�to�be�installed�very�close�together.�

Special�UV�tubes�are�available�from�any�good�electrical�supplier,�and�are�sold�as�‘Black-light�Insect�Control’�tubes.�They�are�small�tubes�about�28�cm�in�length�(under�1�foot)�

I�chose�a�toolbox�to�allow�me�to�easily�take�it�when�traveling,�but�any�type�of�sturdy�box�would�work�just�as�well.

Nail Artists exposure units:�some�metal�clay�suppliers�sell�these,�I�have�also�Seen�them�on�Amazon�and�Ebay.�

They�are�accurate,�easy�to�store�and�affordable.�Get�the�large�unit�if�you�can�afford�it,�the�smaller�ones�will�severely�limit�the�size�of�the�plates�you�can�make.

maKing a test strip

Test�the�length�of�exposure�needed�for�your�unit�and�your�plates�with�your�test-strip.�When�designing�your�test�strip,�don’t�make�the�lines�too�thin,�they�could�lift�off�the�plate.�You�can�design�this�on�the�computer�in�any�program�with�which��you�are�comfortable,�using�any�kind�of�symbols�or�text.�

Photocopy�the�artwork�twice�onto�an�overhead�transparency,�cut�both�pieces�out�and�dou-ble�them�up�with�some�sticky�tape.

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Here is artwork for a test strip for you to use if you don’t want to make your own.

tHe eXposure Frame

The�exposure�frame�holds�the�image�firmly�in�contact�with�the�plate�during�exposure�under�the�UV�light.�An�exposure�frame�can�be�easily�made�up�using�readily�available�materials:

�� Some�thin�craft�wood�or�masonite,�about�5�cm�(2”)�larger�all�around�than�the�maximum�size�of�your�artwork�(so�for�4”x�4”�plates�I�use�a�6”x�6”�piece�of�board)

�� A�piece�of�bubble�wrap�or�thin�foam�to�act�as�cushioning,�bubble-side�down�and�taped�to�the�board.

�� A�piece�of�2�mm�thick�glass�the�same�size�as�your�board�and�4�large�bulldog�clips.��An�easy�way�to�get�these�materials�together�might�be�to�buy�an�inexpensive�photo�frame�from�a�$2�shop:�just�make�sure�the�backing�is�solid,�not�just�a�piece�of�cardboard.

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determining eXposure times using your test strip

The�plates�can�be�handled�safely�for�short�periods,�in�any�non-UV�light,�(normal�fluorescent�lights�are�fine�for�a�few�minutes).�Be�careful�to�keep�them�out�of�direct�sunlight�or�near�any�UV�light�source.�Keep�the�plates�upside�down�on�the�bench�if�there’s�a�delay�in�exposing�them�and�make�sure�no�sunlight�can�reach�them,�you�can�put�some�cardboard�or�a�dark�towel�over�them�to�make�sure.

Please�note�the�exposure�times�below�are�a�guide�only.�Sometimes�you�have�to�do�your�test�strip�a�few�times,�to�find�the�optimum�exposure,�for�the�combination�of�the�UV��light�and�the�type�of�plates�you�are�using.�This�timing�should�then�stay�the�same�for�future�exposures�with�the�same�batch�of�plates.

1.� Using�metal�shears,�cut�a�14�x�2.5�cm�(5.5”�x�1”)�strip�off�the�PPPlate�you�want�to�test.�Remove�the�cover�film�from�the�front�of�the�plate�and�position�your�artwork�on�the�plastic�side�of�the�plate,�take�care�to�reverse�it�if�you�are�working�with�text.

2.� Position�the�plate�in�the�centre�of�your�exposure�frame,�cover�with�the�glass�sheet�and�position�the�bulldog�clips�in�such�a�way�that�they�are�not�covering�the�design.�

3.� Cover�the�plate�with�some�heavy�card�over�all�of�its�length�except�for�the�last�2�cm�(3/4”)

4.� Set�your�timer�for�15�seconds,�switch�on�your�UV�light�source�and�expose�for�that�length�of�time.

5.� Switch�off�the�light,�reset�the�timer�for�another�15�seconds,�move�the�cardboard�another�2�cm�(3/4”)�and�expose�again.�

6.� Repeat�until�the�whole�strip�has�been�exposed.�The�very�last�exposure�will�have�only�received�15�seconds�of�light,�the�next�30,�then�45�seconds�etc.

7.� Wash�the�plate�as�described�below,�you�can�now�judge�the�perfect�time�for�your�light�source.

8.� Look�for�very�smooth,�crisp�edges�and�a�complete�wash�out,�right�to�the�metal.��**�Over-exposed�areas�will�not�wash�out,�or�would�be�very�hard�to�wash�out.�**�Under-exposed�areas�will�wash�away�too�much,�leaving�softer,�rounded�edges�and�wider�lines�than�the�original�design,�or�they�might�even�wash�away�altogether.

9.� My�own�UV�exposure�unit,�with�2�UV�tubes,�takes�1�minute�and�5�seconds�for�a�thin�plate.��

Experiment�with�your�own�unit�to�get�the�correct�exposure,�a�few�small�test�plates�will�soon�give�you�the�correct�timing.

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maKing tHe plate

1.� Prepare�your�artwork�on�overhead�projection�film.�

2.� Cut�the�plate�to�size�using�metal�shears,�if�necessary.

3.� Remove�the�cover�film�from�the�surface.�These�cover�films�could�contain�small�amounts�of�photo�polymer�residue�and�should�be�discarded.

4.� Place�the�transparent�image�onto�the�plate�and�put�both�of�them�on�the�exposure�frame.�Make�sure�the�transparency�goes�in�reverse�if�you�are�working�with�text.�Clamp�the�glass�in�place�with�bulldog�clips.

5.� Expose�the�plate,�use�the�timing�you�have�determined�previously�from�your�test�strip.�

6.� Wash�out�the�plate�in�a�shallow�tray�of�hand-warm�water,�scrubbing�with�a�soft�nail�brush,�in�a�circular�motion�if�possible.

7.� Keep�brushing�until�you�can�feel�clean�metal,�any�photo�polymer�left�on�the�metal�will�feel�a�bit�slippery.�

8.� If�you�are�using�very�thin�lines,�it�might�be�better�not�to�wash�out�the�plate�as�deeply,�leaving�a�little�bit�of�material�on�the�base�to�hold�the�line:�thin�lines�have�a�tendency�to�lift�off�the�metal�base�if�left�by�themselves.�

9.� When�washing�out�fingerprints,�use�a�medium�hardness�toothbrush,�only�washing�out�the�very�top�layer,�fingerprints�should�not�be�too�deep.�Use�a�little�polymer�clay�to�test�the�results�and�wash�out�more�if�necessary.

10.�Wipe�excess�water�off�the�plate�with�a�chamois�or�soft�sponge�and�dry�the�plate�sur-face�in�front�of�a�fan�heater�set�on�medium,�with�the�plate�on�its�edge�about�30�cm�(1’�)�away�from�the�heater�for�about�5�minutes.�A�hair�dryer�can��also�be�used.�The�plate�is�dry�when�it�feels�clean�and�smooth�without�any�stickiness.

11.�Expose�the�plate�once�more,�for�the�same�amount�of�time�you�used�for�the�initial�expo-sure.�This�will�harden�the�plate�all�the�way�through,�including�everything�that�was�ex-posed�during�the�washing�out�process.

Brush�a�little�vegetable�oil�over�the�whole�plate,�this�stops�it�from�drying�out�and�prevents�cracking:�your�plate�is�now�ready�for�use�with�Metal�Clay!

There�are�lots�of�other�things�you�can�use�Photo�polymer�plate�for:

�� Embossing�paper�-�very�nice�for�tags�etc.

�� Printing�(of�course,�that�is�what�they�were�designed�for!)�Use�a�small�roller�and�block�printing�ink.

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�� Other�materials�such�as�Polymer�clay,�Potters�clay,�Wax�etc.

�� Embossing�and�printing�looks�very�nice�for�handmade�tags,�fabric�or�paper�bags.��If�your�logo�is�not�too�complicated�you�could�print�it�as�well.�Make�the�artwork�in�various�sizes�for�different�things�you�might�want�to�personalise.�

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Section II Let’s Make Some Keepsake Jewelry!

8 Metal Clay Basics - Tools & Materials

Tools & Materials for Metal Clay

Metal�Clay�is�easy�to�set�up�at�home,�no�expensive�tools�are�required.�Although�you�can�use�a�kiln�to�fire�your�work,�a�torch�works�just�as�well�to�get��started.

Your Metal Clay start-up tool kit:

�� Acrylic�Roller

�� Spacer�Strips�in�different�thicknesses,�1�mm�-�1.5�mm�-�2�mm

�� (Playing�cards�would�work�as�well,�if�you�prefer�them).

�� Small�clay�storage�jar�

�� Brass�Brush

�� Burnisher

�� 4”�square�of�hard�plastic�such�as�Plexiglas

�� Craft�knife

�� Toothpicks,�skewers�&�drinking�straws

�� Small,�fine�tip�paint�brush�-�nylon�hair

�� Needle�tool

�� Ring�sizer

�� Wooden�Ring�mandrel

�� Silicone�or�teflon�cookie�sheet,�cut�into�smaller�pieces�about�2”�x�4”�each

�� Needle�files

�� Vegetable�oil

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�� 1�mm�drill�bit

�� Shape�Cutters

�� Wet�&�Dry�sand�paper

�� Emery�boards

�� Baby�wipes

�� Small�butane�torch

�� Fire�proof�surface

Optional:�Rotary�Tumbler�with�stainless�steel�shot.�Not�strictly�necessary�but�very�nice�to�have!

I’m�sure�you’ll�add�to�this�starter�kit�as�time�goes�on,�but�this�list�will�get�you�going.�

Materials:

�� Metal�Clay�of�your�choice

�� Metal�Clay�Paste

�� Metal�Clay�Syringe�

�� Kneadable�mould�making�rubber�(optional)�

�� Small�block�of�Polymer�clay�to�test�designs�and�depth�of�photo�polymer�plates�

Photo polymer Plates Tools & Materials

If�you�are�going�to�make�children’s�artwork�into�jewelry,�maybe�do�names�in�original�hand-writing,�or�do�hand�&�footprints,�or�fingerprints�you�would�also�need�to�set�up�the�tools�and�materials�for�that.

�� Photo�polymer�plates;��buy�thin�to�medium�ones,�on�a�steel�backing.�A�steel�backed�plate�holds�the�finest�detail

�� Soft�nail�brush�or�medium�hardness�toothbrush,�don’t�use�very�hard�bristles,�they�are�too�aggressive�for�very�fine�detail�plates�like�fingerprints.

�� Chamois�or�sponge

�� UV�Exposure�unit��(See�Chapter�7�for�more�details�on�the�exposure�unit)

Well,�there�you�go,�now�you�are�set�up,�it’s�time�to�get�some�metal�clay�out�and�get�started.

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9 Metal Clay Basics - Working with Metal Clay

Making�jewelry�from�metal�clay�is�much�easier�than�working�with�sterling�silver,�and�although�the�materials�are�more�expensive�than�traditional�metals,�this�is�more�than�compensated�for�by�the�reduced�production�time.�This�becomes�more�important�when�you�are�thinking�of�scaling�up�your�hobby�and�setting�up�a�home�jewelry�business.�

saFety BasiCs

�� Avoid�making�a�lot�of�dust,�the�metal�clay�particles�are�very�small�and�you�do�not�want�to�breathe�them.�Keep�your�work�area�clean,�wiping�with�a�damp�sponge�after�finishing�work�for�the�day.�Keep�collected�sanding�dust�in�a�sealed�container�for�recycling.

�� Wear�a�dust�mask�if�you�have�a�lot�of�sanding�to�do

�� Work�in�a�well�ventilated�area�when�torch,�or�kiln�firing

�� Wash�hands�after�working�with�metal�clay�or�patinas

metal Clay BasiCs

�� When�first�opening�a�packet�of�metal�clay�you’ll�find�the�material�a�little�stiff�at�first,�just�kneading�a�few�times�it�will�make�it�soft�again.

�� Use�only�as�much�as�you�need,�keep�the�rest�wrapped�up�with�plastic�wrap�and�stored�in�an�airtight�container�with�a�small,�damp�sponge�in�the�bottom,�to�prevent�it�from�drying�out.

�� Use�a�little�vegetable�oil�on�your�hands,�work�surface�&�any�stamps�you�want�to�use,�to�prevent�the�clay�from�sticking.

�� Make�sure�the�clay�is�well�kneaded�without�air�trapped�in�between�layers.�Form�it�into�a�smooth�lump�without�creases�showing�on�top.�If�there�are�a�few�creases,�try�and�manip-ulate�it�so�they�go�to�the�side�and�can�be�removed�when�cutting�the�final�shape.

�� Try�and�make�your�initial�lump�a�little�like�the�shape�you�want�to�end�up�with:�eg.�a�flat-ted�ball�for�a��round�charm�or�pendant,�a�small�fat�coil�for�a�shape�like�a�dog�tag.

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�� Flatten�the�lump�a�little�before�starting�to�roll�it�down.

�� To�control�the�thickness�of�the�clay�when�rolling�it�out,�use�spacer�strips�or��2�stacks�of�playing�cards�to�the�required�height�on�both�sides�of�the�clay.

�� Roll�the�clay�gently�at�first,�using�a�PVC�or�acrylic�roller.�Lift�the�clay�up�in�between�roll-ing,�this�prevents�the�clay�getting�stuck�to�the�work�surface�and�ensures�a�nice,�even�shape.

�� Now�is�the�time�to�make�any�impressions,�fingerprints,�kid’s�art,�or�a�name�from�a�photo�polymer�plate.�

�� Cut�to�your�desired�shape:�you�can�use�shape�cutters�or�a�fine�needle�tool�with�a�tem-plate.

�� If�you�are�going�to�hang�the�finished�piece�with�a�jump�ring,�you’d�need�to�drill�a�hole�when�the�clay�is�dry.�For�now�all�you�need�is�to�make�a�small�hole�with�a�toothpick�to�guide�the�drill�later.

�� Resist�the�temptation�to�try�and�smooth�things�too�much�at�this�very�soft�stage,�clean-ing�up�is�much�easier�when�the�clay�is�dry.

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There are many ways to speed up the drying of the clay piece:

�� A�dehydrator�is�probably�the�best:�the�heat�and�air�can�get�to�all�sides�and�will�dry�the�piece�evenly�all�around,�avoiding�trapped�moisture�inside�the�clay.

�� A�warming�plate�or�a�sausage�sizzler�-�set�to�a�low�heat�and�turn�the�clay�over�frequent-ly�to�avoid�clay�warping�or�moisture�getting�trapped�inside,�while�the�outside�is�dry.�

�� Air�dry�on�a�piece�of�baking�paper�or�silicone�sheet

�� When�perfectly�dry,�drill�the�hole�if�required,�then�sand�the�clay�with�a�small�piece�of�400#�sandpaper.�After�sanding,�check�over�carefully�for�imperfections�and�sharp�edges.

�� Small�cracks�can�be�filled�at�this�stage�with�a�little�syringe�clay:�dampen�the�area�where�the�repair�is�needed,�then�apply�the�syringe�clay.�Dry�again�and�sand�again�with�your�400#�paper.

�� Final�smoothing�out�can�be�done�with�a�baby�wipe:�this�removes�any�dust�left�on�the�surface�and�eliminates�very�fine�scratches.�Let�the�clay�dry�again�before�firing.

Firing your worK

Follow�the�manufacturer’s�instructions�for�the�type�of�clay�you�are�using.�I�generally�use�the�torch�to�fire�my�own�work:

Place�the�work�on�a�heat�proof�surface�such�as�a�fibre�kiln�shelf�or�a�soldering�block.

�� Use�the�little�butane�torch�to�heat�the�clay�evenly�and�slowly�at�first,�until�you�See�smoke�and�then�some�flames�as�the�binders�burn�out.

�� Heat�the�work�until�it�glows�a�soft�orange�pink.�Be�careful�not�to�heat�it�too�much�and�let�it�get�too�red,�you�don’t�want�to�melt�the�piece!

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�� Keep�the�metal�clay�at�this�pink�colour�for�3�-�5�minutes,�it�is�generally�better�to�fire�longer�and�making�sure�the�piece�is�properly�sintered.��Let��cool�by�air�drying�if�you�have�set�a�stone,�or�you�can�quench�it�in�cold�water�if�it’s�an�all�silver�piece.��You�will�notice�that�the�piece�is�white�straight�after�firing,�this�is�normal�for�all�fine�silver,�sterling�goes�black,�fine�silver�goes�white.

After�firing,�a�soft�burnished�shine�can�be�produced�using�a�brass�brush�with�soap�&�water.�Brush�over�the�whole�surface�using�circular�motion�if�a�gen-eral�soft�finish�is�required,�or�in�straight�lines�if�you�want�to�See�a�very�minimal�texture�from�the�brush.

�� A�patina�can�be�applied�at�this�stage,�it�will�show�off�any�textures,�names�and�art.���������������������������(See Chapter 20 - Applying a Patina)

�� Lastly,�give�the�edges�a�high�shine�by�rubbing�hard�with�a�burnisher�and�give�the�piece�a�final�polish�with�a�good�quality�polishing�cloth�for�extra�lustre.

�� If�you’re�a�metal�worker,�it�is�also�possible�to�polish�the�fired�piece�like�any�other�silver�work,�brass�brush�it�first,�then�polish�the�same�as�you�would�sterling.

�� You�can�save�lot�of�time�and�effort�if�you�use�a�tumbler.�The�finished�look�of�a�tumbled�piece�is�very�shiny�all�over,�it�does�not�give�you�the�option�to�leave�areas�matte�for�con-trast�.�(See�Chapter�21�Polishing�&�Tumbling)

~ let’s maKe some Jewelry! ~

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10 Making a Simple Hand or Footprint Charm

A�small,�simple�charm�with�a�hand�or�footprint�is�a�quick�and�easy�start�for�someone�who’s�just�beginning�to�work�with�metal�clay.�

It�is�also�one�of�the�easiest�ways�to�get�a�nice�strong�impression�for�a�baby,�or�a�young�toddler,�who�do�not�yet�have�clearly�defined�fingerprints.

For�this�charm�we�are�going�to�use�a�photo�polymer�plate�to�make�our�impression�(See�Chapter�7��‘How�to�make�a�Photo�polymer�plate’)

Prepare�artwork�as�usual,�reversed�and�printed�double�on�overhead�transparency,�cut�apart�and�doubled�up�ready�for�the�plate.�(See�Chapter�2�Pre-paring�Artwork�for�a�Photo�polymer�plate)

Experiment�with�different�sizes�before�you�make�a�charm�for�a�client.�Once�you�have�made�your�first�one�you�will�have�a�better�idea�of�how�far�the�art-work�should�be�scaled�down�to�fit�your�cutters,�or�the�preferred�size�for�your�the�final�charm.

Materials:

�� 9�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�3�-�5�charms,�depending�on�their�size�and�thickness)

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Method: See Chapter 9 - ‘Metal Clay BaSiCS - Working With Metal Clay’ for detailed inStruCtionS1.� Prepare�and�roll�out�your�metal�clay�to�3-4�cards�thickness

2.� Oil�the�Photo�polymer�plate�and�press�the�clay�onto�the�plate:�work�from�one�side�to�the�other�to�avoid�a�double�impression�

3.� Cut�the�charm�using�an�icing�cutter,�or�a�shape�template.

4.� Use�a�needle�tool�whenever�you�cut�around�a�shape,�or�inside�a�template.

5.� Make�a�small�hole�with�a�toothpick,�this�will�be�drilled�out�with�a�1�mm�drill�bit�when�the�clay�is�dry.

6.� Dry�the�piece,�then�drill�out�the�hole,�sand�and�finish�the�charm�as�usual.

7.� Fire�the�charm�as�per�manufacturer’s�instructions.

8.� ��Apply�a�liver�of�sulphur�patina.��Polish�back�to�silver�using�1200#�sandpaper,�leaving�the�impression�dark.

9.� Polish�or�tumble�to�a�shiny�or�matte�finish�as�desired.

10.� Fit�a�0.9�mm�(�20�ga.)�jump�ring�or�use�0.7�mm�(22�ga.)�to�wire�wrap�it�to�the�chain.

11.� Attach�to�a�chain�or�bracelet,�pack�it�up�in�a�pretty�box�or�bag,�attach�a�card�and�it’s�ready�to�go�to�the�customer.

When�a�client�orders�another�charm�to�add�to�a�bracelet�they�

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have�bought�previously,�ask�them�to�give�you�the�bracelet,�so�you�can�attach�the�new�charm�to�the�bracelet�for�them,�as�an�extra�(free)�service.�It’s�a�quick�job�for�you,�but�a�diffi-cult�thing�for�people�who�do�not�have�the�skills�or�tools�required�to�do�it�themselves,�peo-ple�will�appreciate�your�thoughtfulness.

A�‘Family�Bracelet‘�is�a�delightful�way�to�have�keepsakes�for�the�whole�family�together:�these�could�include�fingerprint�charms�of�Mum�&�Dad,�added�to�that�the�hand�or�foot�prints�of�the�children,�with�a�date�on�the�back�of�each�recording�when�the�print�(not�the�charm)�was�made.

A�birthstone�could�be�incorporated�for�some�colour,�either�set�in�one�of�the�charms,�or�as�a�small�wired�crystal�that�can�hang�off�the�same�jump�ring�as�the�charm�it�belongs�to.

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11 Use Your Child’s Art to Make a T-Shirt Pendant

There’s�nothing�as�cute�than�a�young�child,�coming�home�from�kindergarten,�proud�and�eager�to�show�what�they’ve�painted�at�school!�Nothing�else�is�important,�you�have�to�come�and�look…�now!!

And�although�these�drawings�might�vary�in�‘quality’,�the�best�ones�are�often�worth�framing!

However,�using�these�raw�drawings�for�silver�jewelry�can�be�difficult,�unless�you�have�a�good�working�knowledge�of�Adobe�Photoshop�or�a�similar�image�manipulation�pro-gram.

All�the�filled�in�colours�would�have�to�be�removed,�then�the�lines�would�have�to�be�made�solid�black�and�probably�thickened�as�well.�It�would�be�a�lot�easier,�and�save�you�hours�of�work,�to�encourage�the�child�to�create�a�drawing�that�will�suit�the�jewelry�you�have�in�mind.�(See Chapter 5 - Turning Children’s Drawings into Jewelry)

After�the�best�drawing�has�been�chosen,�you�will�need�to�make�a�transparency,�ready�for�use�with�a�Photo�polymer�plate.�(See Chapter 7 How to make a Photo polymer plate)

Materials

�� 16�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�2�dog-tags�or�similar�sized�pendants)

�� Photo�polymer�Plate

Use your standard set of metal clay tools See Chapter 8

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Method:

See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay’ for more detailed instructions.

1.� Cut�the�pattern�shape�out�of�manilla�or�light�card�to�make�an�‘inside’�template.

2.� Prepare�and�roll�out�your�metal�clay�to�3-4�cards�thickness.

3.� Oil�the�Photo�polymer�plate�and�press�the�clay�onto�the�plate�-�working�from�one�side�to�the�other�to�avoid�a�double�impression.

4.� Lay�the�template�on�top�of�the�clay,�making�sure�all�of�the�drawing�is�within�the�open-ing,�leave�a�little�extra�space�at�the�bottom�if�you�want�to�stamp�a�name�later.

5.� Cut�the�clay�with�a�needle�tool,�running�along�the�edge�of�your�template.

6.� Make�a�little�divot�with�a�toothpick�to�allow�the�drill�an�easy�way�in�after�the�tag�has�dried.

7.� Dry�and�sand�to�get�rid�of�any�scratches�and�sharp�edges,�then�drill�the�hole�with�a�1.5�mm�drill�bit�and�clean�up�the�hole.�Wipe�with�a�baby-wipe�for�a�very�fine�finish.�Let�the�surface�dry�once�more.

8.� Fire�to�manufacturer’s�instructions,�cool,�then�brass�brush�with�soap�&�water.

9.� If�you�are�going�to�stamp�a�name�in�the�metal,�now�is�the�time�to�do�it.�(See Chapter 16 for more detailed instructions)

10.�Apply�a�dark�Liver�of�Sulphur�patina.�See Chapter 20 for more detailed instructions)

11.�Remove�all�the�colour�off�the�surface,�leaving�only�the�grooves�dark,�using�very�fine�emery�or�polishing�pads.

12.�Polish�and�hand-finish�with�a�brightly�burnished�edge,�or�tumble.

Now�all�you�need�to�do�is�to�put�the�tag�onto�a�heavy�jump�ring�and�hang�it�off�a�ball�chain!

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12 Heart Pendant with Fingerprint

The�fastest�and�easiest�way�to�make�any�finger�print�jewelry�is�without�a�doubt�making�it�with�metal�clay.�This�works�best�when�you�have�the�person�to�be�finger-printed�right�there�with�you�and�you�can�supervise�the�whole�process�and�control�how�the�print�comes�out.

This�is�especially�good�when�tak-ing�children’s�finger�prints.

Materials:16�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�this�Heart�pendant�and�2-3�charms,�depending�on�their�size�and�thickness)

Method: See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay for more detailed instructions

1.� Draw�a�nice�heart�shape�12%�larger�than�the�size�you�want�to�make,�this�allows�for�the�shrinkage�of�the�metal�clay. (See: Shapes - page 32 for some popular shape templates)

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2.� Cut�your�heart�shape�from�thin�card,�manilla�folders�work�very�well�for�this.��For�a�more�permanent�template,�use�thin�plastic,�like�the�material�used�for�report�bindings.��If�you�have�metalworking�skills,�a�more�permanent�template�can�be�made�from�thin�brass�or�copper�sheet,�in�which�case�you�would�use�the�inside�hole�as�your�template,�allowing�you�to�see�how�things�are�lined�up�inside�the�opening.��Use�the�template�below�and�scale�it�to�the�size�you�want.��Another�option�is�to�use�icing�cutters.�These�are�available�in�many�shapes�&�sizes,�See�which�ones�might�work�for�your�purpose.

3.� Prepare�the�finger�to�be�printed:�it�should�be�clean�and�wiped�with�a�little�olive�oil,�then�wiped�off�again,�leav-ing�enough�oil�on�the�skin�to�prevent�the�metal�clay�from�sticking,�but�not�too�much�to�prevent�a�nice�clear�print.

4.� Roll�out�your�conditioned�clay�at�least�4-5�cards�thick,�you�can�make�your�heart�thinner�if�you�want�to,�but�a�thicker�pendant�takes�a�fingerprint�better�and�looks�nicer�and�more�substantial�when�it�is�finished.

5.� Press�the�clay�into�a�PPP�with�the�name�of�the�child,�the�name�could�have�been�done�on�the�computer,�or�hand-written�by�the�child�or�Mum.

6.� Put�your�heart�template�on�top�of�the�clay,�then�press�the�finger�exactly�where�you�want�it.�If�you�are�taking�the�print�of�a�child,�hold�their�finger�and�press�it�gently,�but�firmly�in�place.

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7.� Push�the�finger�straight�down�and�firmly�into�the�clay,�do�not�rock�side�to�side.�Check�and�trim�if�needed.

8.� �If�you�are�planning�to�set�a�stone�you�can�do�so�at�this�stage,�or�when�the�clay�is�dry.�(See Chapter 14 - How to Set a Stone in Metal Clay)

9.� Dry�the�heart,�then�cut�a�small�heart�shape�as�a�hole�for�the�jump�ring.

10.�Sand�and�finish�the�heart�with�a�wet�wipe,�avoid�wiping�over�any�stones.�Let�the�sur-face�dry�again�for�a�few�minutes.

11.�Torch�fire�the�pendant�for�5�minutes:�start�timing�when�the�binder�has�burned�away�and�the�metal�glows�a�soft�pink,�and�then�keep�it�glowing�pink�for�the�entire�time.�

12.�Cool�the�pendant,�then�brass�brush�it�with�soapy�water.�

13.�If�you�would�like�to�apply�a�Patina�you�can�do�that�now,�then�remove�most�of�it,�leav-ing�just�enough�to�highlight�the�texture�of�the�fingerprint�and�any�writing�you�may�have�done.�(See Chapter 20 Applying a Patina)

14.�A�high�shine�can�be�achieved�by�burnishing�and�polishing�with�a�silver�cloth.�If�you�have�access�to�a�tumbler�you�can�use�that�instead:�tumble�for�a�minimum�of�2�hours.

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13 Birthstones & Firing Stones in Metal Clay

There�is�a�lovely�symbology�around�Birthstones�which�makes�them�an�interesting�addition�to�your�jewelry.�Meanings�vary�in�different�cultures,�all�have�their�own�significance�for�each�stone,�some�modern�ones,�and�some�ancient.

Look�into�these�meanings�yourself�and�pick�one�that�resonates�with�you�and�your�custom-ers.�I�have�included�some�guidelines�here�about�their�suitability�to�be�fired�in�metal�clay.�Re-member�to�always�let�your�work�air-cool�after�firing�when�you�have�set�a�stone�of�any�kind.

January ~ garnet

Garnet�is�the�gem�for�Faith�-�Truth�-�Loyalty�&�Friendship

In�ancient�times�Garnet�was�thought�to�be�connected�with�the�blood�and�protection�in�the�dark.

Garnets�come�in�the�familiar�deep�red�colour,�but�there�are�many�other�varieties�available,�rich�browns,�golden�yellows�and�even�green.

Garnets can be fired in metal clay, test-fire the stone without setting it to be safe.

FeBruary ~ ametHyst

The�name�Amethyst�was�taken�from�the�Greek�‘Not�Intoxicated’�

Amethysts�are�thought�to�protect�against�drunkenness,�and�are�believed�to�give�tranquillity�and�peace.

Amethysts�come�in�many�shades�of�purple,�from�very�deep�to�lilac�colours.�Citrine�is�heat�treated�amethyst.

Amethyst cannot be fired in metal clay: it has to be set after firing.

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marCH ~ aquamarine

Aquamarine�is�linked�to�friendship,�affection,�love�hope�&�health.

april ~ diamond

Diamonds�are�linked�to�love,�eternity�&�strength.

may ~ emerald

Emeralds�are�thought�to�be�associated�with�health�&�healing�and�with�clairvoyance.

Aquamarines�are�a�beautiful�pale�turquoise�blue�gem.��There�are�natural�varieties�available�in�different�shades�of�this�colour.

Aquamarine cannot be fired in metal clay, it has to be set after firing

Diamonds�are�strong�and�the�hardest�stone�on�earth.�Although�there�are�colours�available,�the�traditional�white�diamond�is�the�stone�for�April.

Even though it is such a hard stone, Diamond is not safe to fire in metal clay and is better set after fir-ing.

The�best�Emeralds�come�in�a�beautiful�deep�green,�variations�are�found�from�mid�green�to�yellow�green.�

Emerald cannot be fired in metal clay: it has to be set after firing.

June ~ pearl

Pearl�is�linked�to�purity,�chastity�&�modesty,�They�are�also�thought�to�make�happy�marriages.

Pearls�come�in�many�colours�and�although�traditionally�the�white�pearl�is�the�stone�for�this�month,�in�modern�times�any�colour�can�be�worn

Pearls cannot be fired in metal clay: they have to be set after firing.

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august ~ peridot

Peridot�is�thought�to�protect�against�evil�and�nightmares.

July ~ ruBy

Ruby�is�linked�with�harmony�&�protection.

Peridot�is�generally�a�lime�green�colour

Peridots can be fired in Metal Clay, test-fire the stone without setting it to play it safe.

Rubies�come�in�varied�shades�of�red,�from�the�best�quality,�deep�fiery�red,�to�shades�of�lighter�red�and�deep�pink.

Rubies can be fired in Metal Clay, test-fire the stone without setting it to play it safe.

septemBer ~ sappHire

Sapphire�is�linked�to�Faith,�foresight,�purity�&�honesty.

oCtoBer ~ pinK tourmaline

Tourmaline�is�said�to�enhance�energy�and�attract�the�attention�of�others.

Sapphires�come�in�a�colour�range�from�deep�blue�to�pink.

Sapphires can be fired in Metal Clay, test-fire the stone without setting it to play it safe.

Tourmaline�comes�in�a�wide�range�of�colours�from�pink�to�crimson,�green�&�yellow.

Tourmaline cannot be fired in metal clay: it has to be set after firing.

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noVemBer ~ topaz

Topaz�is�associated�with�sanity,�healing�&�strength.

Topaz�comes�in�a�huge�colour�range,�beautiful�blues,�ambers�&�browns,�and�even�orange�&�reds

Some Topaz can be fired in metal clay, some change colour: always test fire before setting in silver.

deCemBer ~ turquoise

Turquoise�is�thought�to�bring�happiness�good�fortune�&�luck.

Turquoise�comes�in�an�enormous�range�of�colours,�the�best�ones�are�the�famous�turquoise�blue�green.��There�are�also�green�and�yellow/brown�varieties.

Turquoise cannot be fired in metal clay: it has to be set after firing. Bezel setting is a good option for Turquoise

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14 Setting Stones in Metal Clay

There�are�many�ways�you�can�set�a�stone�in�metal�clay.�

� The�first�choice�you�have�to�make�is�the�kind�of�gem�you�want�to�set:�some�stones�can�be�fired,�others�will�have�to�be�set�after�firing.�If�you�look�at�the�list�of�birthstones�in�the�previ-ous�chapter,�you�will�See�that�some�of�them�can�be�fired�in�place,�but�others�can’t.�It�all�depends�on�their�ability�to�withstand�the�extreme�heat�we�are�going�to�subject�the�metal�clay�to.

It�would�be�wise�to�test-fire�any�gem�before�setting�it�into�metal�clay,�even�those�that�are�thought�to�be�safe:�there�could�be�inclusions,�or�tiny�imperfections,�that�may�not�be�di-rectly�noticeable�to�the�naked�eye,�but�could�affect�the�stone�under�heat,�changing�the�colour,�or�even�causing�it�to�crack!

This�is�not�only�the�case�with�natural�stones,�but�also�those�that�are�man-made.

Cubic�Zirconium�can�be�fired�into�metal�clay,�but�not�all�the�colours�are�stable.�The�blues�are�particularly�prone�to�changing�their�colour.�Test�fire�them�before�setting�into�clay.

Tiny�stones,�like�the�ones�we�use�on�charms�etc.�can�be�test�fired�in�the�kiln�as�they�are:�fire�to�the�schedule�you�would�use�for�the�type�of�clay�you�are�working�with.

Larger�stones�should�be�covered�with�a�piece�of�thin�fire�blanket�to�protect�the�kiln�in�case�of�the�stone�exploding.

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One�way�of�doing�this�is�by�drilling�the�hole�as�before,�then�making�a�small�circle�of�syringe�clay,�just�a�little�bit�smaller�than�the�diameter�of�your�stone�and�pushing�it�carefully�into�its�perfect�position.�Any�tidying�up�can�be�done�with�a�soft,�damp�brush�and�then�by�sanding�after�drying.

Small�cabochons�can�be�set�in�a�fine�silver�bezel-cup�matched�to�the�size�and�shape�of�the�stone,�a�bezel�cup�can�be�fired�into�the�clay�and�the�stone�set�into�it�after�firing.

Setting�a�facetted�stone�directly�into�the�soft�clay�can�be�as�simple�as�making�a�hole�with�a�toothpick�and�twirling�the�toothpick�around,�at�an�angle,�to�widen�the�top�of�the�hole.�This�is�the�method�I�gen-erally�use��when�I�have�clay�that�is�at�least�3�cards�thick�and�a�stone�no�larger�than�2.5�mm�in�diam-

eter.

Another�method�is�to�dry�and�sand�the�clay,�then�drill�a�small�hole�all�the�way�through,�following�up�with�a�drill�the�same�size�as�the�stone,��and�drilling�halfway�into�the�clay.

Test�your�stone�and�make�sure�it�is�sitting�low�enough�to�be�captured�by�the�clay�as�it�shrinks.�If�it�sits�too�high�the�shrinkage�will�push�the�stone�up�and�out,�when�the�piece�is�fired.

The�larger�the�stone�you�want�to�set,�the�thicker�the�clay�base�should�be,�because�the�point�of�the�stone�will�have�to�be�accommo-dated.�This�can�be�achieved�by�building�up�the�front�or�the�back,�just�where�the�stone�will�be�positioned,�with�some�extra�clay.

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As�an�extra�precaution,�I�like�to�drill�a�small�hole�in�the�bottom�of�the�bezel�cup,��squeeze�a�little�syringe�clay�into�the�hole,�push�the�bezel�cup�into�the�soft�syringe�clay�and�let�it�squish�up�through�the�hole.�Neaten�the�inside�with�a�damp�brush�and�dry.

Fire�your�piece�to�suit�the�clay�you�are�using,�but�also�consider�whether�your�stone�can�be�torch�fired,�kiln�fired,�or�has�to�be�set�after�firing.�Do�not�quench�the�piece�in�water�if�it�has�been�fired�with�a�stone�set�into�it,�but�leave�it�to�cool�naturally.�

Brass�brush�as�you�normally�would:�if�you�prefer�using�a�stainless�steel�brush,�avoid�the�stone�as�much�as�possible,�as�a�steel�brush�can�scratch�some�stones.

Apply�a�patina�and�hand�polish�as�usual.�Large�stones�should�not�be�tumbled�unless�they�are�very�hard,�like�sapphires.�Some�types�of�smaller�stones�would�be�better�not�being�tum-bled,�stones�like�turquoise�and�opal�are�too�soft�and�can�be�damaged�by�the�steel�shot.

If�you�want�to�be�absolutely�sure�about�the�safety�of�tumbling�a�piece�set�with�a�stone,�check�the�Moh’s�scale�of�hardness:�if�your�stone�is�substantially�harder�than�the�stainless�steel�shot,�It�should�be�safe�to�polish�in�a�tumbler.

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Materials:

�� 16�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�the�key�ring�and�a�few�charms�as�well)

�� Sterling�silver�key�ring

�� Photo�polymer�plate�-�Optional

Method:

See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay’ for more detailed instructions.

1.� Take�a�clean�fingerprint,�prepare�it�on�an�overhead�transparency�and�make�it�into�a�Photo�polymer�plate.����(See Chapter 1 - ‘Taking a clean Fingerprint’)

Key-rings�are�a�great�gift�for�vari-ous�occasions,�a�child’s�finger-print�for�Dad,�or�Grand�dad,�who�might�not�want�to�wear�jewelry�but�would�love�a�key�ring,�or�for�a�teenager�who�just�got�their�first�car,�with�Mum�or�Dad’s�finger-print.

The�size�to�make�a�key�ring�is�a�personal�decision,�if�you�are�us-ing�metal�clay,�just�consider�the�cost!�There�can�be�a�lot�of�silver�in�a�large�key�ring.

15 Key Ring with a Fingerprint & Handwritten Name

The�ring�itself,�the�one�that�holds�the�keys,�is�available�from�jewelry�supply�houses,�there�are�the�dog-clip�ones�that�look�very�nice,�but�the�one�I�picked�for�this�project�is�more�like�a�tradi-tional�key�ring,�but�made�from�sterling�silver.�

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9.� If�you�have�a�steady�hand�you�can��write�the�name�with�a�needle�tool�at�this�soft�stage.���Otherwise�you�could�let�the�clay�dry�for�a�few�minutes�before�writing�the�name,��as�the�clay�is�firmer�at�this�semi-dry�stage.�Test�different�tools�before�you�make�a�piece�of�jewelry,�to�See�which�one�you�prefer�and�gives�you�the�best�results.�

�I�use�a�sharp�darning�needle�set�in�a�pin�vise,�for�the�initial�writing,�then�follow�with�an-other�needle�tool�that�is�slightly�blunter�to�widen�the�lines�a�little�more.��If�you�don’t�like�writing�directly�in�clay,�or�you�find�you�are�not�very�good�at�it,�make�a�photo�polymer�plate�of�the�person’s�own�handwriting�instead.�This�will�look�great�and�might�be�even�more�appreciated�by�the�recipient.�Take�an�impression�of�the�name�and�

2.� �Cut�your�shape�out�of�light�card�to�make�an�‘inside�template’,�or�use�a�commercial�oval�drawing�template.

3.� Prepare�and�roll�out�your�metal�clay�to�3-4�cards�thickness.

4.� Press�in�a�finger�for�a�direct�print,�or�use�the�fingerprint�photo�polymer�plate�you�made�earlier.

5.� Lay�the�template�on�top�of�the�clay�leaving�a�little�extra�space�at�the�bot-tom�for�the�name.�Take�a�moment�to�position�the�template�nicely�around�the�fingerprint.

6.� Cut�the�clay�with�a�needle�tool,�running�it�along�the�edge�of�your�template.

7.� Cut�a�large�hole�with�a�well-oiled�cock-tail�straw.

8.� Now�you�can�set�a�birthstone,�if�you�were�planning�to�use�one,�or�make�the�initial�hole�and�set�the�stone�after�dry-ing.����(See Chapter 14 - Setting Stones in Metal Clay)

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13.�Apply�a�patina�to�accentuate�the�finger-print�and�writing,�then�polish�back�to�silver�everywhere�else.

14.�Hand-polish�for�a�soft�finish,�or�tumble�if�you�want�a�very�shiny�look.

15.�Fit�a�heavy�jump�ring�to�connect�the�ring�with�the�tag.

sand�down�a�little�after�drying�to�make�the�writing�sharper.�Try�it�and�See�which�way�works�best�for�you.

10.�Dry�the�tag,�then�sand�to�get�rid�of�any�imperfections,�don’t�forget�to�clean�out�the�hole.�

11.�Wipe�with�a�baby-wipe�for�a�fine�finish�and�let�the�surface�dry�again�for�a�few�minutes.

12.�Kiln-fire�to�manufacturer’s�instructions,�or�fire�by�torch,�making�sure�to�fire�for�a�full�5�minutes,�remember�to�keep�the�piece�at�the�salmon�pink�colour�all�the�time,�to�achieve�a�good�sintering�process�and�get�full�strength�for�the�metal�clay.�Key�rings�get�a�lot�of�abuse�and�need�to�be�very�strong.��Let�the�piece�cool�naturally�if�you�have�set�a�stone,�then�brass�brush�with�soap�&�water.

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Commercially�available�jewelry�blanks�come�in�many�sizes,�shapes�and�metal�types.�Most�online�jewelry�suppliers�have�them.�They�are�generally�polished�and�ready�to�use,�all�you�need�to�do�is�stamp�them,�put�on�a�jump�ring�and�that’s�it.

Charms�like�these�are�great�for�people�that�don’t�want�to�spend�a�lot�of�money,�or�might�want�them�as�an�extra�to�fill�a�bracelet.

It�is�also�possible�to�stamp�your�metal�clay�jewelry�with�metal�stamps�after�firing.�This�looks�great�on�pieces�with�a�fingerprint,�as�well�as�on�items�with�kid’s�drawings.�The�stamping�doesn’t�have�to�be�totally�perfect�-�there�is�a�charm�about�slightly�irregular�letters.

It�is�a�good�policy�for�any�jewelry�busi-ness�to�have�some�easy�to�produce,�lower�priced,�stock�articles�for�people�that�don’t�want�to�spend�too�much�money.

It�is�very�easy�to�produce�a�line�of�less�expensive�jewelry,�charms�&�pendants,�simply�by�making�a�small�range�of�blank�stock�items�in�different�styles�and�sizes,�which�you�can�then�simply�stamp�with�any�name�your�customer�requests.

There�is�also�the�added�benefit�that�any-one�can�order�this�type�of�personalised�jewelry�online,�as�there�is�no�fingerprinting�involved.

An�easy�way�to�personalize�a�charm�or�pendant�is�to�take�a�stock�blank�and�just�use�metal�stamps�to�personalise�it.�

16 Stamping Letters in Fired Metal Clay

There�is�a�large�variety�of�stamp�sets�available�online,�just�search�for�‘Metal�Stamps’�and�See�what�comes�up.�There�are�many�letter�types�available�these�days�and�even�sets�of�symbols,�like�little�love�hearts,�available�in�different�sizes�to�suit�whatever�you�want�to�personalise.

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Practice�on�some�copper�first:�this�will�help�to�avoid�ruining�a�good�silver�piece�because�of�a�let-ter�wrongly�placed�through�lack�of�experience.

Try�some�straight�lines,�then�curves,�and�finally�experiment�with�some�names�in�a�circle.�

Hold�the�stamp�perfectly�straight�and�upright,������if�you�hold�it�at�an�angle�the�letter�will�only�be�partly�stamped.

Strike�the�stamping�tool�with�a�firm�blow�of�a�leather�mallet�or�a�nylon�hammer.

If�one�of�the�letters�is�partly�missing,�carefully�put�the�stamp�back�in�the�letter,�you�can�wriggle�it�around�until�you�feel�it�‘drop’�into�the�letter�space.�

When�you’re�sure�the�stamp�is�placed�correctly,�give�it�another�sharp�blow�and�the�letter�will�usu-ally�come�out�right.

You’ll�feel�much�more�confident�working�on�your�good�pieces�when�you�know�exactly�how�and�where�to�place�the�letter�stamps.

Spacing�your�letters�is�a�matter�of�personal�pref-erence,�there�are�many�examples�on�the�internet,�Google�‘Hand�Stamped�Silver�Jewelry’�and�you’ll�find�some�excellent�examples�to�inspire�you.

How it’s done

To�stamp�the�jewelry�piece,�start�by�drawing�a�line�that�you�can�use�as�a�reference�‘base-line’�for�your�letters:�this�will�help�you�to�produce�a�neater�and�more�professional�looking�result.�Use�a�fine�CD�marker,�or�any�other�marker�that�will�write�on�metal.�

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black�patina,�then�take�off�all�patina�us-ing�1200#�sandpaper�to�bring�the�piece�back�to�silver,�leaving�the�black�only�inside�the�stamping.

Polish�or�tumble�it�and�your�piece�is�finished!��Once�you�get�comfortable�with�stamping�you’ll�find�it�is�a�quick�opera-tion.

Also�have�a�look�how�people�are�handling�longer�names:�some�are�very�closely�spaced�with�the�letters�not�on�one�line,�but�up�&�down�a�little�from�the�baseline�so�they�fit�into�each�other�more�tightly.

When�your�letters�have�been�stamped�you�can�make�them�stand�out�more�by�applying�a�

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Method:

See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay’ for more detailed instructions.

1.� Make�Key�shape�&�Fingerprint�photo�polymer�plates.�Although�I�made�my�key�with�a�photo�polymer�plate,�you�could�just�as�easily�make�a�template�out�of�thin�card�and�cut�around�that�with�a�needle�tool:�the�choice�is�yours.

2.� Roll�the�clay�4�cards�thick�and�cut�to�shape,�or�press�into�photo�polymer�plate�and�cut�excess�from�the�main�shape.��A�very�fine�needle�tool�to�cut�around�the�shape�can�be�made�by�setting�a�sewing�needle�in�some�polymer�

When�looking�for�pieces�that�look�good�by�themselves,�but�also�work�well�when�hung�in�a�cluster,�few�things�will�work�as�well�as�this�little�key.

It�is�an�unusual�piece�for�fingerprint�jew-elry�and�it�is�bound�to�please�the�person�who�is�going�to�receive�it.�

Locks�&�keys�are�intriguing,�they�are�the�keepers�of�secrets,�and�we�want�to�know�what�those�secrets�are….

The�hidden�meaning�in�this�key�is�of�course�the�fingerprint�of�a�loved�one.�Full�of��significance�to�us,�but�discreet�and�beautiful�at�the�same�time.

17 Making a Fingerprint Key

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5.� Dampen�the�back�of�the�key’s�top,�apply�some�paste,�then�place�the�fingerprint,�face�down,�onto�the�back.��Press�gently,�but�firmly,�to�make�sure�the�soft�clay�will�adhere�to�the�dry�clay,�be�careful�to�support�the�key�while�you�apply�pressure.

6.� Turn�the�key�over�and�trim�the�excess�from�the�sides.�Use�a�damp�paintbrush�or�a�wet�finger�to�smooth�the�edges.��Let�it�dry�without�heat�for�15�minutes,�to�al-low�the�moisture�to�be�absorbed�and�redis-tributed�into�the�dry�clay,�then�continue�to�dry�as�you�normally�would�on�a�heating�tray�or�in�a�dehydrator.

7.� Extra�decoration�can�be�applied�at�this�stage�by�using�syringe�clay.�Dampen�the�area�where�the�extra�clay�will�go�with�a�little�water,�then�pipe�the�design�onto�the�key.�

clay�and�baking�to�cure�it,�a�tool�like�this�makes�cutting�very�precise.��Trim�around�the�key�shape�roughly�at�first,�then�go�back�and�trim�very�precisely,�taking�care�not�to�distort�the�key�shape�while�cutting.

3.� Dry�the�key�thoroughly,�then�smooth�the�edges,�including�the�inside�hole�of�the�key’s�top.�Unbaked�metal�clay�is�fragile:�be�careful�to�support�the�dry�clay�while�filing�&�sanding.

4.� Roll�out�more�clay�to�2�cards�thickness�and�press�into�the�fingerprint�plate�(alternatively�you�can�press�a�finger�directly�into�the�clay)

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Use�a�wet,�fine�paintbrush�over�the�applied�syringe�clay,�making�sure�that�it�adheres�to�the�base�layer.

8.� Dry�the�key�again,�then�check�for�any�scratches�or�faults,�and�then�fire�to�your�clay�manufacturer’s�instructions.

9.� Brass�brush�with�soap�&�water�and�apply�patina.

10.�Remove�most�of�the�patina�with�some�polishing�pads�or�very�fine�sandpaper�#�1200�-�2000�to�reveal�most�of�the�silver�again,�leaving�enough�patina�to�enhance�the�textured�areas.��Now�all�you�need�is�a�jump�ring�to�attach�your�finished�key�to�its�chain.

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©2010��-��How�to�Make�Fingerprint�Jewellery���~���http://makefingerprintjewellery.com� � 6363

�� Make�beads�with�fingerprints,�with�a�birthstone�crystal�dangling�from�the�bottom.

�� Try�another�with�a�name�and�make�a�little�fingerprint�charm�dangling�below�the�bead.

�� Small�stones�could�be�set�into�the�bead,�or�in�the�dangling�charm.

When�you�start�looking�into�the�possibilities�of�these�large�holed�beads,�you�will�find�endless�inspiration�for�other�embellishments.�

Materials:

�� 16�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�several�beads�with�charms)

�� A�6�mm�(¼�inch)�dowel�or�knitting�needle.

�� Small�piece�of�0.7�mm�Fine�Silver�wire

�� Photo�polymer�plate�for�the�name�and�the�fingerprint�-�both�can�be�on�the�same�plate.

Bead�bracelets�are�yet�another�way�to�start�a�collection�of�keepsake�jewelry.�They�make�the�perfect�‘grow�as�you�go’�piece,�starting�with�a�few�store�bought�beads,�then�adding�personalised�ones�as�you�wish.�

Family�and�friends�can�give�beads�as�presents�to�add�to�the�bracelet.�

A�single�bead�can�look�great�on�a�simple�necklace�chain�as�well,�and�extra�beads�can�be�added�to�make�a�small�collection�here�too.

18 Keepsake Bracelet Bead

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3.� Roll�out�a�thin�layer�of�clay,�2�cards�thick,�10�mm�(½�inch)�wide�and�approx.�30�mm�(1�¼�inch)�long.

4.� Press�your�finger�on�the�ends�to�thin�them�a�little�where�they�will�overlap.�Then�put�the�strip�of�clay�on�the�dowel�and�join�with�paste.

5.� Let�it�air�dry�for�5�-�10�minutes,�not�on�a�heater,�to�leather-hard�(firm�but�not�totally�dry)

6.� Roll�out�another�strip�of�metal�clay.���Press�it�into�the�Photo�polymer�plate�with�the�name�on�it,��trim�to�7�mm�(¼�inch)�wide�and�35�mm�(1�½�inch)�long.�This�strip�should�be�narrower�than�the�first�one,�to�give�a�nice�stepped�effect.��Apply�paste�all�around�the�first�band�and�gently�press�the�second,�narrow�band�to�join�over�the�wider�one.�Neaten�the�join�with�a�damp�paintbrush.

7.� Find�a�place�where�the�dangle�loop�can�go,�this�is�usually�at�the�join.�Cut�the�tip�off�a�toothpick�with�a�sharp�craft�knife,�then�press�this�blunt�end�into�the�soft�clay�where�you�want�your�dangle�loop�to�go.��Use�a�drill�bit�roughly�the�same�size�as�the�toothpick�and�gently�drill�into�the�bottom�

Method:

See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay’ for more detailed instructions.

1.� Make�your�Photo�polymer�plates,�one�with�a�name�on�it�and�one�with�a�fingerprint� (See Chapter 2 ‘How to prepare the artwork and Chapter 7 ‘How to make a Photo polymer plate’)

2.� Prepare�the�dowel�by�wrapping�a�strip�of�paper�around�it�to�prevent�the�metal�clay�from�sticking�to�it.�Measure�the�circumference�with�another�strip�of�paper,�allowing�for�some�overlap,�if�you�want�to�make�sure�of�the�length�of�clay�required.

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layer�-�stop�the�second�you�feel�the�timber�dowel.

8.� Make�a�wrapped�loop�out�of�the�Fine�Silver�wire�(be�very�sure�not�to�use�Sterling�silver�wire)�and�trim�to�a�small�wrapped�stub�that�will�hold�well�in�the�clay.

9.� Dab�some�paste�into�the�hole,�then�place�the�wire�loop�into�it�with�a�pair�of�tweezers.�Push�the�clay�against�the�wire�loop�and�clean�up�with�a�damp�paintbrush.

10.�Gently�take�the�bead�off�the�dowel�and�dry�it�on�the�warming�plate�or�dehydrator.�Turn�it�over�a�few�times�while�on�the�heating�plate�to�ensure�even�drying.�If�you’re�using�a�dehydrator�you�don’t�have�to�worry�about�that�-�all�sides�will�dry�at�the�same�time.

11.�Sand�the�bead�when�completely�dry.�To�sand�the�inside,�roll�up�a�small�piece�of�#400�sandpaper�and�put�it�around�the�end�of�a�paintbrush.�Sand�the�inside�in�a�smooth,�

Instead�of�making�the�top�strip�with�a�name,�you�could�use�fingerprints�instead,�made�with�a�photo�polymer�plate,�or�pressed�directly�into�the�soft�clay�(dry�the�bottom�layer�first)

The�dangle�could�be�a�pearl,�or�a�Swarovski�crystal�in�the�birthstone�colour�of�the�child,�wire�wrapped�onto�the�dangle�after�tumbling.

sideways�motion,�fill�the�join�inside�with�some�clay�and�check�for�any�imperfections�fill-ing�them�if�necessary.�Dry�the�bead�again,�then�sand�all�over�to�a�fine�finish�and�wipe�with�a�baby�wipe.

12.�Make�the�dangling�charm�by�rolling�out�a�little�clay,�press�a�finger�into�it�or�use�a�fin-gerprint�photo�polymer�plate�to�texture�it.

13.�Use�a�pretty�shape�icing�cutter�or�cut�a�shape�freehand.�Make�a�hole�with�a�toothpick,�not�too�close�to�the�edge.��Let�the�charm�dry,�then�sand�and�finish�as�usual.

15.�Fire�both�pieces�to�manufacturer’s�instructions.

16.�Apply�patina�to�both�pieces,�remove�excess�colour�with�some�#1200�sandpaper�to�leave�only�the�textures�dark.

17.�Join�the�dangle�to�the�bead�with�a�small�but�sturdy,�sterling�silver�jump�ring.�I�used�0.9�mm�wire:�don’t�use�a�thin�gauge�jump�ring,�unless�you�are�soldering�it�closed.�

18.�Tumble�for�a�beautiful�shiny�polish.��

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�Please�note�that�Sterling�silver�cannot�be�fired�into�the�clay�when�you�torch�fire�your�work,�ster-ling�has�a�copper�content�which�cannot�handle�high�heat�over�a�prolonged�firing�time�and�would�become�brittle�and�break.�Even�the�5�minute�torch�firing�required�to�sinter�the�metal�clay,�would�be�too�long�for�sterling�silver.

Fine�silver�bezel�cups�are�available�from�all�major�jewelry�suppliers�who�usually�stock�some�cabo-chons�to�match.�The�one�I�used�here�is�a�3�mm�Aventurine:�shop�around,�there�are�many�different�stone�types�available�in�that�size.

Materials:

�� 16�gr.�Low�fire�metal�clay�such�as�PMC3�or�Artclay�Silver�(this�amount�of�clay�will�make�the�ring�and�a�few�charms�as�well)

�� Metal�Clay�Paste

�� Photo�polymer�plate�for�the�Fingerprint

�� 3�mm�Cabochon�&�Fine�silver�bezel�cup�to�match�Note: you will need a ring mandrel & ring sizer for this project.

�Once�you�have�made�some�of�the�basic�pieces,�you’ll�be�ready�to�make�a�ring!

This�ring�is�a�simple�round�band�with�a�shape�on�top,�I�used�a�butterfly,�just�to�be�a�little�different,�but�a�small�round�disc�or�a�small�heart�would�look�equally�delightful,�just�make�sure�there’s�enough�room�for�the�fingerprint.

A�3�mm�Aventurine�is�set�in�a�small�bezel�cup,�this�stone�can’t�be�fired,�but�the�bezel�cup,�which�is�made�of�Fine�Silver,�can�be�fired�into�the�clay.

19 Fingerprint Ring

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Roll�firmly�until�you�See�the�clay�smoothing�out�and�thinning�further.

This�is�a�very�nice�way�to�make�coils,�the�resulting�‘snakes’�are�very�strong�as�the�material�gets�com-pressed�while�rolling.�Roll�a�coil�that�is�at�least�as�long�as�the�strip�of�paper�you�made�previously.

7.� Cut�the�coil�to�the�right�length�and�press�down�with�your�fingertip�on�the�very�end�of�it,�this�will�keep�the�join�from�being�too�bulky.�Wrap�it�around�the�ring�mandrel,�in�between�the�lines�marked.�Be�very�careful�to�keep�the�ring�at�

NOTE: Don’t use any extra oil on your work surface when you roll a coil, it will make things too slippery

the�mandrel�at�the�marks�and�add�1�cm�(½�inch)�overlap.�This�strip�of�paper�will�give�you�the�length�you’ll�need�when�you’re�rolling�the�coil�that�makes�the�ring.

6.� Take�about�½��of�the�16�gr.�packet�of�clay�and�roll�this�into�a�coil�about�3�mm�thick.�To�make�the�coil�nice�and�even,�thin�and�very�smooth,�roll�it�under�a�piece�of�acrylic�or�glass�sheet,�or�you�can�use�a�CD�case,�which�will�work�just�as�well.�

3.� Put�the�ring�sizer�onto�your�mandrel�and�mark�the�spot�with�a�pencil.

4.� Tape�a�small�piece�of�paper�to�the�mandrel�where�the�mark�is,�put�the�ring�sizer�back�onto�the�mandrel�(not�too�tight)�and�mark�its�position�on�the�paper.��Scribe�a�line�on�both�sides�to�make�it�easier�to�See�where�the�ring�should�be�positioned�while�you�are�working�on�it.

5.� Take�a�narrow�strip�of�paper�and�wrap�it�around�

Method:

See Chapter 9 ‘Metal Clay Basics - Working with Metal Clay’ for more detailed instructions.

1.� We’ll�start�by�making�the�ring�itself,�known�as�the�shank,�and�then�make�the�top�part�as�the�shank�is�drying.

2.� Use�the�adjustable�ring�sizer�to�get�your�actual�ring�size.�The�ring�should�not�be�too�loose,�but�still�comfortable�to�take�off.�Read�the�size�and�increase�it�by�2�full�sizes�-�eg.�if�you�are�a�9,�your�metal�clay�ring�should�be�made�to�size�11.�This�accommodates�the�shrinkage�of�the�clay�when�it�is�fired.

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12.�Make�a�template�of�the�butterfly�or�whatever�shape�you’re�go-ing�to�use�for�the�top�of�the�ring.�

13.�Drill�a�small�hole�in�the�bottom�of�the�bezel�cup�-�don’t�worry�about�any�burr�that�forms,�it�will�help�anchor�it�in�place.

�While the shank is drying we will make the butterfly top.

11.�Make�sure�the�ring�is�nicely�positioned�on�the�mandrel,�square�and�straight,�then�set�it�to�dry.�Don’t�be�tempted�to�fiddle�with�it�at�this�stage:�any�tidying�up�will�be�done�after�drying.��Dry�it�on�a�heating�plate�or�dehydrator.�Place�the�end�of�the�ring�mandrel�on�something�that�will�keep�it�raised�and�stop�the�soft�clay�ring�from�getting�squashed.

9.� Cut�the�coil�to�the�right�length�and�press�down�with�your�fingertip�on�the�very�end�of�it,�this�will�keep�the�join�from�being�too�bulky.��Wrap�it�around�the�ring�mandrel,�in�between�the�lines�marked.�Be�very�careful�to�keep�the�ring�at�that�exact�spot,�a�little�off�the�mark�either�way,�will�result�in�a�ring�that�doesn’t�fit.��Have�the�flattened�end�down�on�the�mandrel,�apply�a�good�dollop�of�paste,�then�place�the�other�end�over�it�and�press�down�gently�to�join.

10.�To�make�the�join�strong�and�thin�it�at�the�same�time,�press�on�it�with�a�modelling�tool,�but�be�careful�to�hold�the�ring�on�each�side�of�the�join,�so�it�can’t��stretch�and�‘grow‘�to�a�larger�size.��Apply�pressure�from�side�to�side,�then�trim�the�bulged�out�portions�evenly�using�a�craft�knife�or�scalpel.

that�exact�spot,�a�little�off�the�mark�either�way,�will�result�in�a�ring�that�doesn’t�fit.���Have�the�flattened�end�down�on�the�mandrel,�apply�a�good�dollop�of�paste,�then�place�the�other�end�over�it�and�press�down�gently�to�join.

8.� To�make�the�join�strong�and�thin�it�at�the�same�time,�press�on�it�with�a�modelling�tool,�but�be�careful�to�hold�the�ring�on�each�side�of�the�join,�so�it�can’t��stretch�and�‘grow‘�to�a�larger�size.

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19.�Put�the�ring�back�onto�the�mandrel.�Apply�a�little�paste�to�the�flat�area�and�to�the�back�of�the�butterfly�top.���Put�a�dollop�of�syringe�clay�on�the�ring�and�gently,�but�firmly,�press�the�top�in�place.���Clean�up�any�clay�that�has�squeezed�out�underneath�using�a�damp�paintbrush,�push-ing�this�excess�into�the�join�to�make�it�stronger�still.��Once�the�top�is�set�in�place,�do�not�touch�it�again,�but�let�it�sit�undisturbed�for�at�least�15�minutes,�I�like�to�leave�mine�for�a�minimum�of�half�an�hour.�This�is�good�practice�when�joining�any�dry�clay�pieces�together:�it�makes�the�join�stronger�by�allowing�the�moisture�to�redistribute�into�the�surrounding�dry�clay.

20.�Leave�the�ring�on�the�mandrel�while�drying�on�the�heating�plate�or�in�the�dehydrator.�Turn�it�upside�down,�so�the�join�gets�most�of�the�heat.��Take�the�ring�off�the�mandrel�when�touch�dry,�usually�after�about�10�minutes,�and�lay�it�down�to�dry�further�by�itself.

14.�Roll�out�the�clay�to�3-4�cards�thickness,�a�little�chunkier�looks�better�than�a�very�thin�top,�and�it�will�also�be�stronger.

15.�Oil�the�fingerprint�photo�polymer�plate�and�press�the�metal�clay�into�it.

16.��Using�a�pair�of�tweezers,�press�the�bezel�cup�where�you�would�like�it�to�be�placed,�then�cut�the�shape�of�the�butterfly.���Smooth�the�clay�that�squeezes�up�through�the�hole�with�a�damp�brush,�but�don’t�thin�it�out,�this�clay�will�anchor�the�bezel�cup�firmly�into�the�clay�when�it�is�fired.�Put�the�butterfly�aside�to�dry�thoroughly.

17.�When�the�ring�shank�is�dry,�sand�it�and�smooth�the�join�on�the�inside�as�well.�Be�careful�not�to�sand�away�too�much�on�the�inside:�this�could�increase�your�ring�size.�Sand�a�flat�area�on�top�of�the�join�-�we�will�put�the�butterfly�there�later.

18.�Sand�and�finish�the�butterfly�when�it’s�dry,�round-ing�over�the�edges�so�they�can�be�polished�to�a�shine�later.

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Then�I�paint�a�little�pure�Lime�Sulfur�on�top�and�let�it�work�in�for�a�little�while.��Dip�it�into�the�hot�water�again�(the�top�only!)�to�reactivate�it,�until�you�are�happy�with�the�colour.

23.�Remove�the�patina�using�1200#�sandpaper,�just�leave�enough�in�the�texture�to�make�it�stand�out.

24.�Set�the�stone�into�the�bezel�cup�and�push�over�the�edges�to�hold�it�firmly.�If�you�don’t�have�any�metalworking�skills,�you�can�just�glue�the�stone�in�place,�using�a�good�quality�epoxy�glue.

25.�Burnish�and�polish�the�ring�and�the�edge�of�the�butterfly�to�make�it�sparkle.�Be�careful�if�you�are�going�to�tumble�the�ring,�make�sure�your�stone�is�hard�enough�to�handle�the�stainless�steel�shot.

21.�Check�the�ring�for�any�imperfections,�then�fire�to�your�clay�manufacturer’s�instructions.�I�fire�my�rings�with�a�torch,�keeping�them�to�an�even�light�orange�colour�for�5�minutes.�

22.�Brass�brush�with�soapy�water�and�apply�patina�to�the�top�only.��When�applying�a�Lime�sulfur�patina�to�a�single�piece�of�jewelry�I�take�a�shortcut�by�heating�the�metal�-�not�the�patina.�I�put�the�ring�in�a�cup�of�boiling�water�and�let�it�get�hot.��

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A�patina�is�usually�a�chemical�that�will�rapidly�tarnish�the�metal�it�is�applied�to.�The�type�of�chemical�and�the�kind�of�metal�will�determine�the�colour�that’s�possible.�

Most�chemicals�work�faster�or�more�intensively�when�either�the�chemical�or�the�metal�is�hot.

** Please be careful when work-ing with chemicals: read the in-structions, wear protective cloth-ing, safety glasses and gloves. Work in a well ventilated area or outdoors**

The�most�commonly�used�patina�is�Liver�of�Sulphur.�It�comes�in�small�lumps�which�are�dissolved�in�hot�water�until�you�get�a�light�straw�colour.�Liver�of�Sulphur�is�very�sensitive�to�moisture�and�a�whole�contain-er�of�the�lumps�can�be�useless�if�it�gets�water�into�it.�

There�are�a�few�alternatives;�I�use�the�liq-uid�form,�which�is�much�more�stable.�This�type�is�sold�in�gardening�stores�as�Lime�Sulphur�and�is�inexpensive.�

Another�form�available�now�is�Liver�of�Sulphur�Gel,�which�is�reported�to�be�very�stable�as�well.

The�final�step�for�your�finished�work�is�to�decide�whether�to�apply�a�patina.�Some�people�love�the�way�names�and�textures�are�enhanced�by�the�black�patina,�others�prefer�a�clean�bright�silver�look.

Let’s�have�a�look�at�what�a�patina�is,�different�types�of�patinas�you�can�use,�and�finally,�how�to�apply�them.�

20 Applying a Patina

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deep�blues�and�purples�for�instance,�but�for�our�purposes�black�is�probably�the�best�colour.

�� When�you’ve�got�the�colour�you�want,�rinse�the�jewelry�thoroughly�and�brush�with�a�lit-tle�soap�to�remove�and�neutralise�any�residue.

This�process�applies�patina�to�the�whole�piece.�You�can�also�apply�the�patina�with�a�brush,�limiting�it�to�the�area�that�you�want�to�colour,�this�will�save�a�lot�of�time�in�cleaning�after-wards.

Other�patinas�available�from�jewelry�suppliers�have�different�requirements�for�their�applica-tion.�Read�the�instructions�and�follow�them�to�the�letter�for�the�best�results.�

Cleaning�the�patina�off�the�areas�you�want�to�bring�back�to�silver�is�easy:

�� Use�a�small�square�of�very�fine�wet�&�dry�sandpaper�or�a�fine�sanding�sponge�1200#.

�� Gently�rub�until�you�have�taken�off�all�the�black,�except�for�inside�the�fingerprints�or�textures�you�want�to�keep�dark.

�� Hold�the�silver�object�with�tweezers�and�dip�into�the�mixture,�then�rinse�immediately�in�clean�water.�

�� Keep�on�dipping�&�rinsing�until�you�get�the�colour�you�want.

�� The�colour�will�start�off�a�golden�shade,�then�brown,�then�become�darker�and�darker�until�you�get�to�near�black.�

�� A�Sulphur�patina�can�give�amazing�colours,�

metHod:WORk OUTSidE, OR iN A WELL vENTiLATEd AREA, WEAR SAFETY GLASSES ANd PROTEcTivE cLOThiNG & GLOvES.

Use�an�eyedropper�to�add�the�Lime�sulphur�to�the�hot�(not�boiling)�water�until�you�get�a�pale�yellow�colour.�Test�the�strength�of�your�mix�by�dipping�the�silver�into�it.�Add�more�chemical�if�it’s�too�weak�and�does�not�colour,�or�add�more�water�if�it�gets�too�dark,�too�fast.

Before�you�start,�make�sure�you�have�everything�ready:�your�patina,�mixed�up�and�ready�to�go�-�a�container�of�water�to�rinse�the�work�in�between�dips�-�a�pair�of�tweezers�and�a�small�brush�for�touch�ups.

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Deep�impressions�with�larger�open�areas,�such�as�footprints�etc.�can�be�brushed�with�a�stainless�steel,�or�a�brass�brush�&�soapy�water.�This�will�remove�the�patina�off�the�whole�piece�and�most�of�the�inside�of�the�print�as�well,�leaving�just�enough�in�the�outlines�&�edges�to�make�the�prints�stand�out.

Finally�you�can�polish�the�jewelry�by�using�a�good�quality�silver�cleaning�cloth,�such�as�a�Sunshine�Cloth.��Alternatively�you�could�tumble�it�to�a�high�shine�for�a�few�hours.�

More�about�finishing�techniques�in�the�next�chapter!

Fingerprints�are�a�very�shallow�texture�and�care�should�be�taken�not�to�remove�too�much�patina:�rub�these�areas�very�gently�until�just�the�highlights�are�silver,�revealing�the�pattern�of�the�whorls�of�the�fingerprint.

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If�this�pre-finishing�is�done�well,�there’s�hardly�any�work�after�firing,�just�brass�brush�it�with�soap�&�water,�then�polish�with�a�good�silver�cleaning�cloth�if�you�want�more�shine.�I�love�the�Sunshine�cloths�and�they�are�the�ones�I�use.

Finally�the�edges�can�be�burnished�to�a�higher�shine�than�the�rest�of�the�piece,�this�adds�a�subtle�sparkle�when�the�wearer�moves.

We’re�hitting�the�home�stretch:�the�final�step�in�the�process�is�probably�the�most�important�one!�Polishing�&�finishing!

This�is�where�your�work�gets�judged,�especially�if�you’re�selling�your�jewelry.�Your�designs�may�be�great,�everything�else�looked�after,�but�if�the�finish�of�the�jewelry�is�not�a�professional�one,�people�will�judge�the�final�pieces�on�that�factor�alone.

When�you�present�your�samples�for�people�to�select,�this�is�where�the�sale�is�made,�the�jew-elry�will�just�about�sell�itself….�if�it�is�beautifully�presented�and�finished.

A�good�polish�on�metal�clay�starts�even�before�it�is�fired,�at�the�dry�stage.

It�takes�practice�to�See�the�scratches�and�imperfections�in�the�dry�clay,�that�show�up�so�clearly�on�the�polished�silver!�So�this�is�where�your�first�focus�should�be.

The�dry�clay�piece�needs�to�be�very�carefully�checked�for�holes�and�scratches.�Using�magni-fiers�helps,�fill�them�if�you�find�anything.�

Next,�the�work�has�to�be�sanded�to�a�very�fine�finish,�starting�at�400#�and�ending�up�with�1200#�grit,�wet�&�dry�sandpaper�works�well,�or�you�can�get�some�of�the�colour�coded�micro�finishing�sheets:�they�are�on�a�plastic�base,�last�longer�and�go�down�to�an�extremely�fine�grit.�

Finish�by�wiping�with�a�wet-wipe�to�get�rid�of�any�dust.

21 Polishing & Tumbling

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These�brushes�are�set�in�a�screw-in�mandrel,�have�them�stacked�3�-�4�on�top�of�each�other.�The�downside�is�the�cost,�they�are�not�cheap�and�wear�out�fast�if�you�use�them�all�the�time.�

There�are�other�finishing�points�available�for�the�flex�drive�(or�Dremel)�have�a�look�at�the�online�catalogues�from�the�major�tool�suppliers�to�See�the�vast�assortment.�The�best�suppliers�will�tell�you�exactly�what�different�types�are�best�suited�for.

The�best�strategy�is�to�finish�things�as�perfectly�as�you�can�before�firing.�Because�the�dry�clay�is�soft,�it�is�easy�and�fast�to�accomplish�and�does�not�require�any�expensive�tools.

I�use�a�set�of�Radial�brushes�with�my�Micro�Motor,�these�start�at�80#,��which�will�take�out�scratches,�and�go�down�to�8000#�for�a�fine�finished�polish.

The�best�thing�about�these�brushes�is�their�ability�to�get�into�tight�spots�and�crevices��where�it�would�be�a�challenge�to�get�in�with�other�tools.

Once�you�have�fired�your�work�and�you�find�the�finish�is�not�as�smooth�as�ex-pected,�all�is�not�lost.�If�you�have�access�to�a�flex�drive,�a�Dremel�or�something�similar,�you�can�find�a�great�array�of�fin-ishing�brushes�and�tips�to�use�with�them.

These�can�take�out�scratches�if�used�carefully,�or�they�can�polish:�it�depends�on�the�type�of�polishing�tip�you�choose.

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�� �Place�on�the�rollers�with�the�groove�in�the�nut,�sitting�in�the�guide.

�� Tumble�for�a�minimum�of�a�few�hours�or�overnight.

�� Drain�the�content�of�the�barrel�in�a�sieve,�rinse�the�shot�and�the�work.��Dry�the�jewelry�with�a�soft�towel.

�� Brass-brush�the�work�to�be�tumbled�and�put�into�the�barrel�with�the�shot.

�� Add�some�sort�of�lubricant.�This�could�be�a�proprietary�material�sold�by�the�suppliers�of�tumblers,�or�you�can�use�a�pinch�of�pure�soap�flakes,�or�even�baking�soda.�The�polishing�is�done�by�the�steel�shot,�not�the�additives.

�� Pour�on�hot�tap�water�to�about�1�cm�(½�inch)�on�top�of�the�shot�&�work.

�� Close�up�the�rubber�sealing�lid,�cover�with�the�outside�lid�&�tighten�the�screw.

�� **�Make�sure�the�outside�of�the�barrel�is�clean�and�has�no�soap�on�it,�this�could�cause�it�to�slip�on�the�rollers�**

using a tumBler

Much�time�and�effort�can�be�saved�if�you�have�access�to�a�tumbler.�

Tumblers�polish�by�rumbling�the�silver�pieces�in�a�barrel�for�several�hours�or�even�overnight.�

A�small�rotary�tumbler�is�a�good�investment�if�you�make�very�shiny�jewelry�or�make�lots�of�small�charms,�which�are�difficult�to�hold�for�hand�polishing.

setting up a tumBler is easy!

That’s�it,�you’re�done!�Nice�shiny�jewelry�with�a�minimum�of�effort.�Tumblers�really�pay�for�themselves�when�you�are�setting�up�making�Keepsake�jewelry�as�a�home�business.

A�little�more�about�that�in�the�next�chapters!

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22 Changing a Hobby into a Business

This�could�be�a�flat�amount,�or�a�percentage�of�what�you�sold�to�their�friend.�People�can�then�redeem�these�vouchers�for�more�jewelry�for�themselves.�Think�about�these�things�care-fully�before�you�offer�them,�they�can�help�build�your�business�very�fast,�just�make�sure�not�to�overdo�the�amount�of�money�you�offer.�5�or�10%�of�the�sale�value,�is�probably�enough�and�can�be�costed�into�your�retail�prices.

Another�way�to�network�with�your�friends�is�through�a�Facebook�Fan�page,�not�a�personal�profile�page,�but�a�business�one,�I’m�sure�you’ve�seen�many�of�these.�They�work�very�well�when�you�interact�with�the�people�that�‘Like’�your�page.

Every�time�they�do�something�while�on�your�page,�push�the�like�button,�make�a�comment�etc.�they�are�interacting�with�you�and�your�business,�and….�here�comes�the�best�thing�about�that…�this�interaction�shows�up�on�their�wall�and�is�seen�by�all�their�friends!

If�some�of�those�friends�are�curious�what�it’s�all�about,�then�go�to�have�a�look�at�your�page�and�‘Like’�it,�the�ripples�spread�like�in�a�pond,�the�size�of�which�is�enormous!

Make�sure�to�set�up�a�blog�or�small�web�site�and�put�the�link�to�it�on�your�Facebook�page,�this�gives�people�a�chance�to�find�you�and�to�get�in�touch�with�you.

When�you’ve�been�making�fingerprint�jewelry�for�a�while�you�could�get�to�a�point�where�you�are�making�a�few�sales�to�friends,�then�you�get�some�referrals,�and�before�you�know�it�you�have�the�beginnings�of�a�business!

Setting�up�a�home-based�jewelry�business�is�easier�to�do�with�keepsake�jewelry�than�with�other�types,�it�just�seems�to�sell�itself!�

Getting�started�is�easy�to,�it�just�involves�what�you�do�already;�networking�with�your�friends!

When�they�buy�one�of�your�custom�made�pieces,�they�will�show�it�to�other�friends,�and�people�they�meet�in�their�daily�life�and�before�you�know�it,�the�whole�thing�snowballs!

You�could�help�this�along�by�offering�some�in-centives�for�people�to�spread�the�word�about�your�work,�discount�vouchers�for�instance,�for�any�referrals�they�send�your�way.

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iF you do your marKeting rigHt, you neVer HaVe to sell…. people will Just Come to Buy!

I�don’t�think�there�is�anything�more�powerful�at�this�time�than�Facebook,�in�terms�of�people�that�go�there�daily,�hourly!!�it�is�the�4th�largest�country�on�earth…�and�growing�every�day!�Do�yourself�a�favour�and�get�it�to�work�for�you�too!

When�you�first�set�up�a�Facebook�page,�don’t�tell�anyone�about�it�until�you�have:

�� At�least�5-6�posts�(status�updates)�on�there.�

�� Upload�more�than�4�photos�together….�Facebook�will�show�3�of�them�and�then�tell�peo-ple�to�‘See�more…’���People�are�naturally�curious�and�will�want�to�‘see�more’,�so�as�soon�as�they�click�on�it�they�have�interacted�with�you�and�are�engaged�and�are�more�likely�to�come�back.�You’ll�need�to�keep�interacting�with�them�to�keep�things�alive,�but�for�most�people�that’s�an�enjoy-able�part�of�the�business!

�� Have�a�video�on�that�first�page,�make�your�own�or�put�just�a�YouTube�video�relating�to�something�your�friends�will�enjoy,�it�doesn’t�even�have�to�be�about�jewelry,�it�could�be�about�kids�and�their�antics,�anything�that�will�get�their�attention�and�keep�them�looking�around�for�a�bit.

�� Make�sure�your�page’s�profile�contains�all�your�vital�information,�especially�the�link�to�your�website�or�blog�and�of�course�a�great�profile�picture,�maybe�one�of�your�nicest�or�most�popular�jewelry.�Keep�it�simple,�too�much�detail�will�get�lost�in�a�photo�this�size.�

�Having�a�web site or blog is�a�good�thing�to�show�people�what�you�do�and�to�give�the�ex-tra�information�people�might�be�looking�for,�here�are�some�essential�pages�any�jewelry�site�should�have:�

�� An�‘About�me’�page,�people�love�to�find�out�more�about�each�other�and�who�they�want�to�do�business�with.�Keep�the�tone�light�and�chatty,�as�if�you�were�talking�to�a�friend,�the�informal,�relaxed�approach�works�very�well�in�this�type�of�business.

�� Gallery,�this�is�your�premium�showcase,�all�you�other�marketing�should�lead�people�back�to�this�page.�Here�you�can�link�to:

�� Individual�product�pages�that�tell�people�more�about�the�design,�the�materials�you�have�used,�and�the�price�of�the�individual�pieces.�This�is�also�where�you�Buy�Now�button�would�be,�Paypal�provides�any�easily�setup�checkout�service,�check�it�out�and�compare�it�to�other�checkout�solutions.�

�� Contact�page,�provide�your�email�address�in�a�form�if�you�know�how�to,�this�will�mini-mise�spam.�

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�� Ordering�-�terms�&�conditions�-�Privacy�policy�etc.�Because�all�this�type�of�work�is�custom�made,�make�sure�you�have�a�page�for��your�order-ing�information�and�your�non-return�policy.���Make�sure�people�understand�that�you�can’t�resell�their�fingerprints�to�other�people!�This�is�standard�practice�in�the�industry,�Keepsake�Jewelry�is�sold�only�on�those�terms�and�people�have�to�agree�to�your�terms�when�they�pay�the�deposit�and�before�you�start�the�job.

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Set up the right way from the start and avoid becoming a statistic!

The�number�of�new�businesses�that�fail�in�the�first�2�years�are�staggering!�Getting�things�right�from�the�start�is�the�most�important�thing�for�your�survival�as�a�business.

Working�from�home�gives�you�an�advantage�cost-wise:

-�No�overheads

-�No�staff,�you�can�run�a�lean�machine.�

But….�working�from�home�also�puts�you�at�a�disadvantage:

Your�time�gets�taken�up�by�children,�home�duties�etc.�

This�makes�it�very�hard�to�concentrate�on�your�new�business,�just�at�a�time�when�it�needs�you�most!

To�get�the�balance�right�is�a�very�individual�affair,�every�home�has�different�challenges.�

If�you�have�a�room�for�spare,�set�up�your�business�in�there�and�make�sure�everyone�knows�to�leave�you�alone�when�you’re�working�in�that�room.�Of�course�this�is�easier�said�than�done,�but�you�do�need�to�set�well�considered�boundaries�and�make�sure�you�enforce�them.�Look�at�a�block�of�time�during�the�day�that�could�be�set�aside�just�for�your�business,�this�would�be�the�time�you�‘go�to�work’�the�same�as�if�you�were�employed.

If�you�are�like�most�people,�you�do�not�have�a�whole�room�to�set�aside,�but�you�might�be�able�to�set�up�the�biggest�part�of�your�business�in�a�well�designed�home�office.�If�you�select�one�that�can�be�totally�closed�up,�it�would�blend�in�just�like�any�piece�of�furniture,�but�it�can�quickly�convert�when�clients�visit�or�you�have�work�to�do.

So,�you’ve�got�the�skills�&�the�room�to�work,�now�it’s�time�to�check�what�needs�to�be�looked�at�when�you�are�ready�to�start.�The�following�list�is�a�guide�to�most�of�the�points�to�consider:

Tax�number�(check�what’s�required�in�your�country)

�� Business�license�or�registration

�� Accountant�&�bookkeeping�system

�� Business�bank�account

�� Merchant�account�-�if�you�plan�to�offer�a�credit�card�facility

�� Business�name�-�make�sure�you�can�use�the�name�you’ve�picked�-�even�if�it’s�your�own�name.

23 Setting Up a Home Business - Checklist

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�� Stationary�-�Business�cards��-�Promotional�materials�-�Invoices

�� Web�site�or�blog

�� Insurance�-�Public�liability�for�people�visiting�your�premises�and�product�related�insurance

�� Copyright�-�how�to�protect�your�work

�� Display�case�

�� Tools�&�Equipment

�� Computer

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24 Conclusion

So�here�we�are�at�the�end�of�this�book.�We’ve�looked�at�the�basics�of�setting�up�for�fingerprint�jew-elry�making.�Some�projects�might�have�been�easier�than�others,�but�if�you�had�problems�with�some�tech-niques,�just�stick�to�it�and�try�again!

You’ll�be�one�of�the�20%�of�people�that�can�teach�themselves�new�skills�and�profit�from�them.

There�is�a�huge�market�for�keepsake�jewelry�of�all�kinds,�not�just�finger-prints.�You�have�a�great�opportunity�to�ride�the�wave�of�popularity�to�suc-cess,�if�you�are�planning�to�set�up�as�a�business.�

Fingerprints�might�be�‘Flavour�of�the�Month’�but�think�about�pets,�and�the�money�that’s�spent�on�them,�you’d�have�the�makings�of�an�evergreen�business�just�with�that!

The�pet’s�market�is�easy�to�access,�just�think�of�all�the�shows�held�for�breeds�of�dogs,�cats�and��horses,�there�are�thousands!�And�these�people�are�nuts�about�their�animals,�they�would�love�the�right�kind�of�jewelry,�made�just�for�them,�with�their�animal’s�print�on�it!�Find�out�the�societies�and�advertise�in�their�newsletter,�ask�the�vet�if�they�would�let�you�have�some�leaf-lets�there,�you’ll�be�astounded�at�the�size�of�that�market�if�it�was�handled�well.

Another�area�that�could�be�a�great�one�is�bridal�jewelry,�the�possibilities�for�incorporating�keepsakes�there�is�huge.�Jewelry�for�the�bridesmaids,�with�a�small�fingerprint�charm�worked�in�would�be�a�gorgeous�gift�that�will�be�treasured�by�the�recipient.

Think�also�of�best�friends,�charm�bracelets�or�a�pendant�cluster�of�charms�would�mean�so�much�when�distance�separates�them.�And�not�only�women,�look�at�how�to�apply�fingerprints�to�men’s�jewelry,�there�is�a�hole�in�that�market�that�could�be�filled�with�the�right�designs.Keep�women�in�mind�as�well�when�designing�for�men,�very�often�men’s�jewelry�is�bought�to�be�given�as�presents�by�women.

When�you�are�looking�for�new�designs�to�make�your�jewelry�stand�out�from�the�crowd,�think�of�fingerprints�as�texture.�Any�jewelry�piece�that�catches�your�eye�could�be�made�with�finger-

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prints�as�it’s�main�texture.�There�are�many�women�that�would�like�fingerprint�jewelry�that�was�a�little�less�sentimental,�more�elegant�and�timeless,�but�still�had�the�fingerprints�of�their�loved�one�for�them�to�treasure.

Incorporating�genuine�birthstones�will�take�your�jewelry�to�a�higher�value,�setting�them�requires�more�skill,�they�generally�wouldn’t�be�fired�into�the�clay.�For�this�you�could�employ�a�stone�setter�that�works�for�trade�jewellers,�the�price�charged�is�generally�very�reasonable,�you’d�get�a�professional�looking�setting�that�can�be�easily�costed�into�the�price�of�the�gem�itself.

When�you�first�start�working�with�a�professional�setter,�make�sure�your�gems�will�be�stored�safely�and�they�have�insurance�in�case�things�go�wrong.�Every�professional�setter�will�have�this�in�place.

Well�that’s�it!�All�that’s�left�is�for�me�to�wish�you�good�luck�in�your�new�business�and�I�hope�you’ll�have�a�lot�of�fun�with�it�as�well!�

your Free Bonus sHape templatesDon’t�forget�to�go�to�my�web�site�to�get�your�free�bonus�templates,�over�100�shapes�that�you�can�use�for�all�your�jewelry�projects,�from�a�tiny�charm�to�a�full-size�pendant.

Go�to:�http://MakeFingerprintJewelry.com/bonus0147.htm

Enter�this�code:��fpjeb0147

Enter�your�email�address�and�the�templates�will�be�sent�to�you�straight�away.

I�will�also�keep�you�up�to�date�of�any�updates�or�additions�to�the�book�I�might�add�at�a�later�date.

So�once�again,�good�luck�and�have�fun!�Maggie�Bergman