Table Of ContentT Timeless
Versatile Wire I
M
E
L
E
S
S Wire Weaving
W
I
Learn a range of wire R
E
weaving techniques W
E
through a variety of
A
V
projects that result I
N TT HH EE CC OO MM PP LL EE TT EE CC OO UU RR SS EE
G
in stunning jewelry.
Create the intricate
details that are the hallmarks
of beautifully crafted artisan
wire-woven jewelry.
Capture
Surround showpiece cabochons in perfectly
woven frames of wire. Shape detailed bezels
for focal pieces.
Finish
Create wire links, clasps, and connectors to fi nish
wire-woven necklaces and bracelets. Make coiled
earring posts to accent hand-crafted earrings.
Learn
Master key wire weaves with variations suited
for many detailed jewelry designs.
Begin today and create jewelry
you’ll wear for years to come.
{
“Sure, it’s only wire, but look what
you’ve done with it! The transformation
is amazing.” -Lisa Barth
www.JewelryandBeadingStore.com B
67844 U.S. $19.99
A
CAN $20.99 R
ISBN 978-1-62700-076-5
T
51999 H
LISA BARTH
9 781627 000765 0 64465 16744 9
BKS-67844-CV_1,4.indd 1 12/12/17 3:23 PM
Timeless
Wire Weaving
T H E C O M P L E T E C O U R S E
LISA BARTH
BKS-67844-00.indd 1 8/11/14 9:13 AM
Kalmbach Books
21027 Crossroads Circle
Waukesha, Wisconsin 53186
www.JewelryandBeadingStore.com
© 2014 Lisa Barth
All rights reserved. Except for brief excerpts for review, this book may not be reproduced in part or in whole by electronic means or otherwise without
written permission of the publisher.
Lettered step-by-step photos by the author. All other photography © 2014 Kalmbach Books except where otherwise noted.
The jewelry designs in Timeless Wire Weaving are the copyrighted property of the author, and they may not be taught or sold without permission. Please
use them for your education and personal enjoyment only.
Published in 2014
22 21 20 19 18 8 9 10 11 12
Manufactured in the United States of America
ISBN: 978-1-62700-076-5
EISBN: 978-1-62700-077-2
Editor: Karin Van Voorhees
Developmental Editor: Mary Wohlgemuth
Book Design: Kelly Katlaps
Photographer: James Forbes
Library of Congress Control Number: 2014944776
BKS-67844-00.indd 2 12/12/17 3:24 PM
Contents
BEGINNER PROJECTS
Spiral Woven Hoops ........................................28
Donut Bail Pendant .........................................32
Introduction .............................................4
Woven Frame Pendant ....................................36
Woven Link Necklace ......................................40
GETTING STARTED
Wire Weaving Toolkit ................................6 INTERMEDIATE PROJECTS
Materials ........................................................8 Woven Bezel Earrings ......................................44
Terminology ................................................10 Cross Pendant .................................................48
Inverted Donut Bail ..........................................54
Weaves .........................................................10 Scalloped Edge Woven Bracelet .....................58
Snake Weave ..................................................10
ADVANCED PROJECTS
Single Snake Weave ...................................10
Single Snake Weave with One Bead ..........11 Woven Bezel Pendant (with Beaded
Double Snake Weave .................................12 Back Option) ....................................................64
Flame Stitch Weave ........................................12 Double Diamond Woven Bracelet ...................72
Uphill Wire Preparation, Single Wrap .........13 Mirror Image Bracelet ......................................77
Downhill Wire Preparation, Single Wrap .....13 Twist and Turn Woven Bracelet .......................82
Uphill Wire Preparation, Double Wrap ........14 Double-Crossed Woven Bracelet ....................86
Downhill Wire Preparation, Double Wrap ....15
INSPIRATIONAL GALLERY ..............91
Downhill, Single Wrap ..................................16
Uphill, Single Wrap .......................................16 About the Author ..............................95
Uphill, Double Wrap ....................................17
Downhill, Double Wrap ............................... 18
Interconnecting Top and Bottom Weaves.... 18
Techniques................................................. 19
Turtlenecking ..................................................19
Gooseneck Hook ............................................20
Splicing ...........................................................20
Double-Wrapped Loop ..................................21
Spirals .............................................................22
Spiral Earring Posts ....................................22
Spiral Connectors ........................................23
Crisscross Finished Ends .............................24
Creating a Finish with Liver of Sulfur ...........25
BKS-67844-00.indd 3 8/11/14 9:13 AM
Introduction
Getting over the intimidation factor
When I was new to making wire jewelry, I admired many artists’ work, feeling like a child with her nose pressed up
against the glass. I was drawn in, amazed—and yet—intimidated by the beautiful complexity of the compositions. I
puzzled over “how did they do that?” Now, when someone says they like my wirework but then quickly adds “I could
never do that,” it strikes a chord within me. The intimidation factor can be quite strong and difficult to overcome.
My main motivation for writing this book was to eliminate this intimidation factor. I
WITH A FEW
want to bring wire weaving to everyone in a progression of project lessons that build
upon each other, so that by the end of the course you’ve learned all that you need PIECES OF
to complete the most advanced pieces, fearlessly. You’ll begin with a simple
INEXPENSIVE
woven earring, and each following design will add skills. By the time you
WIRE, CREATE
have finished the book, you will have acquired many techniques to
use in your own way as you create wire-woven jewelry. SOMETHING
PRECIOUS.
It’s only wire
Wire artistry never ceases to amaze me. How great is it
that one can pick up a few pieces of inexpensive wire and create something
beautiful and precious? If I make a mistake, I can seamlessly splice in another wire.
Nobody will know, and I simply continue making the piece. There are a myriad of
possibilities to enjoy. Unending variation is inherent in these weaving techniques.
I feel as if I have just reached the tip of the iceberg of creative possibilities. That
sure makes it exciting! Hand weaving is quite satisfying as you watch the
pattern emerge from the wire as you work. You’ll pick up a few pieces of wire
and with a little practice, you’ll create something beautiful and have a sense
of accomplishment and satisfaction. Sure, it’s only wire, but look at what
you’ve done with it! The transformation is amazing.
Be the master of the wire
Wire tends to have a mind of its own. It is springy, it kinks, it knots, or it
doesn’t lie straight. Think of yourself as the “Master of the Wire.” Don’t
let the wire take off in its own direction or kink up on you. Don’t take no
for an answer; get the wire in line! If you empower yourself to do the job
with this strong attitude, you will find that half the battle is already won.
So, arm yourself with the strength of attitude to dash the intimidation
of complex designs. Know that it is only wire — you can and will be the
master of it. Let’s begin the exciting journey of wire weaving together.
Lisa Barth
4
BKS-67844-00.indd 4 8/11/14 9:13 AM
Gettingg
Started
BKS-67844-01.indd 5 8/11/14 9:18 AM
Wire Weaving Toolkit
The few tools required for wirework are easy to find. Most of what you need is
available at your local bead and jewelry supply store. There are a plethora of options
online as well. Although the tools are relatively inexpensive to purchase, you can create
professional-grade artisan wire jewelry with them.
Flush-cut wire T-pin
cutters Nylon-jaw
pliers
Chainnose
pliers
Three-step
pliers
Flatnose
pliers
Roundnose
pliers
Here is a list of the well-stocked
If you are beginning in wirework, the Flush-cut wire cutters have a flush-
toolkit. You’ll need these tools three most important tools are basic cut blade. If you look at the shape of
pliers and wire cutters: the cutting blades, you’ll see one side
for all the projects in this book:
is angled and the other side is flat.
Chainnose pliers have flat, tapered The flat side is the flush side; it leaves
• Chainnose pliers ends and are used for stabilizing the a straight, clean cut. The angled side
• Roundnose pliers wire while you are making a loop, or leaves a sharp, pointy end. You need to
• Flush-cut wire cutters for turning the wire, bending it, or know which side you are using. Most
• Flatnose pliers getting the wire in alignment. of the time you want a flush-cut, so be
• Three-step pliers aware of the tool’s position as you cut.
• Nylon-jaw pliers Roundnose pliers have round,
• T-pins tapered ends, and are used for making
loops and tight turns.
6
BKS-67844-01.indd 6 8/11/14 9:18 AM
As you advance in wireworking, you
may want to invest in a few more
Anvil
useful tools.
or steel
block
Flatnose pliers have wide, flat edges
and are ideal for straightening kinks or
for making evenly spaced bends.
Three step pliers have three steps or
levels on one jaw and a flattened jaw
that holds the wire as you are using
the tool. There are several reasons I
like this tool. It makes it very easy to
make consistently sized loops, simply
by wrapping the wire around the same
size step in the tool. It also gives me Rubber
three good choices of loop size. And Chasing mallet
finally, the flat side that holds the wire hammer
doesn’t create noticeable dents in the
wire. When you pinch a wire with a
round tool, such as roundnose pliers,
it leaves small grooves in the surface
of the wire. These marks can be
irritating, to say the least, when you
Ruler
are trying to make a smooth, clean
piece. A flat side will not do this and it
is nice not to have to worry about all
Jeweler’s
the little marks.
file
Nylon-jaw pliers have two flat sides
that are coated with thick silicone. The
sides are soft as they grip the wire and
won’t mar it. I use this tool mainly for
Emery
straightening wire as it comes out of boards
the package and for work-hardening,
which means to harden up the wire a
bit before use.
T-pins are very handy to have around.
Use one to open up an area in a weave texture can be very beautiful. Both Use a jeweler’s file to file away any
to fit another wire through. Do this sides work-harden the wire. unwanted marks. Tiny, flat files are
by poking the tip of the pin where you great for getting into small areas for
want space and wriggling it back and A rubber mallet also work-hardens “clean up.”
forth. Sometimes the weaving wire wire. Its soft sides will not mark the
needs to slide over a bit and you just wire or noticeably change the shape of Emery boards will also help remove
can’t get your tool in there to give it the wire as you hammer the surface. unwanted marks on soft wire if you do
a push. A T-pin will get into the tiniest not have a jeweler’s file. They come in
of spots so you can slide the weave An anvil or steel block is a good handy in a pinch.
any direction. surface to use with a chasing hammer
or a rubber mallet. It comes in a A ruler is necessary for measuring
variety of shapes and sizes. The small
A chasing hammer flattens and consistent lengths.
anvil you see here has a top surface
strengthens wire. It has two sides: The
that is 1¾x3-in. wide. It is quite small
flat side flattens out the wire, making a
but does the job nicely.
shiny surface, and the round side puts
interesting divots on the surface. This
7
BKS-67844-01.indd 7 8/11/14 9:18 AM
Materials
Wire
Types
There are many types of wire. For just
about any kind of metal you can think
of (brass, steel, copper), there’s a wire
to choose.
copper wire
The projects in this book use copper
wire from gauges 14–24. I chose
copper because it is lovely on any
skin tone and is easy to work with. It
also oxidizes beautifully and creates a
lovely patina as it ages. To me,
copper only gets prettier with age as
the patina deepens. Copper is also
inexpensive, which makes it easier for So, a 20-gauge wire has been drawn keep quite a bit of half-hard wire on
you to relax while learning: You know 20 times and a 14-gauge wire has been hand in several gauges.
it will not cost a lot to make mistakes, drawn 14 times to reach its diameter.
as it would if you were using sterling The 20-gauge wire is thinner than the dead soft
silver wire. Several variations of the 14-gauge. This hardness is the most pliable and
projects are shown in sterling silver, the most easily manipulated. It bends
but I always first do my projects in Hardness very easily which makes it ideal for
copper wire, and then go to sterling. The hardness of the wire refers to the wire sculpting, spirals, and weaving.
malleability of the wire, or how easy For beginners who are learning to
sterling silver wire it is to bend. Wire comes in three weave, this hardness is the best. I have
Sterling wire is very similar to copper different levels of hardness: full hard, a very large stash of soft wire in many
in feel and is quite beautiful when half hard, and dead soft. When I was gauges on hand.
woven. I like to give sterling wire a first learning, this was confusing to me
patina just as I do with copper. This because it did not seem necessary. work-hardening
gives it a wonderful aged look—that After all, what does it matter? Well, As you manipulate the metal wire
heirloom quality that I love. after many years of wireworking, I by hammering, coiling, weaving,
see the advantages and disadvantages and bending, it will naturally stiffen,
Gauge of the different types. Degrees of becoming harder to bend. This is
So what is the gauge all about? Gauge hardness for wire include: called work-hardening. The molecular
is a measurement of the diameter or structure of the metal changes as you
cross section of the wire. full hard work with it; it becomes less pliable
This is very hard, fully tempered wire. and even brittle if you push it too
Have you ever looked at wire gauges It has very little malleability and is hard, and therefore, it can be more
and wondered why the numbers seem rarely used in jewelry making. prone to breakage. You will soon see
to go backwards? Why is 14-gauge how weaving with wire will naturally
wire thicker than 20-gauge? Logically, half hard harden the wire.
I would think the larger the number, This wire is softer than hard but still
the thicker the diameter of the wire has quite a bit of spring in it when
would be, but in the American system shaped. This hardness of wire makes
of gauging wire, the opposite is true. the wire stronger than soft wire but
In the history of making wire, the easier to manipulate than hard wire.
number of the gauge was based on It is good for earring wires, wire
how many times the wire had been wraps, jump rings, and all kinds of
stretched, or drawn, through connectors with wrapped loops. Half
consecutively smaller holes in steel hard is quite tough on my hands when
plates to achieve a certain thinness. weaving, but I’m used to it. I usually
8
BKS-67844-01.indd 8 8/11/14 9:18 AM
Focal stones and
cabochons
IMPORTANT NOTES
I like to have a big stash
of all kinds of stones Before you begin, it is
from which to choose. important for you to know
Some of my favorite three helpful things:
shapes are pear and oval
cuts because they lend 1. Weave at the Ends of
themselves so well to the Wires
weaving the crisscross at Weaving is done on the right
the top. My preferred ends of the base wires and
sizes are anything from scooted along to the left as you
20–35mm because weave by simply pulling each
the weaving will make individual base wire out with
them appear larger as your pliers, about an inch at a
it frames the stones. time. This is also how you center
For the projects in this the weave, after you are done.
book, I chose: two stone donuts (green jasper and blue quartz), two front-drilled Keeping your base wires short
flat beads, and two faceted cabochons. as you weave prevents tangling
and helps you identify the order
of the wires.
Beads and chain
Choose copper beads 2. Avoid a Death Grip
with large (3mm) holes Holding the base wires in a tight
for bail beads. Copper fist can bend them, preventing
spacers—such as a love you from sliding them through
knots and large-hole the weave. Remember: These
daisy spacers—are fun are the bones of the piece and
to use. A variety of bones are strongest when they
turquoise beads are for are straight. Hold the base wires
embellishment, and flat between your thumb and
a selection of copper index finger, not with your fist.
chains come in handy
as well. 3. Let the Wire Breathe
If your base wires cross as you
are weaving, this usually means
you are pulling too tightly on
the weaving wire. You’ll need to
loosen up and only pull lightly;
Seed beads the wire needs to “breathe” a
Seed beads are little so the base wires can
inexpensive and add slide through.
wonderful color and
texture to any projects.
I use 60–150 seed beads.
I love to add them to
weaving projects. They
are an easy way to mix
things up a bit and
personalize your jewelry.
9
BKS-67844-01.indd 9 8/12/14 1:33 PM
