FMP A Busy Week 28th to the 30th April

A Busy Week 27th to the 30th April

One week left. I have a busy week to get lots of little things done, starting with my sorting out the last bits of my locket.

I needed to make the back for my locket. I had to accurately draw up the plans for the back with precise measurements to fit round the cast glass. I had to pick which of the two I wanted for my final piece. Having chosen this, I then had to measure the glass at every angle. By laying it flat on the copper, I was able to mark out the point I needed to cut with the glass as a guide. I had to take into consideration not only the width of the glass, but the depth as well, making sure I have enough copper to wrap round the glass so that it would be secure when worn. I didn't want the glass to be covered by the copper too much, as it is one of the main features. I had only the sides of the glass held in place with the copper. I also cut the centre of the backing out to allow the light to pass through the glass. When worn, it would give different effects and colours to the glass.

 

With a lot of time dedicated to planning how the back would look, and working out the right sizing, I had to work quickly in making the item before the week was finished. I drew out my design on the copper, which I covered in masking tape. This was so that I didn't scratch the metal. As well, I would be able to draw out my template without marking the copper.

Once I had the template cut out using the hand saw, I could the file the edges down and bend the copper so that the glass would be fixed safely. I did this by first marking the line where the copper must bend. I then placed the copper into a clamp. I had to place the same part of the copper into a different clamp that was made of two pieces of wood. This was the final stage and once the metal was removed from the wooden clamp, I repeated this for the other side. With a little adjusting, the back of the locket was finished.

The back now finished, I could cut out the small independent parts of my locket. That would be the finishing touches to the front. These were very fiddly and had to be measured to fit round the front of the locket to create a frame for the window. This would give it more of a decorative feel, as well as a finished professional look.

This task was broken up into many different sets, all of which were time consuming and fiddly to do. The measuring was first. I had made a couple of test pieces to understand the size and with of the weight that is needed for each side. With the sizing sorted out, I could then make the pieces. I started by cutting the first one out with the guillotine. I was careful to cut the copper without cutting too much off. Once the piece was cut, I then used the file to smooth the edges and get a more defined shape. Having spent some time getting the shape I wanted, I could then use the clamp to mould the copper so I would be able to secure the smaller pieces to the front. Before I dent the copper, I had to measure the point where I wanted the bend to be. I placed the smaller piece up against the front, marking the line out on the masking tape. The line marked out, I then knew where to make the bend so that I could place the copper carefully in the metal clamp. I then carefully moulded the copper. Having bent the copper so far, I had to the place the all copper in the clamp so that I could close the two ends together. I placed a small copper rod between the two sides of the copper, so that it wouldn't close completely.

 

Once I had done one section, all I had to do was repeat the process three more times. This was a difficult thing to do because of the size of the metal I was working with. This meant it was more time consuming than other parts.

After having made all the parts for the one locket, I now know that I wont be able to make a second. With that in mind, I have to think of other ways to make lockets with the ones I already have. I thought of making different backs to the one I already have. This would then give me the chance to show Marriyah different shapes that she might like, to make sure she's happy with the locket.

How To Anneal Copper

The copper should be clean and bright, otherwise oxides will form and become embedded in the surface on heat-up, and should be warmed up with a blow-lamp (a kitchen stove will do this at a push) generally rather than at a specific point, although copper tends to spread heat quickly through the metal.

Once a background heat is produced, when the metal shows different colours radiating away from the heat source, then you are looking for a dark red (plum colour) reaching the part you want annealing – it’s like the colours of the rainbow moving from blue through to bright red as the hottest.

Once this occurs quickly immerse the copper you are annealing into a water bath, and that’s it. Job done.

Patina occurs through oxidation, when oxygen starts a reaction with the chemicals present. It is the same process that produces rust.

When copper is heated a coloured coating is formed. This coating is called "scale", and consists of a thin layer of copper oxide on the surface of the copper. Depending on the thickness of the layer and its temperature, the scale can be some very interesting colours, such as red, blue, brown, and pink, and at higher temperatures, black. The effect is quite noticeable on soldering irons with copper tips.

To solder means to make whole, to unite. Metals can be soldered or united together with the use of the appropriate filler metal, also called solder, and the application of heat.

Soldering, brazing and welding are similar but differ in small ways. Soldering uses a lower melting point filler metal than brazing does. Welding differs from soldering in that in welding the base metals are actually melted and fused together, creating a very strong bond.

Soldering copper for jewellery unites the metals without melding them together. Copper is a really hard metal to solder because of the oxidization that forms on the surface.

The basic steps for soldering copper jewellery using a technique called sweat soldering.

Prepare the metal pieces for soldering by cleaning them. Make sure the pieces lie flat. Lay both pieces onto the perforated soldering board. Cut a bit of solder from the solder sheet and put aside. (Solder is the glue that holds the various pieces of metal together. In order for the solder to flow, the metal must be clean – all of it – including the solder and the flux. The reason for this is that dirt, grease, oxides, etc. will create a barrier between the metal and the solder)

Apply flux to each piece, but apply only to the areas to be soldered together. Use the paintbrush to apply the flux.

Place the small bit of solder onto the flux-painted side of the background piece and then place the foreground piece, flux-painted side down, on top of the background piece.

Begin heating the assembled piece evenly to bring the solder to melting temperature. The solder has melted, and it is time to turn off the torch, when you see the foreground settle into the background and there are no gaps around the edges of the united metals. Special note: the torch does not melt the solder; the torch heats the metal, which in turn causes the solder flow.

Using tweezers, lift the piece and drop it into the dish of water to cool it off. Using copper or wood tongs, lift the piece out of the water and drop it into the warm pickle solution. This cleans the piece and frees it of oxides and excess flux from the heating process.

Jewellery Quarter Museum

Jewellery Quarter Museum

Walking into the museum, it was like stepping back in time. The museum incorporating the old Smith and Pepper factory was one of the major distributors of jewellery when it was in production. It was wonderful to see the different ways and methods they used to in the past, and in some ways, how similar they are to today.

The factory was bought in 1923 by the two founders, Mr Edwin Pepper and Mr Charles Smith. The two men worked hard at running the business and later in the 1960s, Smith and Pepper was responsible for the top 10% of jewellery made in Birmingham. Their children took over the role and continued until the 1980s when they had to then sell the business. At this time there was little money coming in and the owners had no choice but to sell. Having been up for sale for a year and with no buyers, in August of 1981 the factory had to close. Because of this, much of the factory was left the way it was. The machines were still functional and even some of the books and packaging was still inside. The factory was left like this till the Birmingham council bought the factory and turned it into a museum. The public could now go and learn about how the industry worked and how they made jewellery in the Jewellery Quarter.

With much of the practices for the business still being used today, the factory wasn't as outdated as you might think. From the way the business was run, to the way the jewellery is made, there are a lot of similarities that could be transferred to improve the way a jeweller works today.

It starts with the first room where the clients would meet and discuss the orders they would like to place. This is placed in one of the higher rooms of the factory and was decorated with welcoming and warm furniture. It is here where Eric Smith, one of Charles Smith's sons would sit down with the client and discussed orders and designs. Most of the jewellery that Smith and Pepper produced was made from gold and a majority was bangles and bracelets. With the orders being somewhere around 200 units, it would take Smith and Pepper about 6 weeks for the order to be made and sent out to the customer.

When an order was made, it would be sent down to the workshop. It was here where the head of the workshop and staff, Mr Tom Smith, also know as Mr Tom, would come in every morning at 6:30am to sort out the daily workload and delegate jobs to the staff in the workshop

Mr Tom would also be in charge of the gold. Every morning he would come in and sort out the gold that would be used for the day, weighing it and giving each person just enough to complete the tasks they had been given. Once the working day had come to an end, it was Mr Tom's job to then weigh the remaining gold from each employee to make sure that none had gone missing. Each employee was allowed a 3-10% gold wastage depending on the job the employee was doing. Engraving was one of the jobs that allowed the most of wastage, but anything over the 10% had to be explained. Because of this, each employee was very careful not to waste any gold and after each day the workshop was swept for the dust and then the dust was put into the kiln and melted down so that any gold dust could be reused.


Each job in the workshop had its own set of employees, they were divided up into to types of category's skilled and unskilled, the skilled jobs where the such jobs like engraving, mounter and soldering and were all men, these jobs took years to master and at the end of the training the person would only do that job in the workshop. All the skilled workers would be payed much more then the unskilled workers and would get a payed based on the days worked not how many pieces of jewellery where completed. The unskilled workers on the other hand where almost all women these where such jobs like polisher , plating and presser these where the lowest payed jobs, unlike the skilled jobs they would be payed by ow much they would work. With such jobs like the ones that use the stamp press the women would sometime loss parts of the fingers because of the speed they had to work in order to get payed a far wage. Even with this in mind working for a jewellery factory was still one of the safer jobs for the time has there was no danger fums and the factory's would be well lit.

Each job in the workshop had its own set of employees. They were divided up into to different categories, skilled and unskilled. The skilled jobs were like engraving and soldering and were all men. These jobs took years to master and at the end of the training the person would only do that job in the workshop. All the skilled workers would be paid much more then the unskilled workers. They would get paid based on the days worked, not how many pieces of jewellery were completed. The unskilled workers on the other hand, were almost all women. These were jobs like polisher, plating and presser. These were the lowest paid jobs. Unlike the skilled jobs, they would be paid by how much they would work. With such jobs like the ones that use the stamp press, the women would sometime lose parts of the fingers because of the speed they had to work in order to get paid a fair wage. Even with this in mind, working for a jewellery factory was still one of the safer jobs for the time has there was no dangerous fumes and the factories would be well lit.

Once an order was made and finished, it would be sent to the office where the women would box the jewellery to be sent out. It would be all women that would do this job as it was thought one of the less skilled jobs much like the stamping and the polishing. The boxes that the jewellery would be sent in were just plain brown boxes. This was the norm for the time, as it would be up to the individual shop seller to put the jewellery in their own decorative boxes and packing. This means that even though Smith and Pepper sold jewellery all over the UK, and even abroad, the Smith and Pepper name isn't very well known. Even so the only way you'd know if you have some jewellery made by Smith and Pepper is the jewellers make on the jewellery itself.

Even with all the mass produced jewellery that is available today, it seems that there is still a market for the handmade bespoke jewellery. This is because most people want something unique and that is one thing that the independent jewellery design can offer a customer. What was surprising to me was that the tools they used back in 1923 are still used today. With some small changes, the majority still are the same. This shows that even today people like the older handmade jewellery.

It also shows that the business is still built around the customer. From the first step, Smith and Pepper had the client ask for jewellery and they worked with them to create the design they wanted. Today, although the designer might not have a big factory, and such a large quantity to make, they still work with a customer to give them that one piece they desire. Although the technology might have changed, one thing that stays the same and that's the importance of the customer.

FMP Fridays Thoughts 24th April

Fridays Thoughts   24th April

Glass with Hinges

Another Friday which means another chance to get a day's work done. Having sorted out what I need to do in order to complete my locket, I had in my mind tasks I could do confidently by myself without having to ask for any tools or waiting to be shown how to do something. Having the tasks I could do on my own completed on Friday means I can make the most of the time I have in class with the tutors.

I started the day with the plaster mould. I wanted it cleaned and in the kiln today so that I could have my glass on Monday and I could sort out how to make the back of my locket. With the plaster set, I could remove the rest of the wooden template and clay slip surrounding them. This was a another long task. I had to make sure that all the clay was off the plaster mould so that none of the remaining clay would stick to the glass after its been fired. Once both wooden templates were out, I cleaned and scraped the clay off. I then had to make a quick plaster mixture to fill any holes so that the mould wouldn't crack in the kiln or the glass leak out.

Once the mould was filled and left to dry, I then started on the hinge for the locket. Learning from my last attempt of making a hinge, I could easily measure out and make a more professional and efficient working one. Firstly marking out the right size, taking the first test hinge I measured it against the locket. Looking at it closely, I could see that it was too big. I wanted something smaller that would fit in the centre, making sure that both sides are balanced.

 

Taking one sheet of copper, I cut two small two and a half centimetre strips out and measured five and a half centimetres along the top. Clamping the copper I then cut out opposite sections of each copper strip. After cutting and filing the copper, I could then start wrapping the copper round the steel rod, making sure that each time I have everything straight before I fold the copper round. Once each copper strip has been fully formed round the steel rod, I could make sure that the hinge was fully functioning. After a couple of minutes of filing some of the edges so that it was working smoothly, I had finished my hinge.

By the time I finished my hinge, the plaster was dry and I could do some last minute smoothing out before carefully placing the glass in the mould to be fired, making sure that the glass was an even height so that there wouldn't be any over spills.

Having spent the day working hard, I was one step closer to finishing my locket. With the glass out by Monday, I could start on making the back for the glass to sit in.

FMP One Step Closer 23rd April

One Step Closer   23rd April

I wanted to make sure I have almost all of the locket finished by the beginning of next week so that I can spend more time on the second 'disorganisation' piece.

With most of the design, techniques and process sorted out yesterday, I could spend today doing all the hard work to make the locket. All the copper is marked out and the centre is cut, I could start by making small changes to bring it together and start making it look like a locket.

After putting the glass behind the copper yesterday and discussing how it look with the group, I got some good feed back. The glass is one of the main features. I (and the group) thought that it would be better to cut a little more of the front copper out so that you could see it more. I think this not only is a good idea, but really draws the eye to the piece. It will also mean that when light hits the back of the locket in the exhibition, it would have more of an effect. Even if the person was wearing the locket and there was no light behind it, the glass would still have a different appearance, making it lighter than if there was copper behind and surrounding it.

After my talk, I changed my design a little. I drew up a new design with a bigger middle shape that I could cut out, and changed and added a couple more sections. Using the material gives me a chance to see how it reacts. This is one of the most important parts for me as it helps me change and improve my piece. It also lets me learn how far I can take the material with the tools I have at hand.

Most of my day was hand sawing my copper piece, making sure that every line I made was straight and even on both sides. This was a difficult task to do with a hand saw that I wasn't used to. I started to get quicker over the day and I could then move onto cutting out the shape itself from the edge of the copper. I placed masking tape over the top of the copper, carefully marking and measuring out the cut lines I needed to make with the hand saw. It was then up to me to saw out the shapes I need.

This was a hard task, not only to get the lines straight, but to make sure that the copper was securely fixed to the jeweller's bench. Once I had finished cutting one line, I then had to unclamp the copper and change the position so that I could then change the angle of the blade to cut out all of the copper from the centre. When I was cutting the sides, I still had to change the position of the copper while cutting because the shape of the metal got in the way of the blade, so I had to keep cutting half way, repositioning the copper and cutting the other half.

With the copper cut, I could then check on the mould I made yesterday. I was hoping that I could have the plaster mould ready to go in the kiln by the weekend so the glass would be ready on Monday. Removing the boards, I then could see if it was dry. After turning the plaster over and cleaning most of the clay off from around the sides, I then tried to remove one of the wooden templates from the cast. Removing the wood was easier than the last time. I made sure to put a thicker layer of slip on the wooden template.

By the time I removed and cleaned one of the wooden templates from the plaster mould, it was time to call it a day. With tomorrow Friday, I will come in and work on my own. I'm hoping that I could get my glass in the kiln for Monday and make my hinge.

FMP Cut It Out 21 April

FMP   Cut It Out   21 April

With another day done, I had to start making some major progress in order to finish my project in time. These half days are no help. I started with sorting out how to set up my jewellery bench. With the college having limited supplies and tools, I was happy to see that they not only had a proper jewellery bench, but it was one that could be set up and moved. This was extra useful today because it seems that everyone was in 3D.

Once I had my bench up working, and I set my chair up, I could clamp my copper to the bench and start cutting. This was a long and slow process. I had to make sure that I didn't go over the template I had drawn over the copper. Every now and then I had to keep changing the position of the copper so that I could access it.

Because the section I wanted to cut out was in the centre of the copper, I had to be careful to get the right angle for the blade. Keeping that in mind, the thin blade could be easily snapped if I twisted it while I cut. I started by cutting out a small section in order to give my hand saw room to turn and manoeuvre so I would be less likely to make mistakes and snap my blade.

After continuing with this method, I managed to cut out my centre diamond shape from my template. This has given me a lot of things to think about as the time it took me to do this was a lot longer than I thought. Seeing as this was my second time using the hand saw, I'm sure that after a little while and a bit more practice, I will be a lot quicker.

I then moved onto making the edges as clean and smooth as possible, filing down all uneven and rough edges so that I could then move onto cutting out the rest of the template and making the hinge tomorrow. Once some of the filing was done, I was called in to discuss and analyse my sketchbook.

Luckily what was said was positive. There were some very interesting comments and suggestions on research and things to look into, such as the fashion industry. I could also look with more detail about how bespoke designers work with the customer to create something that they are happy with. I know through my project that getting the balance of your style and the customers need is a challenging thing to do. Every step you take with the product you create then has to me approved by the client, and if they are unhappy, it has to be changed. In order to do this the designer then has to give themselves time to redesign in case of any changes that need to be done.

With another day done I'm starting to get somewhere with my work. I should be able to get a lot of work done tomorrow and be one step closer to finishing.

FMP Heating and Moulding 20th April

Heating and Moulding   20th April

With less than three weeks to go till the deadline of the project, I have no time to lose. I wanted to start making today so I got to college early to sort out what I have to do. It's important to organise your work load so that you can plan out a time scale to ensure you can complete everything.

After a quick talk with the tutors, I could get right into my work. The first thing to sort out was the copper heating. Having already cut out my template on Friday, I saved myself a lot of time so that I could get right into the making.

I needed to start today with the heating of the thicker copper sheets so that it was softer for me to mould.

Before I started heating the copper, I first ground some borax flux in water to make a paste. I then painted a thin layer of borax flux onto the surface of the copper. This helps change the colour when heated, while the paste burns off the chemical reaction of the two leaves the copper with a different texture to it than if it was just heated normally. I placed the copper on the stone bench with a blowtorch heating it for the copper to change colour. This was about 3 to 5 minutes. The colour of the copper changes depending on the time you heat it. This means that no two copper pieces can be the same, which fits in with my project perfectly.

I heated two pieces of copper using this technique so that I could see the difference in the metals depending how long its heated.

Once the copper was heated, I could quickly place the hot copper piece into some water. Leaving the copper to cool for a minute or two, I could remove it and be ready for the next step.

Having the now softer copper ready, I could place it into the wooden template. I marked out where I need to drill the holes for the screws to hold it in place. I could then start the hard task of hammering out the shape I wanted using some of the larger stamps the college has, but also the ones I made myself.

It is a slow process, but I found it a lot easier to do with the thicker copper. I was less likely to puncture the copper while hammering it out. I was also able to make more of a dramatic raised surface than with the thinner copper. As I was using the stamps, the copper was getting more difficult to raise the surface as the copper was becoming harder while I continue to work the metal. This wasn't as much as a worry with the thicker copper as it was able to take more impact than the first test piece I did.

FMP Fridays Thoughts Up scaling everything 17th April

Friday's Thoughts

Up Scaling Everything   17th April

After Thursday's problems, I have to rethink the size of my design. With such a detailed design I will find it difficult to make my jewellery with the tools I have available to me at college. I can simplify my design, or scale it up to make it easier to work with. Out of the two options, I would prefer making my design bigger as I don't want to lose any of the meaning.

With that in mind, I spent the day measuring and drawing up designs so that I could scale up the locket without loosing any of the detail. I measured and wrote down the height and weight of every section of the locket.

I then had to consider how big I was to make it. I don't want to make the locket so big that it wouldn't work, but it would be pointless making it only a little bigger as I still won't be able to get the detail I need. With that in mind, I then drew up three different sizes so I could see which I think would be best. From the original size of the 6cm, I drew a 8, 9 and 10 cm locket. The 10cm design gives me more room to put detail in my locket without looking too over sized.

With the size sorted, I then could make the template out of plywood. I then had to get the measurement in Illustrator making sure I had a good one and a half centimetres to have enough room for the screws. Making sure to keep everything symmetrical, I could then get the template laser cut making sure I had all the setting correct before I started. Once the laser cutter was finished, I could then tap the two pieces together before drilling the holes for the screws.

With my template done, it was time to pack up and go home. I only hope that on Monday I can start making the final piece.

FMP It All hinges On This 16th April

It All Hinges On This   16th April

I have 3 weeks to finish my project, so this morning I was determined to complete as many tasks as I can in the next two days, so I can start making my piece next week.

I started the day forming and hammering the copper. With both the copper and the wooden templates ready, I could then place the copper between the two wooden templates and screw them in place. In order to do this, I had to carefully consider the best way to get the screws through the copper without fusing the metal and wood together. Without damaging any of the materials, I had to drill holes in the copper before I fixed the templates in place. In order to do this, I first sandwiched the copper in between the wooden templates, then in order to know where to drill the holes, I lightly pushed the screws through, not so much that it would screw the metal, but just enough to leave an indentation.

I could then use the indentations as a guild to drill the holes exactly where I need them. This saved time and made sure that I didn't damage anything. After drilling the copper, I only had to file down the rough edges of the holes I made so that I could have a clean flat surface. This was important so that the copper would fit securely between the two wooden templates.

Every part of the process has to be carefully considered and analysed to ensure that not only are you making a well finished and professional product, but that your doing it in a time efficient way without too much waste materiel.

With my template ready, I then had to make the stamps. Sadly, the one that is available to me is slightly too big for my design. I had to solve this problem by cutting some thin steel rods and filing one of the edges down in order to create a small enough stamp that was able to fit in my template. Most of the filing could be done by machine, but for a fine smooth surface I had to finish it off by hand, making sure that there wasn't any sharp edges. Otherwise, while I'm hammering into the copper, it might put too much stress into the metal and create a hole.

When I had made my own metal stamp and had smoothed the ends, I could start hammering out the copper. This was a slow process, making sure I evenly raise the copper using the three different sized stamps. On the first section, I hammered out the centre and then moved onto the smaller stamps the closer I got to the edge. As I continued hammering the copper, it gradually started to re-harden making it more difficult for me to leave an indentation. If I wanted to achieve more of a smooth raised shape, I would have to reheat the copper and continue hammering it.

When I had finished I was able to take the copper out of the template and examine my test piece. Closely examining the copper, I could see the texture I had achieved. It was a slightly uneven surface rather than the smooth one I wanted. If really wanted a smoother texture, I would have to continue using the stamps until I have the texture I want. Even then, I would still have a slight uneven bumpy texture.

I wanted to raise the surface of the copper so that I'd have different and more completed layers. This would mimic the layers of someone's personality, so the uneven texture might symbolise that better. I'd have to think more on this and reflect which would be better fitting for my concept.

One of the other problems was the size of my piece. The way it is now, I'll find it difficult. With that in mind, I have to scale up my design. I might draw out different sizes and see which one would be best for my design.

After lunch, and a rethink of my design, I could then practise making a hinge. This seemed to be a complex device, but after looking at the hinges on some of my own lockets, it was more the size that made it seem more detailed. After being talked though the process of making one, I was more confident.

Getting the thinnest steel rod the college had, I cut out of some scrap copper (two pieces of 3cm). I placed the steel rod and copper to make sure that edge of the copper was aligned with the rod. This is vital. If there is any over hanging copper, then when I roll the rest of the hinge, it wont be a tight fit and the hinge will be loose and less effective. As well as this, I have to make sure that the copper is even. If not, then the hinge won't close properly and become useless.

With this in mind, I had to carefully make the hinge using a piece of scrap metal to push the copper down and curling it round the rod in the clamp. After each time, I would have to turn the rod and copper round and repeat the process again till the rod is completely covered with the copper. I then have what is starting to look like a hinge.

Once I have repeated this on a second piece of copper to create two separate hinges, I then had to mark out the half way point and then mark out 1cm from the centre, so I could make the three toothed hinge. I started cutting through the copper to make the two separate copper hinges slot together, making one working hinge. Cutting the middle out of one, and the two sides from the other, I could then slot them together and have a working hinge.

It was the first hinge I made. It wasn't perfect, but it worked. After filing the copper down in places, I was very happy that I accomplished making a small working hinge. If I was to make it again, I would make sure that when I cut out the section, I would measure the exact size I needed height wise, so that there won't be as large a gap.

FMP Is Bigger Better ? 15th April

Is Bigger Better?   15th April

Again the day started with getting right into what I have to do. With my glass test piece a bigger success than I thought it would be, I could then move on to finishing my template so that I could start on making the rest of my test piece.

The design sorted, the only thing I have to do cut out the parts of the design that I want raised. This involves drilling holes into the wood so that the saw blade can cut out the shapes of wood without cutting into any other part of the template.

I had to make sure that the drilled holes were big enough for the blades to pass through. I could then take my time cutting out the shapes. This takes longer than I thought. Having used the saw before, I knew that in order to get a steady shape I have to go slowly and carefully otherwise I'll have to make the template from scratch. It would have been easier for me to cut the wood with the laser cutter, getting clear clean lines, but the type of wood that I have to use can't be laser cut, so I have to carefully hand cut the template. When I had finished cutting out the shapes out, I then filed any rough edges so that I have nice clean shapes when I hammer them out.

The only thing that I have to think about is the size. The size I want to make, and the equipment I have available to me, I don't think it will be possible. The only way I can solve this is to make it bigger and have it as a sample or show piece. It would be much like a designer would have a larger, or a replica piece to show a client so they could see their design in a 3D form before the jewellery designer makes the real thing. I would of liked it to be the actual size of the jewellery I designed, but with the tools I have it's not possible.

While I was thinking of size, I also have to think about displaying my work. I was thinking of having lights behind my work, or on my work, seeing as my locket has glass in it. The light would show up the beautiful colour and texture of the glass. Also, when jewellery is displayed in the shops, I've noticed they have some sort of light on them, drawing the eye to the shine of the metal or gems. I'll have to think more about how many lights I would have and if the light would cast any shadows that would help or hinder my piece. My pathway work had beautiful shadows that helped in the impact of the piece. I'll have to test it out with this project as well.

FMP Half Day Rush 14th April

Half Day Rush   14th April

Another half the day gone, I'm one step closer to the finished piece. Today I'm focusing on finalizing the last details of my design so that I can start making my piece and test how I will fix it together.

With today only being a half day, I didn't have long in the workshop to finish what I wanted. One of the many things I wanted to do was sort out if and how I could etch words into glass. I knew from research in my other projects that laser cutters can etch into glass, but it takes a long amount of time and it has to be etched over again for a deeper and clearer shapes.

Today Marriyah handed me the quote I needed. With this I could test out the effect the laser cutter has on the glass and how good the finish is. Once I had sorted out what words were to go on the glass, I could the start the template in Illustrator. Starting with the measurement of the piece of glass, I placed the writing in the centre. With the writing in and template finished, I could then start with the etching itself.

Before I could start the laser cutter, I had to place a piece of wet paper on top of the surface of the glass so that the laser itself didn't just pass right through the glass the first time it tried to etch it. I then had to go over the same piece over again so that the word would be clearer. After making the laser cutter repeat the etching 5 times, I could then take out the glass and see how it worked out.

With this being the first try of the glass etching for me, it worked out well. The words came out clear and readable, and the look of the words on the glass seemed to add texture and detail. The only thing I would change is the depth of the words. This is easily changed. All I would have to do is repeat the etching to achieve this.

FMP First Day Back 13th April

First Day Back   13th April

Back to college and that means back to work. With only four weeks till the deadline for handing in our work to be marked, every day has to count. I started the day sorting out what I was going to make my jewellery out of. This is a difficult matter because the silver I was thinking of using has to be heated in very high temperatures and that is something that I might not be able to do with the equipment I have. So I have to go back and see what I could use. I was thinking of using copper and heating it to give it a different colour, or I could use aluminium. Both can be easily cut and moulded to follow my design I wanted to create.

After considering the different metal options that I could use for my jewellery, I thought about how I could achieve the designs I wanted. I very much wanted to make the locket more of a three dimensional object than flat, as someone's personality is never just straight forward or flat. As I wanted the front of my locket to be raised, I have to try out some different techniques to achieve this. One way is to place the copper between some wood and then use a metal stamp to hammer out a raised section for the front of my locket. I have to be careful with my design as it is very small and detailed. I didn't want to risk it breaking while I hammer out the copper.

Once I sorted out how I will make my test piece, I could then use the rest of the drawing section to finish my design sheet. I had planned out one of my sheets last Friday so that I could have one done before the end of this week. With all the layout sorted and the images printed, the only thing I had to do was the background. I wanted it to have more of a textured look to it, but also a light transparency too. I remembered being shown a way to transfer a pattern or design from a printed picture earlier this year, so I knew I could do it with a little bit of effort.

I carefully placed the printed picture onto the paper and rubbed the paint thinner onto the back, then I carefully pressed on the picture to rub the ink off of the picture and onto the design sheet. Covering most of the page in this way took me the rest of the lesson. Once I was done, it gave a nice textured look and a older feel to the paper as well.

After a break I could start on making the wooden frame I have to use for tapping out the copper. After cutting the wood, I then had to drill holes in both of them so that the copper could be secure when I'm hammering it. I had to be careful to measure the centre and where the screws will fit. Placing masking tape round it to fix both together, I could then drill the holes to guide the screws in. Having done that, the copper then had to be heated so that it would be softer and easier to mould.

The workshop closed so I have to finish off the rest tomorrow. I can start hammering the copper into my design.

Off Key Tattoo Studio

 

Off Key Tattoo Studio

Off Key Tattoo Studio is a studio based in the heart of the Jewellery Quarter. Off Key Tattoos offers the public another way to show the world their individuality and personality.

Tattoos are something very personal. Depending on the design size, and place the tattoo is, it can show a design to the world or just a select few. Although some tattoos can be a spur of the moment decision, the designs of Off Key Tattoo Studio are more thought out with a designer that can personally create your ideas, tastes and personality into a design for you.

From large bold tattoos that grab your attention to smaller more dainty designs that have more of a subtle effect, each one still leaves an impression on the viewer. Some designs have specific meanings: animals, wording and symbols makes the tattoo have more of a connection to the person it's on. This could also include names and logos of things they love, adding a sentimental memory as well. The well thought out designs not only tells the world about the wearer's personality, but can have a deeper meaning to the wearer.

Off Key Tattoo offer the customer a one of a kind tattoo designed by one of their trained and talented artists. With each design is made for a customer, they offer a one of a kind business. With Off Key Tattoo not offering 'walk ins', they make sure that the customer has exactly what they want before they start the process. This also means that they don't offer premade templates so that the customer knows that they are walking away with a unique design.

The first thing that Off Key Tattoo Studio normally does is have a email or phone conversation with the client so they get an idea of what the customer has in mind. Once the first conversation is done and Off Key knows they can fill the clients needs, they can then have a consultation so that the designer has a better idea of what they want. That can mean that the client brings with them a photo of a pattern or a drawing of what they wish the design to look like.

Depending on the information the tattoo artist has, he can then start drawing up designs. Off Key Tattoo Studio makes sure to work with the customer to give them a design that they are happy with. If the customer isn't sure of any part of the design, the artist will be happy to talk them through different alternatives and redesign the tattoo until they are happy. The design process can take anything from 15 minutes to 2 hours depending on the detail, size and speed of the artist. Once a design is finished and approved by the customer, the design can then be tattooed. With each design made in this way, no two tattoos are the same. With that in mind it's a great way to show off a side of your personality that might not be seen otherwise.