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Beginning Stamping for Jewelry Making

Lesson 5 of 6

Creating & Shaping the Ring Shank

 

Beginning Stamping for Jewelry Making

Lesson 5 of 6

Creating & Shaping the Ring Shank

 

Lesson Info

Creating & Shaping the Ring Shank

Ok, so you have your piece your top piece for the ring which is this and from there we need to make a ring shank so what we're gonna use is twelve gauge wire this is round one can you square wire conduce different wire the thinner it gets the more it's apt to move or something like that so you know eighteen gauge too thin for this this application sixteen gauge a little better fourteen gauge pretty good twelve gauge pretty good and then you're just going into thicker, thicker so I've got the length here so twelve gauge is two millimeters wide I'm using the calpers just to double check sure tough gauge two millimeters wide using the calbert calipers and here we are with our trusty this is what I was looking for in the earlier session it's just a piece of paper that gives you all the different lengths you can use it as a cheat sheet and it's makes it really simple so twelve gauge and then I'm gonna make a size seven because that's the size that I want her could be a size eight you can te...

st your ring size with one of these and if it's a seven it's a seven if it's seven dash and seven and a half and you can figure out which finger you want this spring to go on and create that says twelve gauge you run it up top here is twelve gauge two millimeters and then you go down until you hit size seven sixty point six all right, so that's sixty millimeters point six so in jewelry often get these very you know, a fraction of a millimeter like whoa the calipers really help you with that you can also round up around down a little bit if you want if you wanted to be super precise you khun literally set the calipers to that six centimeters so pulling it out to six centimeters which is sixteen millimeters and then he gives me the fraction of it if you want so you can get a super precise he want to use calipers so gonna file one side so that it's nice and flat and we have a little makeshift thing under here to catch the shavings now in my studio I save all of the shavings all of the filings all of that it adds up to be riel money really material and you can refine it you can send it back and get more material so you know over time it becomes something so definitely you wantto keep that so filing so the end is nice and flat there is a bird so take and just shanley roll the burr off the edge and then from there I will measure so I already got this to the sixty point six and making a mark here you can also if you don't have calipers, you can just take the ruler, line the metal up across it and then take a little sharpie or your scribe and market just, you know, draw line and give yourself the guideline and then I'm going to saw this to do move the suffering kertesz okay, I saw that and then always file it tio usually don't saw perfectly parallel, so file the end, take off the burr and then going to wrap it around so I start with my fingers, see how much I can do with my fingers always it's my tendency, we also can take a round and flat players so the half round excuse me not around half round and flat pliers and the half round goes to the inside, the flat goes to the outside and you can start to bend and again, you're not worrying about the shaping of what this looks like a this point, you're going to shape it round after its sodders together taking the pliers is flat nose start moving the medal. You can also come over here and with a rawhide start to tap, tap it down a little bit good habit to tap, not right on this seen, but a little bit away from it, he imagined it was sheet you could make the scene that you're trying to start her together wave from hammering it in certain place so tap on the outs away from the scene and just starting to work it and this actually I filed really well, it looks pretty clean like it's coming together really nicely you want to get to this point where the metal meets up there's no gap and then you would come over and sauder starting with hard cider for sure we're gonna multiple sufferings here you consider down like this on the mat or on the shattering board, you could also prop it up if you wanted tio hard satur again, the hottest part of the flame is just past the cone it's good to know you don't want to bushy of a flame you want toe put enough oxygen in there so that it's blue will get my son are on my pick and you focus away so to make saw during work you want to heat up essentially want the metal itself to melt the sah'tar instead of the flame directly on the soccer melting it so I'm going to focus away from the scene. The flux is keeping the same clean. Once this the flux clears out and becomes more where I can see and the steps bubbling and we'll move my side, I want to place the saturn you want the sauder to go directly over the seams so it's touching both sides and then you want to he evenly because if you put too much he on one side the sea otter will jump the cider wants to go where the he is and upsy focus and there we go so how much sadder you use you'll get used to you don't need a lot of satur to fill a scene so once the satyr flows you're done turn off the oxygen and then the gas it's hot let it cool for a moment from quench it and put into the pickle and it will clean it the pickle clean off the oxidation also clean up all the sticky flux the flux gets pretty sticky and you're left you come out with a ring like this cleaned up you can recommend for people just starting out with well what we in england course soldering but it's sort of suffering just to you know to get really familiar with how could it seems very intricate to me for a beginner it's true but if it's also very basic so the conceptual part is it of it is that needs to be clean it needs to be touching the whole piece you want to heat up to then make this order flow wants to be even but different metals work differently gold you don't have to heat the way that the medal conducts temperature is that it doesn't flow the same way does copper silver which are good conductors of teeth miller is a lot there are a lot of things to do and my recommendation is to literally practice and dio to listen and watch as well as to read like I like all the different ways of learning to actually see it visually to do it myself and then to also read to reinforce and there are there are a lot of technical things going on and there's many ways to do the same thing so you'll learn something different from different instructors so I do encourage youto take different mental smith in classes from different people because the same technique you'll hear them say something different and I still learn I still learn things about this as I keep going which makes it exciting and makes it interesting of ah practice to do that there's not just one way to do most things I mean you can't cut you know the salt doesn't work you know in multiple ways but you know you can thought her and I have different results and each sauntering project is a different is a different problem to solve which also I think is exciting ueno this hard on the medium in the soft soil it do you also have to use a different color different type of different metals there's gold daughter for gold your color matching men so sure and then silver there's not really copper sought or brass daughter so using silver sah'tar there will be that color different differentiation you know difference when you you'll see it more but when you're working with gold is the sovereign impact the purity of the metal toward makes no in it doesn't really make any impact I mean you're there's actually insider there is the metal itself there is silver there's gold and then it just is an alloy to have a different melting temperature so it can molecularly be binding the two but melted different temperature than the metal itself and so so you want to make sure there's no satur on the scene if there's a blob of satyr or something from after you you put together you do want to file that off before you shape it then come over to the ring mandrell used the rawhide and if you can't get this on I mean this did come on first but you can tap it a little bit so that it makes it easier shape to get on and then now there are weighted this with the green is awaited mitt mallet so it's heavier and might do the job a little bit easier in the beginning heavier you get your workbench the better sturdy workbench is great you want to flip it around from time to time this is a taper so it will taper your ring you want to flip it around to even it out and what is hammering until it looks round

Class Description

Stamping is a great way to customize metal jewelry and add unique flair to the pieces you create. In Beginning Stamping for Jewelry Making, Raïssa Bump will show you how to add personal touches to your handmade jewelry through basic stamping techniques.

Raïssa has made jewelry for most of her life. In this class she’ll share her passion for metalwork while showing you how to make a ring with a stamped “quilted” design. You’ll learn how to:

  • Saw, file, and prepare metal for stamping
  • Stamp metal to create a quilted look
  • Solder metal onto a sized and shaped ring

You’ll learn the stamping process, from start to finish, and develop the basic skills you need to explore more stamping options.

Check the bonus materials below for a complete product list of the tools and supplies you need to finish this project.

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