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Designing with Sardonyx

In the Ancient Roman Empire, sardonyx was an especially treasured gemstone, and was often used by the elite for making wax seals. Its smooth texture didn't stick to the wax, so it was a natural fit in that role. Romans also used its wonderful visual personality for ornament and high fashion: the esteemed general Publius Cornelius Scipio was reported to frequently sport large quantities of the stone.

With such an eye-catching visual personality, it's easy to see why. Sardonyx is characterized by the brilliant deep red bands that distinguish it from normal black onyx. Both are members of the chalcedony family. Sardonyx is thought to help its wearer cultivate positive energies, while dispelling other negative or unwanted energies.

Click here to browse Sardonyx at Stones and Findings

Designing with Sunstone

Sunstone, known to the scientific community as aventurine feldspar, is famous for its spangled golden brilliance. It is the official state gemstone of Oregon, where sites of sunstone abundance have actually been opened to the public. Even though Oregon residents and commercial enterprises have harvested countless tonnes of the gem, it still remains in wealthy abundance. If you like, you can go hunt for your own sunstone finds there.

Long, long before sunstone deposits were discovered in the USA, the mineral was of indispensable aid to Vikings who, surprisingly, used it for navigation. This is due to an amazing natural property of sunstone known as polarization; sunstone's metallic inclusions reflect light in a stunning blaze of colour that changes depending on what angle the stone is facing in relation to the source of light. So on foggy or overcast days when the sun was not directly visible, those Nordic sailors of old simply pulled out their handy piece of sunstone and rotated it until they saw the tell-tale gleam. From this they could gather their bearings and sail in an informed trajectory.

Tested navigational benefits and awe-inspiring beauty aside, sunstone has been thought to aid digestion, help with rheumatism, and increase strength and vitality.

Click here to browse Sunstone at Stones and Findings

Designing with Glass

In the modern world, glass has an interesting multiple personality, and is well known and used in almost all spheres of life, from art and architecture to optics and laboratory research. Naturally occurring in a pale green-blue, glassmakers manufacture colored glass by introducing mineral oxides and metallic compounds to the chemical makeup.

In the ancient world, the Phoenicians were the earliest to make use of found glass, and their discovery of it has been dated as far back as 5000 BC. The Egyptians would be the first real pioneers in glass manufacturing and by 1500 BC had developed a method of shaping it known as 'core forming'. Compressed sand would be dipped into molten glass, rolled to coat the surface, and removed. The object would then be shaped while still hot, and when sufficiently cooled the sand would be drained. For all our drinking bottles and other glass containers in widespread use today, we have the Ancient Egyptians to thank! From core-formed glass, Egyptians went further in 500 BC to invent 'cast' glass, which is the process of pouring molten glass into a shaping receptacle that would not adhere to the glass' surface.

Glass blowing would later be developed in the Mediterranean at the turn of the millennium, and in the Byzantium kingdom they would achieve the means to enamel, stain, and gild glass, thus exponentially expanding the medium's creative possibilities. The Roman Empire would be the first civilization to cultivate glass working for architectural purposes (windows), and through their extensive network of trade routes facilitated the transportation of glass and glass making techniques throughout Eurasia and North Africa. This, in turn, set in motion an explosion of glass enthusiasts and artisans.

With the Industrial Revolution of the 19th century, mechanized glass manufacture was introduced, establishing the means of large-scale commercial glass production that have, since then, only been refined. To summarize the long history of one of mankind's most cherished materials, it can be said that modern day glass working can be traced back to a rich and illustrious lineage of innovative artisans. While improvements and innovations still continue to grow the glass industry, the methods of shaping, colouring, and treating glass have remained fundamentally the same. Nevertheless, the fresh minds of the design world will continue to use glass and galss beads in remarkably innovative ways, and the cutting edge of modern technology will inevitably produce new breakthroughs in the science of glass, contributing further to its wonderfully rich and time-honoured tradition.

Click here to browse Glass at Stones and Findings

Designing with Moonstone

Possessing the unearthly radiance of the moon, this stone is known worldwide as an absolute delight. It is especially famous for a distinctive and uncanny three-dimensional shimmering play of light called 'adularescence'. This process is scientifically explained by the reflection of light off of internal mineral inclusions, but anyone who has seen the trademark brilliance of moonstone's glimmering lustre knows that all words and explanations fall short of.

Still, to be impacted by the experience of moonstone's magic gleam is to gain some understanding of the rich mystique surrounding the gem. In classical Indian folklore, moonstone was thought to bring its bearer future premonitions and lucid dreams. The ancient Romans theorized that moonstone was actually made out of frozen moonlight.

Moonstone is frequently cut en cabochon to showcase its lighting effects, and requires a skilled lapidary to do the job properly. It is a relatively soft stone, so care should be taken when wearing and handling. Moonstone is believed to strengthen intuition, cultivate insight, aid fertility, nurture loving kindness, and balance yin and yang forces.

Click here to browse Moonstone at Stones and Findings

Reference Charts -- A Jewelry Maker's best friend :)

When working with jewelry, putting everything into inventory and organizing all the stuff you just bought online into your collection....you'll come across metric vs imperial increments, gages, weights -- god knows what.

Best thing to do is print out these reference charts and keep 'em handy.
I use them all the time so my head doesn't blow up when I receive a new shipment!


INCHES TO MILIMETERS

Inches	Millimetres
1/32	0.79
1/16	1.59
3/32	2.38
1/8	3.18
5/32	3.97
3/16	4.76
7/32	5.56
1/4	6.35
9/32	7.14
5/16	7.94
11/32	8.73
3/8	9.53
13/32	10.32
7/16	11.11
15/32	11.91
1/2	12.7
17/32	13.49
9/16	14.29
19/32	15.08
5/8	15.88
21/32	16.67
11/16	17.46
23/32	18.26
3/4	19.05
25/32	19.84
13/16	20.64
27/32	21.43
7/8	22.23
29/32	23.02
15/16	23.81
31/32	24.61

MILIMETERS TO INCHES

Size in Millimetres	Nearest Equivalent in Inches
1	1/32
2	1/16
3	1/8
4	5/32
5	3/16
6	1/4
7	9/32
8	5/16
9	11/32
10	3/8
11	7/16
12	15/32
13	1/2
14	9/16
15	19/32
16	10/16
17	11/16
18	23/32
19	3/4
20	13/16

NECKLACE LENGTHS

Choker	16 Inches
Princess	18 Inches
Matinee	24 Inches
Opera	32 Inches
Rope	48 Inches

WIRE GAUGES

Gauge	Inches (Decimal)	Millimetres	Inches (Fraction)
1	0.289	7.348
2	0.258	6.543
	0.250	6.350	1/4
	0.234	5.953	15/64
3	0.229	5.827
	0.219	5.556	7/32
4	0.204	5.189
	0.203	5.154	11/64
	0.188	4.762	3/16
5	0.182	4.621
	0.172	4.366	11/64
6	0.162	4.115
	0.156	3.969	5/32
7	0.144	3.664
	0.141	3.572	9/64
8	0.128	3.263
	0.125	3.175	1/8
9	0.114	2.906
	0.109	2.778	7/64
10	0.102	2.59
	0.094	2.381	3/32
11	0.091	2.31
12	0.081	2.06
	0.078	1.984	5/64
13	0.072	1.83
14	0.064	1.63
	0.063	1.588
15	0.057	1.449
16	0.051	1.291
	0.047	1.191	3/64
17	0.045	1.14
18	0.04	1.02
19	0.036	0.91
20	0.032	0.81
	0.031	0.795	1/32
21	0.028	0.71
22	0.025	0.64
23	0.023	0.58
24	0.02	0.51
25	0.0179	0.455
26	0.0159	0.404
	0.016	0.396	1/64
27	0.0142	0.361
28	0.0126	0.32
29	0.0113	0.287
30	0.01	0.25
31	0.0089	0.226
32	0.008	0.2
33	0.0071	0.18
34	0.0063	0.16
35	0.0056	0.142
36	0.005	0.13
37	0.0045	0.114
38	0.004	0.1

INTERNATIONAL RING SIZE CONVERSION CHART

US / Canada	British	Irish	Australian
1/4
1/2	A
3/4	A 1/2
1	B	1
1 1/4	B 1/2
1 1/2	C
1 3/4	C 1/2
2	D	2	1.5
2 1/4	D 1/2
2 1/2	E	3	2.75
2 3/4	E 1/2
3	F	4	4.00
3 1/4	F 1/2	5	5.25
3 1/2	G
3 3/4	G 1/2
4	H	7
4 1/4	H 1/2		7.75
4 1/2	I	8
4 3/4	J		9
5	J 1/2	9
5 1/4	K		10
5 1/2	K 1/2	10
5 3/4	L		11.75
6	L 1/2	11	12.75
6 1/4	M	12
6 1/2	M 1/2	13	14
6 3/4	N
7	N 1/2	14	15.25
7 1/4	0
7 1/2	0 1/2	15	16.5
7 3/4	P
8	P 1/2	16	17.75
8 1/4	Q
8 1/2	Q 1/2	17
8 3/4	R		19
9	R 1/2	18
9 1/4	S		20.25
9 1/2	S 1/2	19
9 3/4	T		21.5
10	T 1/2	20
10 1/4	U	21
10 1/2	U 1/2	22	22.75
10 3/4	V
11	V 1/2	23
11 1/4	W		25
11 1/2	W 1/2	24
11 3/4	X
12	X 1/2	25	27.5
12 1/4	Y
12 1/2	Z	26	28.75
12 3/4	Z 1/2
13		27
13 1/4	Z1
13 1/2
13 3/4	Z2
14	Z3
14 1/4
14 1/2	Z4
14 3/4
15
15 1/4
15 1/2
15 3/4
16

LENGTH AND WEIGHT MEASUREMENT CONVERSION CHART

To Convert...	Into...	Multiply By...
centimetres	inches	0.394
	feet	0.0328
	metres	0.01
	millimetres	10
metres	centimetres	100
	feet	3.281
	inches	39.37
inches	centimetres	2.54
	feet	0.0833
	metres	0.0254
	yards	0.0278
yards	inches	36
	feet	3
	metres	0.914
grammes	ounces	0.035
	pounds	0.002
	kilogrammes	0.001
ounces	grammes	28.35
	pounds	0.0625
	kilogrammes	0.028
pounds	grammes	453.59
	ounces	16
	kilogrammes	0.454

WIRE WRAP STRENGTH STANDARDS

Wire Guage	Acceptable Weight	Stretch-Causing Weight
26 dead soft	350g	400g
26 soft	450g	500g
26 half hard	600g	650g
26 hard	900g	1000g
24 dead soft	1250g	1500g
24 half hard	1700g	2000g
22 soft	4000g	over 4000g

WIRE GAUGES VS. STONE AND DRILL HOLE SIZES

Stone Size	Hole Diameter (mm)	Wire Guage #	Wrap Times
small	less 0.5	26	1
small	0.5 ~ 0.8	26	2 ~ 3
medium	0.8 ~ 1	24	1
medium	1.1 ~ 1.5	24	2 ~ 3
medium ~ big	1.6 ~ 1.8	22	1
medium ~ big	1.9 ~ 2.5	22	2 ~ 3
big	over 2.5	20	1 ~ 2

There are obviously so many other charts you'd probably need, but I find that these are the ones I need the most! Feel free to contribute!

Jewellery Sales in an Economic Downturn

Recently, I've been asked by a number of customers about how our sales have been at Stones and Findings. They've wondered if the economic downturn has affected the sales of our jewellery components. Some have mentioned that their sales have been affected, and a number of component suppliers have also seen their sales plummet. Stones and Findings' year over year monthly and tradeshow sales have, in fact, increased dramatically. It is an interesting, and a happy, situation and I've spent a bit more time looking into the reasons behind this. I want to do more of what we're doing right, and if there are any formulae or secrets that can be transferred from the jewellery component wholesale business to jewellery designing and sales business, I'd like to share them with our customers.

credit: InAccessories.com


I realize the economy has been tough recently, and may continue to be so for a while. Jewellery purchase is a discretionary spending for the most part. However, historically, when the economy has been poor, we find that sales of certain things that beautify our world increases. They are pick-me-ups, and help remind us that we're still going to be okay. I do believe that jewellery is one of these things, and I know some people who swear by it. I've spoken to many boutique owners and chain store buyers, some of whom carry other categories of merchandise such as clothing and giftware. They are finding that instead of buying entire wardrobes, customers are buying pieces of jewellery that accent and update their current wardrobe. It is less expensive and more fun.


credit: InAccesories.com

However, if you look at it more closely, the items that get squeezed out are mainly the very low end, disposable pieces, and the very expensive. Customers are buying fewer jewellery pieces than before. However, they're buying items that represent something, that resonate with sense of well being. As a result, boutiques that are carrying the unique, locally made (representing Canadian jobs), and pretty things are faring better than chain stores that import the mass production jewellery designs. People already have the mundane. They're certainly not going to spend further limited dollars on buying what they already have. They will, however, spend on jewellery pieces that are different and make them feel good about themselves and about wearing them. They are still cautious about prices, and they won't stock up huge quantities, but they will purchase the right things. This said, as jewellery designers, our customers are right to monitor the situation carefully, and make their selections wisely. Their designs must be unique, and priced well. The components they choose must be different and also priced competitively. And I think that is why our jewellery component wholesale business has been almost doubling.



New customers do test orders with us even though they don't want to bother switching from their current suppliers for a few cents less. However, they have never seen many of our jewellery components elsewhere. We create a number of our own jewellery findings, and we are making more and more of these because of how popular they've proven to be. Customers come back and place ever increasing orders because they realize how easy it is to make different and elegant jewellery designs when they have the right components to begin with. We are finding more and more customers switching a greater percentage, if not entirely, to Stones and Findings. And this is very satisfying. We know we have unique components that are well made and well priced. Our quickly expanding

Gold and Silver in the 21st Century Economy...

...and what it Means to the Accessories Industry

by: Damien Zielinski



Precious metals have always commanded the attention of both stock market traders and jewelry aficionados alike, but until recently the two have been mutually exclusive. As we bear witness to a continuing surge in the market value of gold and sterling silver and prices that are at an all-time high, it seems that exchanges normally confined to trading floors will be the topic of conversation at showrooms and boutiques… whether the jewelry community likes it or not.



Never insulated from concepts of money and riches, gold and silver have been symbols of wealth, prestige, and beauty since antiquity. Instantly recognizable and culturally transcendent, these precious metals seem to epitomize luxury. While it could be possible that the most beautiful minerals happen to be the most rare and expensive, the truth is that interest in precious metals is also caused, quite simply, by their scarcity: they are, by definition, precious in this world, and occur in limited quantity. If one should wear a gold chain around his neck, they are not only making a stylistic statement with the highly reflective and tantalizingly coloured element, but are also to some degree aligning their image with the kings, queens, pharaohs, and emperors who have been adorned by gold in the past. To wear gold is to say 'I can afford to wear gold.' However, the high market worth of pure gold only means so much when low karat alloys, plating, and gold vermeil enter the picture: one can look like royalty without necessarily footing a royal bill. With such innovations, it is difficult to assess whether or not gold still bears any meaningful imperial association with monarchs of old, but surely these impressions still linger, to some degree, in the subconscious of modern jewelry wearers, designers, and observers. The history and culture of the metal is simply so long and so rich that such connotations will always be ingrained in the collective mind.



Another complicating factor in the unfolding stories of gold and silver is that of their use as currency in the premodern era. With the establishment of Lydian mints in 700 BC, the precedent was set, and the association of silver with monetary value was inherited by countless civilizations. The words 'silver' and 'money' are synonymous in at least 14 different languages, and the contemporary stock exchange still uses gold as a benchmark litmus indicator for the market as a whole. Banks still carry gold bullion, and your grandparents probably have at least one silver dollar lying around somewhere. While it seems preposterous to actually wear money, no one is bothered by the time-honoured duality of gold and silver as fashion accessories and units of currency both. Yet, there is a kind of tension in this double nature: while the cultural appreciation of gold and silver has remained relatively unchanged, enjoying what seems to be permanent appreciation in the jewelry industry throughout transient fads and passing fashions, the market value of both metals is notoriously unstable.



Investors and traders are used to sitting on edge as numbers rise and fall, but there is less awareness of gold and silver's market worth for ground-level jewelry consumers. The reason for this is that global market-level fluctuations in value are not reflected in the prices of wholesale jewelry components at a rate that expresses the actual speed of market changes. In other words, while silver prices change daily, a jewelry designer may only buy silver components monthly. Something like gasoline, for example, is constantly priced based on market value, keeping the everyday consumer in touch with stock exchange realities, but precious metals have the effect of incremental increases and decreases that correspond with the rate of wholesale purchases. So, while wholesalers of components tend to buy silver and gold at prices directly dictated by market worth, a desire to remain competitive and shock repeat customers as little as possible causes more sporadic price increases than are actually representative of silver's true value at any given time.

As the bull market keeps rising, precious metals grow even more expensive, and wholesalers are unable to break even without raising prices. Having to shell out more for the same metal goodies may frustrate small businesses and amateur designers, and can come at some consternation if the market forces aren't understood. 'If silver and gold prices have always been changing, and the price hasn't significantly affected the consumer,' one might ask, 'why should prices go up so much now? And after all, couldn't market values go back down just as suddenly?'

It is always possible, and the stock exchange is naturally defined by unpredictability, but recent trends seem to suggest otherwise: since the spring of 2000, gold and silver have both more than doubled in worth, standing in contrast to a long period of relative stability since the last big spike in 1980. The central cause of the increase has been widely credited to a huge surge in demand associated with new and expanding markets in parts of the world that, previously, did not account for nearly as much jewelry consumption.


credit: http://www.palagems.com/gem_news_2007_v1.htm

India and China, especially, have recently witnessed a tremendous growth of the middle class, and a proportionate demand for things that such families crave, like travel, services, and luxury commodities. In attempting to explain the impact of this rising consumerist presence on the prices of gold and silver, some have pointed, for example, to gold's historic prominence in Chinese culture, and the resulting love of it that courses through the veins of Chinese people and transcends visual appeal. It is also said that Indian culture is even more reverent to precious metals, and that certain Indian ceremonies like weddings tend to spur gold purchase on such a large scale that stock market spikes can actually be mapped on a calendar. Whether or not investigations into localized histories and cultural stereotypes are even necessary, truthfully, is debatable at best. The simple reality is that enormous populations of jewelry wearers have exploded onto the scene, and their demand for gold and silver don't need any 'deeper' explanation. Statistics also show that demand for silver is actually going down in other fields, such as photography, which due to increasing digitization relies less and less on silver nitrate.

This rise in demand is occurring against the backdrop of an actual increase in the production of precious metals- 2005 saw, for example, an all time high in silver output. It has been recorded that 50% of all gold produced in history has been mined after 1960. Both of these figures demonstrate that increasing scarcity is not the issue; these things have never been more readily available. Almost all 'scrap' silver and gold is melted down and reused, so not only are we producing more, but we tend to lose almost none. With such extraordinary abundance, it seems as though prices should be going down. Unfortunately, the wealth in supply is met by an even greater presence of global demand, and therein lies the rub.

There is just no way around the fact that everyone loves to adorn themselves with gold and silver, and with record-breaking demographic transitions, millions more are suddenly able to afford it. The results are a stubborn bull market offering no sign of relent, and sweeping price changes that can no longer sit under the radar of designers and artists who would rather focus on fashion trends than those of the stock market.

How to Take Care of Freshwater Pearls

Most pearls today are cultured pearls. Stones and Findings carries a large variety of freshwater pearls , in many sizes, shapes and colours. To ensure that the high quality luster, and colour of the pearl remains unchanged, you should be aware of the risks in cleaning freshwater pearls. Below, you will find some tips on how to safely and gently clean, polish and take care of your freshwater pearl jewelry, to ensure durability and longevity.

First, it is important to remember that unlike semi-precious stones, freshwater pearls are organic. Freshwater pearls are created when one inserts a bead into a clam or oyster. Since the clam or oyster sees this as a foreign object, it proceeds to coat it with nacre. This nacre is the patina that gives the freshwater pearl its beautiful luster. To maintain it you make sure you follow these guidelines:

credit: http://members.graphicsfactory.com/Clip_Art/Clothing/Cosmetic/nailpolish002_137303.html

Maintaining your Pearls

Put your freshwater pearls on after you apply your makeup and perfume. This will ensure that no foreign substance will deposit on the pearls, dulling the shine.

Always remove any freshwater pearl jewellery before applying body or hand lotion

Always store your freshwater pearls individually in a soft cloth or pouch. This will ensure that they will not rub against each other, thus scratching the surface. If this is not possible, at least ensure they are not stored together with other gemstones or jewellery pieces, as these will definitely scratch your freshwater pearls.

credit:http://www.ehow.com/how_4595190_clean-store-holiday-ornaments.html

Cleaning your Pearls

Before you store your freshwater pearls, make sure you wipe them with a soft cloth. You should try to do this as soon as you remove them for the day.

For dirtier pearls, try cleaning with a damp cloth. If that is ineffective, feel free to apply some mild soap in lukewarm water, and try cleaning with a soft cloth. Make sure you let them dry thoroughly before storing.

Pearl Cleaning Don'ts

Do notput any of your freshwater pearl jewellery in ultrasonic cleaners. While this method will likely clean any sterling silver metal on your jewellery piece, it will damage the luster of the pearl completely.

Do not use any solutions that contain ammonia or other harsh chemicals around pearls.

Do not use abrasive cleaners on your freshwater pearls or rub any of your freshwater pearl jewellery with an abrasive cloth. This will rub and scratch the pearl, leaving it lackluster.

To view the wide selection of freshwater pearls that Stones and Findings carries, please click here .

Creating Your Own Patina for Sterling Silver Jewellery

by Elizabeth Meister

If you want to darken the surface of your sterling silver jewellery components or jewellery designs quickly you can use a few different methods. These methods include the boiled egg method, the kitty litter method and the shower method.

The Boiled Egg Method
The most important part of this method in darkening the surface of your sterling silver jewellery includes the use of the yolk. You can choose to separate the white if you want to use it for something else - as the egg will not be edible after you perform this method!


credit: http://www.jewelrylessons.com/node/701


For this method, you need to take a resealable container or bag; then, after separating the egg white from the yolk break the yolk or mix it, and put your sterling silver jewellery inside the bag together with the yolk.

Your sterling silver jewellery can touch the egg; don't worry about contaminating it. After waiting 10 minutes, you will start to notice that your sterling silver jewllery will start to change and you can wait as long as 10 hours, developing a darker colour gradually.

TIPS - Be sure to clean your sterling silver jewellery well before putting it together with the yolk. This will help in creating a more even coat.

The Kitty Litter Method
The key component to this method is the ammonia found in the urine of your pet. Therefore, you need to create an air tight environment, above which your sterling silver jewellery can hang. You will also need a bowl, that you can throw away after, and a large zip-lock bag. Fill the bowl with kitty litter, hang your sterling silver jewellery above it, and cover with a zip-lock bag. If you want a much faster reaction, bury your sterling silver piece in the kitty litter, let it stand a few minutes and clean well after the procedure is complete.

credit: Sanrio

TIPS - If you would prefer not using this method, you can use different liquids to saturate your sterling silver jewellery such as old wine, ammonia, or sour milk. Saw dust is also a good alternative to kitty litter as well.

The Shower Method
If you have a few weeks of time to dedicate to your method, consider the shower method. Simply, hang your sterling silver jewellery in your bathroom and over a few weeks time it will naturally patina itself.

And if you don't like your home made patina finish for your sterling silver jewellery, you can always use the pre-packaged patina. Liver of Sulfur can be found at most jewellery supply stores. Just take a small amount of Liver of Sulfur and mix it with a cup of water and dip and re-dip your sterling silver piece into the solution until you've reached the desired colour. You can also create a wide variety of colours by simply warming up the liquid before dipping inn your sterling silver jewellery.

After you have created the patina on your sterling silver piece, feel free to experiment with baking soda on your finished surface.

How to Create your own Jewellery Pins

There are three standard jewellery pins; head pins, ball pins, and eye pins. And then, there are always unique jewellery pins that provide a cap with in the in pin itself. Stones and Findings a wide variety of pins, including ball pins , eye pins , head pins as well as fancy pins in sterling silver, gold filled and gold vermeille.



However there are times when all you need in your design is just the bead. If your design requires nothing fancy on the end of your pin, then there is a great way to create your own pin head. This works especially well with pearls. Often basic pins are a little too thick for your standard drill hole on a pearl, too. The examples below demonstrate how you can make the different types of pins, using Sterling Silver Wire. You can however, just as easily use Gold Vermeille or Gold Filled wire.



Head Pin

Simply take a section of your sterling silver 22 Gauge wire, and cut off the desired length for your pin. Then put this section of sterling silver wire, into your parallel pliers, leaving a millimeter peeking out at the end. With a flat nose hammer, hammer the exposed bit of your sterling silver wire with a few strikes. Hammer in one direction, and then take out the pin and rotate it a quarter of the way. Then continue to strike the sterling silver tip. This will expand the metal just enough to stop your bead from sliding off the end of the wire. By rotating your piece ofsterling silver wire, you will ensure that the end of the pin is equally fanned out. And there you have it; you've created your own sterling silver head pin.



Now to the naked eye, it may not seem like you've created something that will stop the pearl, but by creating a small flat end on your sterling silver wire you will essentially stop it from sliding off.

*TIP* - to get a professional finish, use an old pair of parallel pliers, or wrap masking tape around your pliers ends to ensure that you do not leave any hammer marks on your sterling silverpins.

Eye Pin




Start by taking the end of your sterling silver 22 Gauge wire, and using your round tip pliers, bend into a small circle at the end of your wire piece. Then, depending on the length you need for your project cut about 1cm or more from your sterling silver wire. This will allow you to have extra room to wire wrap once you've put your stones or beads onto the finished sterling silver eye pin.



Ball Pin

For this project, it would be ideal to have access to a torch. With it you can heat up the end of your sterling silver wire, applying a small amount of heat and the metal will ball at 1640f/893c. Once your sterling silver wire has started to ball, take the heat away, quench and polish the piece and then you will have your home made sterling silver ball pin.



*TIP* - if you are using soft sterling silver wire and find it too soft for your project, take the section needed and hold it from end to end with your two parallel pliers. Then twist the piece of sterling silver wire in opposite directions and it will harden a bit. Twist it a lot and you'll have your soft sterling silver wire to harden in no time!

SUMMER CONTEST! Ends July 13th

New Contest for Stones and Findings!



Submit a photo of your jewelry piece that features one of our findings!
And win big!
Winners will be drawn randomly!

To enter email your images to sales@stonesandfindings.com with PHOTO CONTEST as title, as well include your name, email, telephone number and website (optional).

The deadline for the Summer Contest will be on Monday, July 13th, 2009. Contest winners will be posted by Wednesday, July 15th, 2009.

Grand Prize = Introduction to and review by 3 professional Ontario jewellery sales reps for the wholesale (sale to boutique) market.

1st prize = $50 Stones & Findings credit + promotion of designer name
+ website information on first page
+ small paragraph on the designer

2nd prize = $30 Stones & Findings credit + promotion of designer name
+ website information

3rd prize = $10 Stones & Findings credit + promotion of designer name

Contact us at: sales@stonesandfindings.com for more details!

Tutorials, Videos on Earring Making and Wire Wrap

Just wanted to say that Stones and Findings have some great videos on the simple techniques in jewellery making.

If you are interested, here are some examples of the Jewellery making techniques they have on their Youtube Channel!

Creating your Own Beading Hoop --



Making an Earring Hoop with Wire


Side Drilled Stone -- How to Wire Wrap



Link to More Videos!

http://www.stonesandfindings.com/jewelry-making-articles/articles/how-to-make-a-matching-necklace-and-earring-set