· Web viewThe most obvious support systems or joints are interconnected “rings” and...

Crystal Excitement Bracelet with Warren Feld A LearnToBead.Net Class

www.LearnToBead.net [email protected]

Basics of Bead Stringing and Attaching Clasps - Crimping With Cable Wire, Crimp Bead, and Crimp CoversPROJECT: Crystal Excitement BraceletInstructor: Warren FeldMardi Gras PaletteBeginner LevelBS1-.01-Crimping

Strut your bling with crystals! Elegant and exciting, this bracelet will show-case your jewelry-making talents, utilizing the basic crimping technique.

This set of instructions is organized as a series ofJewelry Design Choices:

BEAD STRINGINGCRIMPINGCRYSTAL EXCITEMENT BRACELETBS1.01-Crimping

This set of instructions is organized as a series ofJewelry Design Choices:

SUPPLIES LIST, p. 3

I. Planning Your Project, p. 4Choosing Clasps, Clasp Assemblies and Support Systems, p. 4Choosing Stringing Materials, p. 6IA. Conceptualizing Your Piece, p. 7IB. Measurements, p. 8IC. Selecting Materials, p. 9ID. Sketching a Pattern or Graph, p. 10IE. Identifying Potential Areas of Weakness within Your Piece, p. 12

Copyright © 2013 by Warren Feld, LearnToBead.net. This handout is available for purchase at www.LearnToBead.net or www.LandOfOdds.com, and is intended for personal use only.

Reproduction of this handout by or for any persons other than personal use is strictly prohibited.Kits, Supplies, Tools available for purchase at www.LandOfOdds.com or www.LearnToBead.net .

1

http://www.LearnToBead.net/

http://www.LandOfOdds.com/





IF. Visualizing Your Process, p. 12IG. Organizing Your Work Space, p. 13

II. Beginning Your Project, p. 14IIA. Basic Steps, p. 14About Cable Wires, p. 14About Crimp Beads, Crimp Covers, and Horseshoe Wire Protectors, p. 15Let's Practice Crimping, p. 18Let's Make Our Bracelet, p. 24

IIB. Dealing with Contingencies, p. 32IIC. Finishing Touches, p. 32

III. Summary of Learning Objectives You Have MetAfter Accomplishing This Project, p. 33

IV. Next Steps, p. 35IVA. Suggested Readings, p. 35

What You Will Learn:- Selecting Cable Wire, Crimp Bead, Crimp Cover, and Horseshoe Wire Protector- The four steps of crimping- Selecting a clasp and fashioning a "clasp assembly"- Creating a "support system" with a loop- Using a bead board and sizing cone- Relationship of cable wire method to needle/thread method

Prerequisites:- Orientation To Beads & Jewelry Findings

TimeFrame:This bracelet takes about 1 1/2 hours to complete

These Instructions are written from what is called The Design Perspective.

They first guide you through the kinds of choices to be made, when designing this particular piece. This gives you a sense of how the artist thought through the development of the project. This provides you with a better understanding and some insights about what kinds of things you would need to consider, when designing a similar piece, or adding personal touches to this project.

Then step-by-step, easy-to-follow instructions for completing this project are presented.

Finally, the skills learned by doing this project are summarized.

Supplies To Make a 7" Bracelet:

Kit and Supplies available for purchase from:



2





http://www.learntobead.net/



Land of Odds (www.landofodds.com )LearnToBead.net (www.learntobead.net )

[Additional beads included with kit to make up to an 8" bracelet.]

Generic Item Description This ProjectPalette #3. Mardi Gras

Your Project Variation

1ea Pewter Toggle Clasp (with 11mm interior diameter ring)

1ea Pewter Toggle Clasp (with 11mm interior diameter ring), antique silver finish (1 in kit)

5ea Series 5601, 8mm, Swarovski Elements, Cube (Color A)

5ea Series 5601, 8mm, Swarovski Elements, Cube, Crystal Copper (Color A)(6 in kit)

10ea Series 5040, 8mm, Swarovski Elements, Briolette Beads, (Color B)

10ea Series 5601, 8mm, Swarovski Elements, Briolette Beads, Amethyst (Color B)(12 in kit)

10ea Series 5040, 6mm, Swarovski Elements, Briolette Beads, (Color C)

10ea Series 5040, 6mm, Swarovski Elements, Briolette Beads, Palace Green Opal, (Color C)(12 in kit)

2ea Series 5040, 6mm, Swarovski Elements, Briolette Beads, (Color D)

2ea Series 5040, 6mm, Swarovski Elements, Briolette Beads, Crystal Copper, (Color D)(2 in kit)

4ea, Pewter Bali-Style Saturn Beads, Antique Silver Plated

4ea, Pewter Bali-Style Saturn Beads, Antique Silver Plated(5 in kit)

2ea 2mm Crimp Tubes, sterling silver 2ea 2mm Crimp Tubes, sterling silver(6 in kit)

2ea Horseshoe wire protectors, sterling silver (that will slip over a .019" thick cable wire)

2ea Horseshoe wire protectors, sterling silver (4 in kit)

2ea Crimp Covers, 3 - 3.4mm, sterling silver 2ea Crimp Covers, 3mm, sterling silver (4 in kit)

1 30-foot spool Flex-Wire, flexible nylon coated cable wire, .019" thickness

1 30-foot spool Soft Flex, .019", flexible nylon coated cable wire(1 in kit)

Also Needed...

Crimping PliersBead BoardBracelet Sizing Cone or something that can serve similar purposeChain nose pliersFlush cutters or side cuttersBead Stoppers or hemostat or other clampNail File, Small Steel File, or Emery BoardScissors, Ruler, Work surface



3





http://www.learntobead.net/

http://www.landofodds.com/



CRYSTAL EXCITEMENT BRACLET

I. PLANNING YOUR PROJECTThinking about the types of choices made for this project

Stringing beads on cable wire, thread or cord is not difficult, but it does require a thorough understanding of the pros and cons of the various parts and stringing materials that you will use.

The bead stringer has several goals to achieve: You want your piece toa. Look good and be appealingb. Last, not break and be durablec. Move well as it is wornd. Feel good and drape good as it is worne. Withstand all the forces and pressures that result, when your jewelry moves, as it is wornf. Fit the context within which it is worn

CHOOSING CLASPS AND CLASP ASSEMBLIES AND SUPPORT SYSTEMS

The best clasp is one that has no moving parts. These include toggles, buttons, slides, S-clasps, and hook & eye clasps. This does not mean that you do not use clasps with moving parts. But when you use clasps with moving parts, you will need to incorporate some jewelry design tricks and techniques to compensate for any functional weaknesses.

One clasp element that we jewelry designers call a “moving part” is a tongue. You find these as part of box clasps and pearl clasps, for example. If a metal piece is bent into a “V” or “Arch” shape, and is forced to move back and forth as it gets pushed in and pulled out of the basic clasp, we consider this a moving part. When you bend metal back and forth, it breaks. When metal is bent into a V or Arch, and is pushed/pulled, it will break. In any clasp, where you have a metal part that is bent back and forth in use, we call this a moving part.

All clasps work well in necklaces. In bracelets, however, care and consideration should be paid to how difficult or easy it is to secure and undo the clasp – especially if the wearer has to accomplish these steps by her or himself.

In better pieces, the clasp seems as if it is an organic and integral part of the rest of the piece. While most people select their clasps AFTER they have designed their bracelets and necklaces, ideally, you would want to choose your clasp either BEFORE or CONCURRENTLY with your design process. Otherwise, your clasp tends to look like an after-thought, and often does not have a good fit and flow with the rest of the piece.



4







In the Art & Design Tradition, when we speak of “choosing a clasp,” we are referring to something broader than the clasp itself. We are referring to what is called the “Clasp Assembly”. The “Clasp Assembly” includes both your clasp, as well as everything else that has to come together in order to attach your beadwork to the clasp. When you select a clasp, you need to visualize the whole "Clasp Assembly", not just the clasp. This lets you anticipate what things will visually look like, their fit, their flow, your ability to finish things off appropriately and in an appealing manner.

The “CLASP ASSEMBLY” usually consists of several parts. Besides the Clasp itself, there are probably jump rings and connectors, crimp beads, clamps or other jewelry findings. If we had an S-clasp, the clasp assembly would also include 2 soldered rings (one on each side) plus, if using a cable wire, the loop created with the cable wire and crimp bead which attach and secure the wire around the soldered rings.

We want the clasp to be proportional to the beads used in the piece. The full Clasp Assembly should be proportional to the piece as a whole. If half your bracelet is taken up by the Clasp Assembly, then there’s a problem here. That is why, when selecting a "clasp", you need to visualize the full "clasp assembly" when making your choices, and not just the clasp itself.

The “Clasp Assembly” is a more specific term for the more general jewelry-design terminology called a Support System. The Clasp Assembly is the most important support system in any piece of jewelry. In any one piece, there are usually 1 or more support systems. Support Systems give your pieces "jointedness"; that is, they allow the piece to adapt to all the forces impinging on it, when the wearer moves around, walks, dances, skips, runs, bends over, pivots to the side, and you get the idea here. In a bracelet, you might only have the one support system – the clasp assembly. In a necklace you might have three or five.

GOOD SUPPORTWith rings and loops (where crimp bead is not pushed all the way to the clasp).

BAD SUPPORTNo additional rings, and crimp beads pushed all the way to the clasp, leaving no loops.

The most obvious support systems or joints are interconnected “rings” and “loops” and "knots". Other support systems include “hinges” and “rivets” among other concepts. The support systems structured throughout your necklace or bracelet play several roles, and are similar to the joints in your body. They aid in movement. They prevent any one piece from being adversely affected by the forces this movement brings to the piece. They make the piece look and feel better, when worn. They keep segments within the piece from getting too stiff or too tight or too rigid. They help absorb excess force placed on your components because of movement, keeping them from cracking, splitting apart or breaking.



5







When you see someone whose necklace has turned around on her neck, this is an example of poor Design and support. This is not natural to necklaces. Usually the poor design has to do with insufficient support systems built into the necklace. Often, with a necklace, you want the clasp to stay in one place on the back of the neck, while the beadwork moves to and fro, out and in, side to side, up and down, with the wearer’s movements. This only works if you build support systems into your piece. If there are no supports -- no extra rings and loops --, then everything will be stiff. When movement pulls on the stiffness, it puts too much force on all the components and stringing material. Then things move around inappropriately, feel uncomfortable, or even break.

CHOOSING STRINGING MATERIALS

There are many types of stringing materials to choose from. Each has its own pros and cons. These types include,

o Flexible Nylon Coated Cable Wireso Beading Threado Cable Threads (a hybrid between the cable wires and the beading threads, such as FireLine)o Bead Cordo Elastic Stringo Hard Wire

The primary choice is between needle and thread vs. cable wire.

You always get your best design or functional outcome with needle and beading thread. Projects strung on thread always take the shape of your body, so they move with the body, drape the best, feel the best. Needle and thread, however, is very involved -- you have to use a needle, you have to wax the thread, you typically go through each bead at least 3 times. If you are trying to sell your pieces, it is almost impossible to get your labor out of a needle and thread project.

Cable Wires are much simpler and quicker to use. But the outcomes tend to be stiff, not move as well, or drape as well. However, by adding support systems, such as rings and loops, within your piece -- ways to increase jointedness -- you can make your cable wire project function a little more closely to that of needle and thread.

In terms of other stringing materials, cable threads (such as FireLine) often offer a good compromise between the functional qualities and marketing concerns of needle/thread and cable wire projects.

Bead Cords are threads braided together so they look pretty. Bead Cord is used when you want your stringing materials to show, such as when putting knots between beads, or doing something like a Tin-Cup necklace, where you have a cluster of beads, and the cord shows, another cluster of beads, the cord, and so forth. Bead Cord trades off durability for visual appearance. If you were covering the whole string with beads, you would not want to use bead cord.

Elastic String is very popular, and avoids the issues of attaching clasps; however, it is not a durable product and loses its "memory" over time.

A last choice is hard wire. Hard wire is not a stringing wire. You can't put a strand of beads on hard wire and attach a clasp; the metal wire will bend, kink and break from bending back and forth. Hard wire is used to create structural components, chains or shapes, which you can begin to link up, that is, build in support systems, in order to construct a bracelet or necklace.

For our Crystal Excitement Bracelet, we will be using flexible, nylon coated cable wire. The quality of cable wire we will be using is called Flex Wire, which is the middle-range or Designer grade in this product line. [The low-end of the cable wire line is called Tiger Tail]. We will be attaching the wire, using crimp beads, to a Toggle Clasp -- basically a ring on one end and a bar on the other. From a functional standpoint, the Toggle Clasp is considered the best clasp. It is considered the easiest to get on and off, and the most secure. It has no moving parts. It has great "jointedness" or support. Toggle Clasps should always be bought and used as a set. You never mix and match rings and bars, because they are tightly engineered to work as a set and you don't want your necklaces and bracelets to fall off, when worn.



6







IA. Conceptualizing Your Piece

Ask yourself these questions:Purpose? What is the Context/Setting the bracelet might be worn in? Will the piece be worn frequently, or for any other reason, be subject to a lot of wear and tear?

Sizing?Is this to be for a Woman (6 ½ - 7 ½”) or man (7 ½ - 8 ½”)? Size of wrist? How loosely should it fit -- very loose, somewhat loose, tight?How will the sizes of my beads impact the final sizing of the bracelet, when worn around the wrist?

Materials?If more than one strand, will I need any special types of components? What kinds of stringing materials do I want to use, and do I need to do anything additional to prepare the stringing material before using it?What size or thickness of stringing material do I want to use?What type of clasp do I want to use? What are its pros and cons -- functionality, durability, ease of use, support, adaptability to movement, visual appearance, appropriateness to person and context? What special types of construction techniques or additional parts will I need to incorporate to overcome any of the "cons"?What types and materials of beads do I want to use? glass, gemstone, metal, mix?

Design and Color Issues?How many strands do I want the bracelet to be?What will the clasp assembly look like, and where and how will I attach the clasp?Do I need to make special design choices to allow the clasp to function optimally, such as using smaller beads on each end of my piece? Will the full clasp assembly be a good and appealing length, or will it be too long and unappealing?Do I want to design my clasp assembly to allow my piece to be adjustable in length? How do I want to finish off my clasp assembly -- crimp cover? horseshoe wire protector? seed beads covering the loops?How sharp are the holes of my beads, and do I need to do anything special for anything with especially sharp holes? What size(s) and shape(s) of beads do I want to use? Do I want to use the same bead throughout, or do I want to create a pattern? What colors do I want to use? Metal colors? Glass bead colors?Do I need to build in support systems, such as links, loops or rings, to allow for better "ease" and movement?

Wearability?How easily will the strung beads, once the project is finished, conform to and feelcomfortable on the wrist?

This bracelet is made up of Austrian Crystal and Pewter beads strung on cable wire and attached to a Toggle Clasp, and secured with crimp beads. The bracelet is designed for a Woman and is 7" long. (If purchasing a kit with these instructions, there are enough beads to make a 8" length). This single-strand bracelet is designed to fit somewhat loosely on the wrist.

We are using Flex Wire. I chose this cable wire because Austrian Crystal Beads have particularly sharp holes, and would be risky for use with beading thread or the lower quality Tiger Tail.. We can use the cable wire right off the spool, and do not need to do anything special to the wire, before using it. The stiffness of the wire allows it to be its own needle.

We are using .019" thickness of flex wire, which is good for a bracelet. Bracelets take a beating when worn, so we want to use the thickest cable wire that still feels good. (For a necklace, we would use a thinner wire, such as .014". Necklaces do not take a beating like bracelets. The major issue for a necklace is how well it drapes, so we need the thinnest wire that will still be durable).

I chose a Toggle Clasp because it has great functional properties, no moving parts, adds a lot of jointedness or support to the piece, is easy to use, and visually complements the overall design. Since I am using a cable wire, which tends to be stiff, the Toggle Clasp allows the bracelet to be much more flexible and sit more comfortably on the wrist. The Toggle Clasp itself is a great support system.



7







With a Toggle Clasp, you need to be able to pull through the ring both the bar and the first few beads near the bar on your strand. I have made sure that the beads next to the bar are small enough to allow this to happen easily.

The Clasp Assembly will consist of cable wire brought through a crimp bead, through the loop on the clasp, back through the crimp bead, leaving a sufficiently-sized loop for jointedness and support. Because the bare loop tends to look unfinished and unattractive, we will be using a horseshoe wire protector to cover the loop. We will hide our crushed and re-rounded crimp bead with a crimp cover, to make this finished end look more professional. In our kit, we use sterling silver crimp tubes and horseshoe wire protectors, because I find these easier to work with than the plated varieties.

While I often try to make my pieces adjustable in length, for this project, I am not doing this.

I chose Austrian crystal beads for their glitz, and pewter beads and a pewter toggle for both look and lower-cost. I wanted to use varied bead sizes and shapes and create a pattern along my strand. I chose colors which coordinate well. I'm a strong believer in using "coordinated" rather than "matching" colors for achieving a stronger artistic and design outcome. Thus, my colors and finishes are similar and related, but not exactly from the same color palette.

This bracelet can be worn in both casual as well as more formal settings.

IB. Measurements

Ask yourself these questions:Given how loosely or tightly I want the bracelet to be, and the size of the beads I am using, what length (and width) bracelet do I want to end up with, as measured on a sizing cone or around a person's wrist? How many beads of what sizes will I need?Will I need to use smaller beads, and of what size, near either end of the bracelet, so that the wearer can easily maneuver the clasp to get it on and off?If I use a pattern and it is broken up into segments, how long do I want each segment to be? When worn on the wrist, how much of this pattern (or how many of my segments) will be showing to the viewer?How much more length will the clasp add to my piece?Do I need any definable center point or focus?Do, at least, my first bead and last bead have holes large enough to accommodate the widths of both the spine and the tail of my cable wire?

For this project, I wanted to make a bracelet approximately 7" (175mm) long, which includes the clasp (adds about 1/2"), and when measured around a sizing cone. [The linear measurement, when laying the bracelet along a ruler, is about 7 7/8"]. The bracelet is single strand. The largest beads are 8mm sized cubes. Two 6mm sized beads are positioned at either end, to make it easier to pull the Toggle Clasp bar through the Toggle Clasp ring.

I created a simple, repeating pattern with my beads, with some segmentation. Each "segment" repeats itself about every 1 1/4" along the strand. When worn on the wrist, typically two of these segments are visually showing.

While my beads vary in size, I do not have a definable center point. If anything, the clasp serves as a focal or center point.

All the beads, with the occasional Cube Bead exception, have large enough holes to thread two thicknesses of cable wire (thus, spine and tail) through them.

NOTE: There are 25mm in an inch. Rulers are marked in inches on one side and millimeters on the other.



8







MEASUREMENTSDESCRIPTION THIS

PROJECTYOUR PROJECT VARIATIONS

Fits this wrist size, when worn with clasp 7”

Length Clasp Adds when worn 1/2 - 5/8"

Linear length with clasp when not worn 7 7/8"

Width 8mm at widest point

Pattern? YES/NO Yes

Into organized segments? YES/NO Yes

If segmented, length of typical segment about 1 1/4"

If segmented, number of segments visible on the wrist at any one time, when piece is worn.

2

Definable center point? YES/NO No

Hole sizes of first and last bead large enough to slip over both spine and tail? YES/NO

Yes

IC. Selecting Materials

Ask yourself these questions:Types of beads? Glass, crystal, gemstone, precious metal, base metal, other?Sizes of beads? 4mm, 6mm, 8mm, 10mm, smaller, larger?Shapes of beads? round, rondelle, cube, oval, tube, other?Directional issues with beads? Finish on one side? Pattern weighted to one side? Shape weighted to one side? Points in a direction? Two sides pointing in opposite directions leading to a center piece? Unidirectional?Stringing material? beading thread, cable thread, cable wire, other?Clasp? Make my own or use a manufactured clasp? Material? Size? Ease of Use? Durable? Adjustable? Appropriate given my bracelet's design?

For this project, I chose Austrian crystal beads for their glitz and shine, and pewter beads for their look and low-cost. I wanted to create a pattern using different sizes (6mm and 8mm), shapes (rondelles, cubes, saturn round) and finishes (transparent and opalescent) of beads. I use the pewter beads to emphasize a "segmentation". I like to build in "frames" or "brackets" in many of my designs, where the pewter beads "frame or bracket" the beginning and ending of a group of crystal beads. Visually this gives an emphasis to each grouping of beads, making them stand out more.

In this project, the beads do not have any "directional" issues. We do not have to decide whether each side of our piece either needs to point to a focal point, or needs to flow continuously in a single direction.

We are using flex wire cable wire. We need the durability of the wire because of the sharp holes of the crystal beads, and are willing to sacrifice some of the better drapery qualities of thread.

The Toggle Clasp visually works with our piece, and adds back some of that jointedness and support to our cable-wire piece. Pewter here provides a good mix of durability and lower cost. It is easy to use. The clasp is not adjustable.



9







ID. Creating a Key and Sketching a Pattern , Diagram or Graph

When beginning any bead strung project, it is important to translate your creative thoughts and visualizations into diagrams and sketches. We do this by laying out a KEY. Here we lay out all our pieces, and assign each piece a symbol or code -- some kind of short-hand.

Next, we DIAGRAM our piece, using our short-hand.

Last, we do a SKETCH by hand. This gives us something to jog our memories, so while we spend the next two or more hours putting something together, we remember what we had in mind in the first place.

Key



10







Diagram

We begin our Diagram on the top and left, and proceed to the right, and continue down the page.

You always begin your pieces with the largest part of the clasp. With the toggle clasp, this will always be the ring.

I like to make the first line of my diagram, if possible, reflect the general pattern or segmenting, and continue the rest of the bracelet on subsequent lines. I make the length of the rest of my lines as long a length as I feel comfortable glancing at.

Begin...

CLASP-RING + U + CRIMP w/ C + o2 + o1 + O + [ ] + O + o1 + % +

o1 + O + [ ] + O + o1 + % + o1 + O + [ ] + O + o1 + % + o1 + O + [ ] + O + o1 +

% + o1 + O + [ ] + O + o1 + o2 + CRIMP w/C + U + CLASP-BAR

...End

Sketch

In my sketch, I want to make sure I capture a sense of the main patterning or segmenting, as well as some sense of my general ideas about color and proportions. As in this case, I do not have to draw out every bead and detail.



11







IE. Identifying Potential Areas of Weakness within Your Piece

Identify potential points of weakness within your piece. These are areas within your piece that you will want to add some extra reinforcement or extra support and jointedness.

In our project, we have two concerns.

The first area of weakness is where we attach each part of the clasp. Pieces strung on cable wire and secured with a crimp bead, when they break, they break most often at the crimp. Crimping correctly, as explained below, as well as use of the horseshoe wire protector for leaving an optimum and secure loop, should help to minimize this risk.

The second risk comes from the beads themselves. Austrian crystal beads have especially sharp holes. Our use of .019" cable wire should mitigate against this. However, if you want to be especially diligent, you can use a bead reamer (with diamond coated bits) to ream out the holes of these particular beads before you string them.

IF. Visualizing Your Process

Putting The Beads On.

If you were creating a piece from scratch, and not following a pattern, you would probably use something like clamps, hemostats or bead stoppers. You would cut a length of cable wire -- about 8-12" more than the bracelet or necklace length you want to end up with. You lay out all your beads and the parts of the clasp assembly on a bead board or other work surface. Then you would clamp one end of your cable wire, slide beads on, and clamp the other end. This would let you add and subtract beads, thus adjusting the length or patterning, from either end, before you finished off the ends with the clasp assembly.

For this project, the pattern is set. You would cut your cable wire -- about 8 " more than the bracelet length you want to end up with.

Lay out all your beads and the clasp assembly parts on the bead board or some other work surface, in the order they are to be used.

You would attach the largest part of your clasp -- with Toggles, this is the ring -- on one end, crimping it in place, and leaving a 3-4" tail.

Slide on your beads, following the pattern. At least your first bead (and preferably more beads) should slide over both the spine and the tail.



12







Determine the fit -- both length and ease -- by clamping or holding with your fingers the open end, and encircling a sizing cone or someone's wrist with your bracelet. Remember here that the other end of the clasp will add another 1/2" to this length.

Adjust the number of beads, if necessary.

Add your crimp bead, horseshoe wire protector, the other end of the clasp -- in our case, the bar.

Don't actually crimp things on this side, or trim your tail yet.

Slide the tail back through some beads. Pull tight enough to get an acceptable ease. Test the length and ease again.

When satisfactory, trim your tail on your beginning side, if necessary.

Then, do your final crimping. Slide the tail through some more beads, if possible. Trim the tails on this ending side.

Set your mantra going.Organize the “flow” of your work in your mind. Create a pattern and rhythm in yourhead, utilizing such things as shapes, sizes, and colors.

In our case, we are repeating a patterning in a set of beads. We want to minimize the chances of leaving a bead out of the pattern or putting one too many beads within the pattern, because, while immersed in our repetitive motions, we spaced out and lost attention. It is always amazing how putting a sing-song'y rhyme in your head can keep you on track and minimize errors.

In this example, I created my mantra for the patterned segments:

Small, Large, Cube

Large, Small, Boom

IG. Organizing Your Work Space

Get your beads, stringing materials, tools, cutters, ruler, sizing cone, bead board, work surface, handy pen and paper, and thelike, altogether in one place.



13







II. BEGINNING YOUR PROJECT

IIA. Basic Steps

Crimping is a technique for securing a clasp to beads strung on cable wires. Here crimp beads are used instead of tying knots. The process is relatively simple and requires only a little practice. If using a traditional crimping pliers, you would follow the 4-Steps listed below. However, you can also use what is called a One-Step Crimper. This crimping pliers does all four steps in one step. If crimping is a technique that you will be doing often, then I suggest investing in a One-Step Crimper.

Successful crimping requires that you understand the following:1 . Which cable wires are best for which projects2 . How the materials you use affect your success3. The mechanical process itself, how it works, why it works, and why we do each step

CABLE WIRES

Cable wires are nylon coated, braided wires and are very flexible. These are made for stringing.

[What is called Hard Wire -- wire that is not braided and is not encased in nylon -- , in contrast, is not meant for stringing.]

Cable Wires come in 3 quality grades.

The low end is called Tiger Tail. Tiger Tail was the original cable wire product. Today it is the low end of the cable wire line. Most spools of Tiger Tail do not have the words "tiger tail" on their labels. You know it is Tiger Tail because of the price -- typically $5.99 or less for a 30ft spool you would find in a bead or craft store. Tiger Tail wire breaks very easily in and of itself. It kinks easily, and even with the beads on the wire, the kink often shows. The way you attach Tiger Tail to a clasp is that you take the wire through the loop on the clasp, and tie an over-hand knot. You can tie a single knot or a double knot. This actually gives you a very secure connection to the clasp. This is one positive attribute of Tiger Tail. Unfortunately, when you use crimp beads with Tiger Tail, they too easily cut into the Tiger Tail and make it break. If you do not like the look of the knotted cable wire here, you can either use beads on each end and which have larger holes so that they swallow the knots. Or, you can slide a crimp cover over the knots, press the two ends on the cover together, and you have something that looks a like a bead to hide your knots.

The middle end -- what we are using here -- is called Flex Wire. This level is the best place to start. This wire does not break easily. It does not kink easily. However, it is difficult to tie into a knot. So, we use a crimp bead on each end to secure the wire in place.



14







The top of the line is referred to as Professional or Artistic Wire. Most of these wires are very expensive, and we don't suggest this level as the place to start.

There are many brands of cable wire. I am particularly fond of two brands -- Soft Flex and Flexrite. I find the wire of other brands too stiff, and sometimes not strong enough.

Cable Wires come in different diameters or widths, usually stated in inches.

We recommend the following:.014" - .015" for necklaces: here you want the best drape you can get, and still have a durable piece.018" - .019" for bracelets: here you want the most durability, yet your piece still feels good when worn.019" - .024" for eyeglass leashes: here durability is you primary factor

About Selecting Cable Wires

There is a lot of information on the labels of cable wires. However, while most of this information is necessary, it is not sufficient for determining which wire is best. The only true measure of cable wire strength is called Tensile Strength, and you will not find this information on the labels. The strength of a cable wire will come from what the wire is made of, what the nylon sheathing is made of, and how thick that nylon sheathing is. You cannot assume that a 49-strand product is stronger than a 21-strand product, without knowing more about the wire composition and the sheathing. That 49-strand product may actually be weaker.

Nor can you assume that a product, the label of which indicates 20-pound strength is necessarily stronger than a product that indicates 10-pound strength. "Pound Strength" is very unreliable as a measure. In most cases, these pound strength numbers on the label are somewhat made up. Governments leave it up to the factory to determine how to measure and report pound strength. On most cable wire products, measures of pound strength are not included. Many years ago, pound strength was listed on all cable wires. The people at the factories responsible for the labels, however, could never get the same pound strength listed from batch to batch. One time it might list 20 pounds; another 2 pounds; another 6 pounds; then back to 20 pounds. So the manufacturers told them to leave this information off.

It is very difficult to compare cable wires across brands. Each company organizes its line, from low end to high end, differently. Don't assume one brand's 49-strand wire is equivalent to another's.

CRIMP BEADS, CRIMP COVERS, and HORSESHOE WIRE PROTECTORS

Crimp Beads

Crimp beads come in many styles, sizes and finishes. These are used to secure cable wires to clasps. The crimping process involves crushing the crimp onto the cable wire, separating the tail and spine wires, locking them in place, and then re-shaping the crushed crimp so it looks like a bead again.



15







Crimp Covers

These are U-shaped parts that slip over the crushed crimp. You can slide crimp covers over your crushed crimps. You can also use these to slide over any knots, to hide the knots. Crimp covers come in different sizes, finishes, and texturing.

Using the tips of your crimping pliers, you push the two sides of the U together, so you have a pretty bead. These are made of a soft metal, so you don’t want to push too hard, or you will crush them. After you get the two sides to meet, you’ll find that the lip on either side doesn’t meet up perfectly. At this point, you return the crimp cover to your crimping pliers, this time resting it between the top notch in each jaw. Gently push the jaws to force the lips to meet more perfectly. Sometimes you have to position the pliers in an awkward or odd position, in order to push in the desired direction.

Horseshoe Wire Protectors

This part is basically a bent tube, with the top of the tube at the arch cut out. These come in many finishes and metals. There is some variation in size relative to how wide an opening the tube has.

Using these serve several purposes.

It forces you to leave the correct size loop in the cable wire, so that you have the appropriate support system or jointedness. Without the loop, you would be pushing the crimp all the way to the clasp. This is a No-No. You never push the crimp all the way to the clasp – this creates stiffness with metal parts, and general movement would cause these to break.

The horseshoe also makes the loop more finished looking – better than a bare-wire loop. Your eye/brain wants you to push the crimp all the way to the clasp. It hates a bare, exposed loop. The horseshoe fools the eye/brain here, making it think that the loop is finished and more organically a part of the whole composition.

The horseshoe prevents the cable wire from folding into a "V-shape" over a period of time and wear. If the wire were to change from an arched loop to a V-loop, the wire then would more easily bend back and forth and eventually break.



16







There are many choices to make when selecting crimp beads:

- Do you want to use a tube shape or a round shapeA crimp is a crimp. There is no difference in “holdability” between the tube and the round, but most people prefer the tubes. They sense that the tube covers more area, so it will be more secure.

A round bead actually starts as a tube. They blow air into the tube to puff it up and make it look round.

- If you want to maintain a silver color, how do you do that?You have several choices here, each with pros and cons. You can use a sterling silver crimp. Sterling silver softens at body temperature. If your sterling crimp rests on the wrist or the neck, there is some risk that it will soften and release its hold. From experience, this risk, if you have crimped correctly, is very small, but the risk exists.

Another option is to use a silver-plated crimp. Silver plated crimps are plated usually over brass. Brass usually is stronger than sterling silver; however, many of these plated crimps are poorly made. Unfortunately, the plating wears away somewhat quickly, and you are left with a black crimp -- basically tarnished brass.

Some people use silver plated crimps and slide sterling crimp covers over them. This adds about $0.50 per piece.

Another option: Use an argentium silver crimp. There is less risk of argentium silver softening at body temperature.

- How do you achieve a satisfactorily re-rounded bead?In the traditional crimping processing, you flatten the crimp and then you re-round it so that it looks like a bead again. You do not end up with a great look. Some people can live with this; for others, they are bothered by not seeing a perfectly round bead again.

There is a crimping pliers, which I do not recommend, called the Magical Crimping Pliers. This re-rounds that bead perfectly, but I find, in doing so, it weakens the hold.

You can always crush your crimp bead, and then slide a crimp cover over it, to get that pretty look.

- How many crimp beads should you use of each end -- 1 crimp or more than one?Using 1 crimp on each end of your piece is more than sufficient. Using more than 1 crimp on each end is too risky. Sometimes your mind, or your best friend, thinks that if 1 is good, 2 or more would be better. No! When you crush your crimp onto the wire, it becomes like a little razor blade. All jewelry moves, so your crimp is constantly trying to saw through the cable. Using more than one crimp on each end increases the chances that one will saw through. All you are doing is adding razor blades.

- Should you use a plain crimp tube or a twisted crimp tube?The twisted crimp tubes (sometimes called Tornado or Cyclone crimps) are a little more expensive than the plain ones. When you crush the twisted tubes, they look decorative enough that you don’t have to re-round them. You definitely need to re-round the plain ones.

- Should you use regular and long tubes or short and half tubes?Short tubes or half tubes are primarily used in pieces like illusion necklaces, where you have a cluster of beads, and the cord shows, another cluster of beads, the cord shows, etc. Half tubes are used on either side of the clusters to keep the beads in place. When you crush the half tube, the volume of space it takes up is not noticeable. When you crush the regular sized tube, its volume of space is too noticeable and detracts from the general look of the piece. One mistake people make with the short or half tubes, is that, when they use them to finish off the ends of jewelry, their mind tells them, since these are shorter than usual, to use 2 or 3 of them so that they will “hold better.” A crimp is a crimp, and if you crimped correctly, there is no difference in holdability between the short and longer tubes. Each crushed crimp you add becomes like a little razor blade. All jewelry moves, so you’re increasing the chances one of these crimps will cut through the cable wire. One crimp on either end is enough.

- Are there differences or variations on quality/grade of crimp beads? The short answer is Yes! Basically, you get what you pay for!Here’s how crimp beads are made: You start with a sheet of metal. You roll the metal into a tube. You buff along the seam where the two sides meet, so that it looks like it’s been soldered together. However, there’s really a seam there.



17







So often, people come into our shop and tell sad tales of failed crimps and broken bracelets and necklaces. They blame themselves. They blame the pliers. But they never blame the crimp beads. In most cases, the crimp bead is at fault.

Cheap crimps, usually bought in small packages, usually at craft stores, are not made well. When you crush these, they tend to split along the seam. Sometimes you can see the split. Othertimes, you can’t quite see that the two sides of the tube have started to separate. Your cable wires pull out. Or your crimp edges have cut into the cable wire.

An A-grade crimp, usually costing about 3 times what the cheap crimps cost, can hold up to your initial crushing, as well as another 8 or so clamping down on it during the re-rounding process.

There are heavy-duty or A+ grade crimps. These run about 6-8 times what the cheap crimps do. You don’t have to worry about any splitting, no matter how much you work the crimp bead with your pliers.

- How do you know what size of crimp bead to buy?Manufacturers are inconsistent in how they label the sizes of crimp beads. In general, although you may not know exactly what their measurement refers to, when they list:

2mm, this is the average size For .014, .015, .018, .019 cable wires1.5mm, this is small For .010 and .012 cable wires2.5mm, this is slightly more than average For .019 and .024 cable wires3.0mm and 4.0mm, these are large For .024 cable wires, or thicker cords, or bringingmore than 1 strand thru at a time

LET'S PRACTICE OUR CRIMPINGHow to Crimp Using Crimp Beads, a Crimp Pliers and Flex Wire

Before we get started on our bracelet, we are going to practice crimping.

The Traditional Crimping “Pliers”

The traditional crimping pliers works with all sizes of crimp beads. In fact, I find it works better than most other types of crimping pliers, whether the micro-crimpers, macro-crimpers or magical crimpers.

If you look closely at the jaws, you will see that each jaw has two notches on it. The bottom notch in each jaw (those closest to your hand) is a full ditch on one side, and a ditch with a pyramid or triangle in it on the other side. It is important that you be able to see that pyramid. This is critical to the crimping process. Sometimes when you buy these, and other times when you use these awhile, the pyramid isn't there or wears away.

The top notch in each jaw (furthest from your hand) has a full ditch on either side.



18







There are four steps in the crimping process. Basically, you use the crimping pliers first to separate the two wires (spine and tail), then second, to lock them in place. The last step is to make things pretty again.

We do the first two steps using the bottom notch in each jaw. We do the last two steps using the top notch in each jaw.

Hold your pliers parallel to the table, with curved part of jaws facing you.

[NOTE: There is also a new 1-step crimping pliers which works very well.]

The “Loop”

Position the crimp and the wires, so you leave an adequate “loop” (joint). The clasp should be able to move freely, where it attaches to the cable wire. You never push the crimp bead all the way up to the clasp. Your eye/brain cognition wants you to push the crimp all the way up to the clasp; it sees the bare loop as ugly. You must fight your inner self on this, in order to build in appropriate level of support or jointedness. You are going to have to sacrifice some beauty in order to build in more durability and adaptability to movement.

When crimp/wire/clasp are too tight, and can’t move, then you basically have stiff metal bending back and forth against itself, and it breaks. If you don't like the look of that bare loop, you can always cover the loop with 15/0 or 11/0 seed beads, or 13/0 charlottes. You can slide on about a 3/4" length of French wire bullion to cover the loop. Or you can use a horseshoe wire protector, as explained below.

What I like about the horseshoe wire protector is that it forces you to leave an ideal sized loop, and also makes what was a bare loop look very finished and appealing.



19







The “Tail”

You need to leave about a 3-4” tail on either side. You want to hold the tail so that it runs parallel to the spine, though not touching. When you crimp and close and let go of your pliers, don’t let go of the tail. This is a mistake many people make. When they let go of the pliers, they let go of the tail. Don't do this. If you let go of the tail, the tail will either bend over far to one side, creating a “V” with it and the spine. Or, it will cross over the spine.

When we trim our tails, we do not cut them off at the crimp. Instead, we feed back the tail through at least the first (or last) bead, and preferably several other beads, and then cut the tail as close to the hole of the bead it is exiting as possible. You want to be sure that at least your first bead and your last bead have large enough holes, so that they can slip over both the spine and the tail.

Tail sticking out too far and tail crossing over wire:

Finishing Your Piece Off and Trimming The Tails

On the first side of your bracelet or necklace, you secure your clasp component with your crimped wire. You then string on your beads. You want at least the first bead, and preferably several beads to slip over both the spine and the tail wires. When you get to the other side, you will add your crimp bead and horseshoe wire protector, slide your remaining clasp component over the tail up into the horseshoe. You need to have a 3-4" tail remaining. Grab your tail, and bring it back through (top to bottom) of your crimp bead, and through at least your last bead, and preferably several beads.

Now you want to pull things tight, but not too tight, before you crimp that second crimp bead. Hold onto your clasp (or your horseshoe wire protector ) with one hand, and pull the wire with the other, to get everything tight, but not too tight. You do not want your bracelet to have poor "ease" and be too stiff. You should test the length of the bracelet one more time, using a sizing cone or someone's wrist. Make any necessary adjustments to ease and length.

If your tail is showing on your first side of the bracelet, then trim it off now. Flush cutters or cable wire cutters work well here. If you pull your tail away from the bead, this creates a bit of tension, and when you cut the wire, the wire coming out your bead will pull back a bit into the hole of the bead.



20







If you haven't been able to cut the wire flush enough with the bead, and some wire is poking out, work it with your fingers into the hole of the next bead on the string.

Re-check your length and ease.

Now crimp your ending side. Trim the remaining tail as close to the hole of your bead as possible.

NOTE: If you can’t work the tail back through the first bead, then cut it off as close to the crimp as possible. There will be two sharp edges. One will be the crushed crimp itself. The other will be the cable wire. You can't really cut the wire totally flush with the crimp, so a little bit of a nipple will be protruding. Use an emery board or nail file or metal file and smooth out the rough edges of the crimp, and sharp point of the cable wire. Feel with your finger, until it is smooth. This is not your best option. Your piece will look less finished and be less secure.

Camouflaging the Crimp Bead

You can always make your crimp beads the second and next to last beads, instead of the first and last. In this case, the crimp will look like it is part of a pattern. The ends will look very finished.

Let's Crimp: A Practice Exercise

Cut a 15" length of cable wire.

Horseshoe on first. Take your horseshoe wire protector, holding it so that the arch is toward the ceiling and the legs are to the floor. Take your wire from floor to ceiling, up into the leg, over the arch, and back down through the over leg. Give yourself a 3-4" tail past the horseshoe.

Slide on clasp component. Take your tail wire through the loop on the ring end of your Toggle clasp, and slide that ring's loop right up into the



21







horseshoe.

Add Crimp Bead. Slide a crimp bead onto the spine of your cable wire, and bring it all the way up to the legs of the horseshoe. As you get close to the tail, you want your crimp to slide over both the spine and the tail.Pinch the legs of the horseshoe closer together, and get your crimp as close to the legs as possible.Be sure you have left yourself as 3-4" tail. Make any adjustments.

Crimp. Now grab your crimping pliers, holding them parallel to your table, curved part of the jaws bending towards you.Pinch the tail and spine near to your crimp bead with your thumb and forefinger, making sure that your tail is parallel, but not touching, the spine.

In Bottom Notches (closet to your hand): ditch on one side, and pyramid on the other

Step 1: Crush Sit your crimp bead between the bottom notches in each side. The loop/horseshoe should be laying horizontally, parallel to the table.

Crush the pliers all the way down onto the crimp bead, and let go of the pliers (but not the tail).

Step 2: Turn over 180 degrees, and crush againWhen we crushed the first time, the part of the crimp closest to our hand crushed down, but the part furthest from our hand actually flared out a bit. In Step 2, we crush down the part that had flared up.

You end up with a flat pancake. If you look at this flat pancake, you will see a scoring line down the middle. This line was made by our pyramid.



22







In Top Notches (furthest from your hand): Ditch on either side

Step 3: Fold flat pancake to make half-a-flat pancakeSit your crimp bead between the top pair of notches. Hold so that your loop/horseshoe is vertical, thus perpendicular to the table.

Hold the crushed crimp vertically, and crush, to fold this flat pancake in half along the scoring line. You end up with half a flat pancake.

Step 4: Re-RoundUse the top notches to gently force and push the flat crimp back into a round shape again. If you look at either end of the crimp -- from the loop end and from the tail end -- , you want to see a circular shape again, rather than a rectangular slit. It’s best to keep your pliers steady in one place, and turn your wire/crimp bead as you work the pliers.

Now, your crimp bead is wider than the width of the jaws the pliers. So, you will have to work the top and bottom of the crimp a little bit independently, so that both ends are round again.



23







NOTE: Instead of Step 4, you can use a crimp cover, and slide this over the crushed crimp to hide it. But if using a crimp cover, be sure to do Steps 1 thru 3.

LET'S MAKE OUR BRACELETFollow These Steps To Make Our CRYSTAL EXCITEMENT Bracelet

1. Determine the length you want-- Is piece to be worn loose or tight?-- What length will the clasp assembly take up?-- Are the beads smaller than 4mm, medium 6-8mm or larger than 8mm? (The size of the bead affects the actual circumference)

2. Lay out the beads on a board, putting the center at “0” and adding beads to the left and right of this point.

Say I want to design a 7” bracelet, that is to be worn a little loose. I’m going to use a toggle clasp and the full clasp assembly with this clasp will add about 1” to my piece. So, I want to create a bead pattern that will be 6”.

If you want to make a 7" bracelet and are using smaller beads, you would go up 3" to 3 1/2" on either side of the center.If you want to make a 7" bracelet and are using medium beads, for now, you would probably want to go up 4" or so on either side of the center.



24







NOTE: When you actually string the beads, things typically get much shorter. Depending on what type of clasp you use, the clasp could add another 1/2" to 1 1/4" to the final length.

Now place a crimp bead as your first and last bead, (or as your 2nd and next to last bead, if you want to camouflage the crimp).Place a horseshoe wire protector and a crimp cover on either end.Finally, place your biggest part of your clasp on the left side, and your smallest part of your clasp on the right side of your string of beads.

3. Cut your cable wire to a length 8" longer than you want your finished bracelet to be.

In our project, for a 7" bracelet, we'll cut a 15" length of cable wire.

4. Attach the largest part of your clasp, which with the Toggle, will be the ring.

First, slide a horseshoe wire protector onto your wire. Hold the horseshoe legs toward the floor and arch toward the ceiling. Take the wire up through the leg (floor to ceiling), over the arch, and back down the other leg (ceiling to floor). Leave a 3-4" tail.

Second, slip on the largest part of your clasp, up over the tail and push the loop on the clasp up into the horseshoe, so that it is sitting right against that arch.

Third, slide a crimp bead up the cable wire, taking it from your free end, all the way to the clasp. As you get closer up the wire towards the clasp, you want that crimp bead to slide over BOTH the spine and the tail. Get the crimp bead as close to the legs of the horseshoe as you can. You can even use your fingers or pliers to gently push the bottom of the legs closer together.



25







5. Now crimp that crimp bead onto the wire to secure this first end of your clasp assembly.

NOTE: If you were not working from a pattern, in this step, you might want to wait until nearer the end of the process to begin attaching your clasp and securing it. In this case, you would string on your beads, and clamp each end, with something like a hemostat or bead stopper, to keep the beads from sliding off. You would leave at least a 3-4" tail on either side of your string of beads. This allows you to play with pattern, test lengths and ease a bit, before attaching the clasp.

If you are using a traditional crimping pliers, you will follow the four steps to crimping discussed above.1. Crush2. Flip and crush again3. Foldover in half4. Re-Round

If you are using a One-Step Crimper, you will crimp in one mechanical step.

6. String up your beads.

You want at least your first bead, and preferably several beads to slip over both your beginning tail and the spine.

At the end of your string of beads, add a crimp bead and the horseshoe wire protector at this end, and slip the smallest part of your clasp into the horseshoe, just like we did on the first side. Do NOT crimp yet.

Doublecheck your pattern. Are all the beads in the correct order? Did you miss, skip or reverse any one?

Now, slide this ending tail back into the crimp bead and out at least one bead, and preferably more than one bead. When you pull the tail wire back out, you want enough wire showing so that you can easily grab onto it.



26







7. Trim your beginning tail (the one nearest the largest part of your clasp, which with the Toggle, would be the ring).

You may have been able to get all your beads on this first side to slip both the tail and the spine. If you have not, follow these steps to trim your tail.

Pull the cable wire tail away from the bead it is exiting, cut it with a flush cutters as close to the bead’s hole as you can get.

By pulling it away from the hole and simultaneously cutting the wire, the end will pop back into the hole.

If you have not been able to cut the tail flush with the bead, and there is some wire showing, use your fingers to work this wire into the hole of the next bead.

At this point, the first tail has been cut off, and the ending tail is still showing. We still need to do some more adjusting and double-checking our work, before we are ready to crimp off the end of our bracelet, and trim this ending tail.

8. Pull relatively tightly closed, but not too tight.

We want the bracelet to be tight enough so that no cable wire will show, when worn. But we also want the bracelet to be loose enough -- that is, have sufficient "ease" -- so that it will feel comfortable on the wrist, and adapt well to movement.

If you want to err on one side of the other -- tighter or more ease? -- err on the side of tightness. Your piece will loosen up a bit with wear.

NOTE: We need to play and pre-test a little with measurement and ease, before we secure that second crimp onto the wire, and trim our ending tail.

So, hold onto the clasp or horseshoe with one hand and pull on your tail with the other, to get the tightness you want.

Test whether you can connect the two parts of your clasp. With our Toggle Clasp, will you be able to pull the bar through the loop far enough, so that it will sit back onto the ring, like a saddle? Or are your beads on the end too large to permit you to do this easily?

With the clasp parts connected, evaluate your ease and length.



27







Too Tight

Just Right

9. Measure against a ruler.

You always need to remind yourself about the differences in linear measurement and as-worn measurement. Eventually, your sense about measurement will become more intuitive.

Here what will become a 7" bracelet measures almost 8" when laid out end to end along a ruler.



28







10 . Now, slip over a bracelet or necklace sizing cone or mandrel or someone's wrist, to adjust for any “ease”

Uh-Oh, only 6 ½”

Initially, my design did not turn out long enough. I wanted a 7" bracelet, but the sizing cone showed that this first design was too short. So, I added 2 more beads, one on either end, to get to my desired length. The pattern we are working with here, (as well as our kits), show the 7" long design with these two extra beads.

11. Adjust for ease and/or length.

DON’T NEED TO ADJUST? – then go to Step 13.

If you need to make any adjustments, you may need to take off the clasp, horseshoe and crimp and maybe several beads off the wire.

12. Re-do Step 8. Adjust ease and length. Measure again against your ruler, and then on a sizing cone or mandrel. Continue to Step 13.

13. NOW, Make your final crimp.

Push the legs of the horseshoe together, and the crimp bead as close to the legs of the horseshoe as you can. Crimp this side, again, following our four steps discussed above..

14. Trim this ending tail.



29







Pull the cable wire away from the bead, cut it with a flush cutters as close to the bead’s hole as you can get.

15. Adding Crimp Covers

Use your pointer finger as an easel and your thumb as a clamp.Sit your crimp cover on the top of your pointer finger, as if it were a cradle (open side up).Set your crushed crimp on your cable wire right inside the crimp cover.Clamp down on the loop/clasp part with your thumb. Your thumb is pushing down on the wire loop/clasp, so that the crimp cover can’t move.

Take your crimping pliers, and use the tips of each jaw. With these tips, push the opening of the crimp cover closed. Press firm but gently. It is easy to crush these crimp covers.

You’ll notice that the two sides won’t meet perfectly.



30







Place the closed crimp cover inside the top pair of notches (furthest from your hand) on your crimping pliers. Push gently to make the closure more perfect. You may have to orient your pliers in some weird angles to get the two halves of your crimp covered lined up correctly.

Give It The Once Over...

Once your bracelet is done, look it over carefully. Be sure your cable wire isn't showing. Be sure that it has sufficient ease.

IIB. Dealing with Contingencies

Most issues that come up, when using a cable wire as your stringing material, can be solved by doing some pre-planning. During this stage, you would use some kind of clamp, like a bead stopper or hemostat, to secure each end of your piece BEFORE ACTUALLY CRIMPING EACH END.

1. Cable Wire Isn't Long Enough

You will need to start again with a new piece of cable wire. Be sure you have enough wire to leave a 3-4" tail on either end of your piece.



31







2. Some areas of your piece feel too loose, or are pulling apart, or your cable wire shows

You have left too much ease here. You will need to start again with a new piece of cable wire.

3. Your piece is too short or too long

You will need to start again with a new piece of cable wire. Before making that last crimp, be sure you measure your piece around a sizing cone or someone's wrist, to get the proper as-worn length.

IIC. Finishing Touches

IIC1. Signature bead or embellishment

I think it is always a good idea to use a signature bead in your projects. This might be a uniquebead added near the beginning or end of the piece, or incorporated within each link, or anengraved tag or special little charm added as part of the clasp assembly. You want your signature bead to identify thepiece as your own, but you don’t want your signature bead to compete with or detract from yourpiece.

The general structure of this CRYSTAL EXCITEMENT Bracelet was created by Warren Feld.Any personalization you might do – choice of beads, choice of clasp and clasp assembly, choice of patterns, choice of stringingmaterial, choice of color scheme, choice of embellishments – are your own touches, and deserve your signature.

III. Learning Objectives MetAfter Accomplishing This Project

LEARNING OBJECTIVES BEAD STRINGINGCRIMPINGCRYSTAL EXCITEMENT BRACELETBS1.01-Crimping

BEGINNER INTERMEDIATE ADVANCED



32







TECHNICAL MECHANICS

1. Holding Your Piece To Work It BEGINNER

2. Reading Simple Pattern, Figure and/or Graph; Diagramming

BEGINNER

3. Selecting Stringing Materials BEGINNER

4. Selecting Clasps and other Jewelry Findings BEGINNER

5. Selecting Beads and other Components BEGINNER

6. Laying Out Your Piece BEGINNER

7. Identifying Areas of Potential Weakness, and Strategies for Dealing With These

BEGINNER

8. Selecting and Using Adhesives

9. Use of Tools and Equipment BEGINNER

10. Determining Measurements and Ease, including Width and Length of a Piece, Especially In Relationship To Bead Sizes

BEGINNER

11. Finishing Off Threads, Cable Wires or Other Stringing Materials in Piece or Adding Threads/Cable Wires/Stringing Materials

BEGINNER

UNDERSTANDING CRAFT BASIS OF STRINGING METHODS

1. Starting the Piece BEGINNER

2. Implementing the Basic Method BEGINNER

3. Finishing Off Your Piece With A Clasp Assembly BEGINNER

4. Managing String/Cord/Thread/Wire Tension BEGINNER

5. Crimping BEGINNER

6. Needle/Thread Work

7. Pearl Knotting and Putting Knots Between Beads

8. Making Simple and Coiled Loops Using Hard Wire

9. Making and Using Connectors; Segmenting; Directional Control

10. Adding Dangles and Embellishments

11. Making Multi-Strands Piece

12. Making Twist-Strands Piece



33







UNDERSTANDING ART & DESIGN BASIS OF BEAD STRINGING

1. Learning Implications When Choosing Different Sizes/Shapes of Beads, or Using Different Stringing Materials

BEGINNER

2. Learning Implications When Choosing Different Kinds of Clasps, or Using Different Jewelry Findings and Components

BEGINNER

3. Understanding Relationship of this Bead Stringing Method in Comparison to Other Types of Bead Stringing Methods

BEGINNER

4. Creating Support Systems Within Your Piece In Anticipation of Effects of Movement

BEGINNER

5. Understanding How Bead Asserts Its Need For Color When Stringing Beads

6. Creating Your Own Design with This Bead Stringing Method, in Reference to Jewelry Design Principles of Composition

7. Creating Shapes, Components and Forms To Use With This Bead Stringing Method, and Establishing Themes

BECOMING BEAD STRINGING ARTIST & DESIGNER

1. Developing A Personal Style

2. Valuing or Pricing Your Work

3. Teaching Others Bead Stringing Methods

4. Promoting Yourself and Your Work

IV. Next Steps

IVA. Suggested Readings:

TEACH YOURSELF VISUALLY: JEWELRY MAKING & BEADING (Chris Franchetti Michaels)The Basics of Bead Stringing (Debbie Kanan)Bead Stringing (Elizabeth Ward) Bead Jewelry 101 (Karen Mitchell and Ann Mitchell)



34





· Web viewThe most obvious support systems or joints are interconnected “rings” and...

Documents

Transcript of · Web viewThe most obvious support systems or joints are interconnected “rings” and...