Wire and Bead Tutorials. Beaded Dangle or Pendant. Part 1

Wire and Bead Tutorials.
Beaded Dangle or Pendant. Figure 1.

This is Part 1 of my blog post series of Wire and Bead Tutorials. In this post I will be showing a simple way to make a Beaded Dangle or Pendant using Head Pins and various Beads.

All of the following techniques and supplies are historically used and date back to at least the end of the first millenium BC (BCE) and continue well through the Byzantine Empire. I have found many extant examples from various times and places of the Roman Republic, the Roman Empire, and the Byzantine Empire. Over the coming months I will continue to look for extant pieces from other Mediterranean and European civilizations.

A modern Head Pin is a long wire with one end terminating in a flattened, round 'head' that is simiar to a nail's or some styles of rivets. They can be purchased at many bead suppliers or craft stores and come in a variety of gauges, lengths, and metals either precious or not.

1. Pass the Head Pin's 'end' (1b) through the Decorative Bead (1a) so its 'head' is flush against the bead's opposite opening* (1c).

2. Take 1 or more small Embellishment Bead (2a) and slide them onto the Head Pin (2 & 2b).

3. Bend the remaining length of the Head Pin about 90 degrees (3a) so that the Beads are secured in place and that there isn't room enough for them to slide back and forth. Use Round Needle Nose Pliers (3) to form a loop by bending the wire around it (4a). 

4. Use Wire Cutters (4) to shorten the Head Pin (4a), so it forms a closed, round loop (4b). Use a Pair of Flat Needle Nose Pliers (4c) to manipulate the loop so that it is centered and closed properly so there isn't any gap left. A gap could get spread wider through wear and tear to possible lose the Dangle.

5.  Pass the Dangle's loop (4b) either through the opening of the hook or brooch pin, or one end of a chain, cord or wire so it is secured.

Wire and Bead Tutorials.
Beaded Dangle or Pendant. Figure 2.

* Please Note: If the Decorative Bead's bottom opening is wider than the Head Pin's 'head', then you can do any of the following historically used options:

A. First slide on a small bead, like a Seed Bead, that is wider than the Decorative Bead's opening. This smaller bead will stop the larger bead from falling off.

B. First slide on a spangle which will act like a Bead Cap. A spangle is a small, flat metal disk with a drilled hole at it's center, it is what sequince is made up of and it is used in decorative Embroidery.

C. First slide on a small Bead Cap with a hole small enough that the 'head' prevents it from sliding off the Head Pin. Bead Caps are usually curved like the Bead and look molded against it. 

D. Use or make a Head Pin with a wider 'head' or that has a balled up end with a wider diameter than the width of the Decorative Bead's hole.

E. Make a single or double Loop that's larger than the Decorative Bead's opening. Use the same techniques shown in this photo-tutorial.

F. If you are using round wire instead of a Head Pin, and the Bead has a small opening, you can simply bend the wire back onto itself (180 degrees) using a Pair of Flat Needle Nose Pliers (4c). This will form a closed 'U' shape that should be wider than the Decorative Bead's bottom opening.

Part 2 of this Blog post series will show how to make 1 style of Birka Grave Find, Bead Hangers. It is a decorative way to suspend 1 or more beads on a beaded necklace or chain. There are a variety of styles and I will be showing 1 of the 2 most found methods. This style of Viking Age Bead Hanger was predominately found in Birka Grave Finds.

Late Anglo-Saxon Disk-Brooches. Part 6. (Enamelling Tools)

Goldsmithing and Enameling Tools: Iron Hoods / Muffles and Trays.

This is Part 6 of my series of blog posts related to my Late Anglo-Saxon Enamel Disk-Brooch project on the historical tools used in Goldsmithing and Enamelling from approximately the 2nd-century BCE until the middle of the 2nd-millennium CE.

Figures A to J.

I was inspired by the hood/muffle sets that two fellow Enamelers each fabricated and based on Theophilus' description from, 'On Diverse Arts'. A couple of years ago I saw the set made by THL Alys Treeby, my Apprentice Belt-Sister, she's had multiple successful enamel firings on a Blacksmith's charcoal heated forge. Recently Sir Ælfwyn Langanwuda sent me photographs of the set she fabricated. This past weekend she was able to use it with great success on her period bead kiln that she's repurposed, previously she used a blacksmith's forge as a heat source. Both of their hoods are appropriately 3-inches in diameter.

In May of this year, Doug Colin Guyton fabricated for me a perforated, domed hood/muffle and tray (see Figure M.) based on my research of Theophilus' Treatise, ‘On Diverse Arts’. Both the domed extant and reproduction pieces have handles though shaped differently. Theophilus' description is of a flat tray similar to a pizza paddle, and the domed Georgian extant tray is concave, similar to a frying pan.

Figures K and L.

Over the next year I plan to experiment with my muffle set using a charcoal forge to solder, enamel and fuse. I hope to fabricate another domed muffle/hood as well as conical shaped ones, based on the extant finds of the “Iron hood, Vani, second half of the 2nd century B.C.”.

The hood/muffle and its tray are used on a charcoal forge (see Figures B and O) or with a furnace, both are smaller than what Blacksmiths use(d). They are placed on top of heated charcoal and other heated pieces of charcoal are piled a couple of inches high around the hood. Since the holes in the hood/muffle were punched from the interior outwards, the sharp edges of the cut and stretched metal point outwards, much like a cheese grater, and help reduce how much ash and particles can enter. The charcoal quickly heats the metal and interior space. Once the needed temperature range and time have been reached then the charcoal can be carefully brushed away from the sides and the entire hood/muffle and tray can be removed from the forge or furnace. 

"A copy of the Colchian cloisonné hood was made and tested, which showed that the Colchian “hood" is a goldsmith's tool – an iron muffle. If placed underneath a pile of burning coals as described by Theophilus, high temperatures are achieved inside the muffle and a highly skilled jeweler can perform work on glass, gold or silver." (Ermile Maghradze, Nature, June 2014)

I am researching the writings of three other historical figures in hopes of finding more information on the tools and techniques of pre-Renaissance soldering, fusing, and enameling techniques. I will continue to write blog posts of my experiments and findings over the coming year.

Figures M to P.

Figure A. 

Ermile Maghradze fabricating a Gold Cloisonné enameled medallion based on an extant find. 

Figure B. 

One style of “Colchian hood” being used for Georgian style enameling on a charcoal forge. The one shown above is a reproduction based on an extant find (see Figure K and L). 

Figure C. 

Ermile Maghradze placing Gold cloisons on the back plate. 

Figure D. 

The perforated, domed hood looks like Theophilus’ description in his Treatise, ‘On Diverse Arts’, though this extant Georgian base is concave, similar to a frying pan, instead of flat like a pizza paddle, as in his description. 

Figures E & F. 

“Iron hood, Vani, second half of the 2nd century B.C.”, a conical style of perforated muffle / hood and its base, displayed in the Georgian National Museum. 

Figures G to J. 

A variety of Georgian Cloisonné enameled pieces.

Figure K.

The various tools used for fabricating Georgian enameled pieces, several are extant finds (both hoods), others are modern recreations based on finds and research. 

This conical hood is very similar to the “Iron hood, Vani, second half of the 2nd century B.C.” from page 57 of the article. 

The perforated, domed hood looks like Theophilus’ description in his Treatise, ‘On Diverse Arts’, though this Georgian base is concave, similar to a frying pan, instead of flat as in his description.

Figure L.

"One very important archaeological discovery in Western Georgia was a perforated, cone-shaped iron “hood” and a tray discovered in 1966 in the remains of a city near Vani in the historical region of Colchis. We made a link between this artifact and a type of “hood” used to mount enamel, which had been described by Theophilus. In the chapter of the treatise that explains firing gold plate with mounted enamel, Theophilus describes a “hood” with a tray that a smith has to use to complete the firing. It is apparently very important that Theophilus is describing one of the types of muffles (a clay or iron box inserted into a furnace in order to fire an article) that was widespread in the medieval goldsmith workshops."

- from, Ermile Maghradze (2014) 'The Discovery of the “Colchian hood”, a tool that shaped the art of Medieval Cloisonné Enamel Technology', Museum. Georgian National Museum, N1, June 2014, 54-57.

Figure M.

This perforated, domed hood was fabricated by Doug Colin Guyton based on my research of Theophilus’ description from his Treatise, ‘On Diverse Arts’. 

The base of the domed Georgian extant set is concave, similar to a frying pan, instead of flat like a pizza paddle, as the version that Theophilus was familiar with.

Figures O and P. 

The conical hood is similar to the “Iron hood, Vani, second half of the 2nd century B.C.” from page 57 of the article in Nature. Its base does not have a handle like the domed hood.

Figure P.

The perforated, domed hood looks like Theophilus’ description in his Treatise, ‘On Diverse Arts’, though this Georgian base is concave, similar to a frying pan, instead of flat as above in our Theophilus reproduction.

Figures A thru J, N, O, and several quotes are from: 

Ermile Maghradze (2014) 'The Discovery of the “Colchian hood”, a tool that shaped the art of Medieval Cloisonné Enamel Technology', Museum. Georgian National Museum, N1, June, 54-57.

Figure M.

Photograph by Gaeira Aggadottir.

Figures K, L, and P.  

These images are from the Georgian National Museum’s website.

Experiment: Champlevé, Vitreous Enameled Copper Alloy Medallions

EK, Order of the Golden Rapier (OGR)
Etched, Champlevé Enamel, High Polish

Last year I etched these Copper Alloy designs and used them in an experiment by enameling them with Thompson Enamel's opaque vitreous enamels to see if they interacted well enough to use in future projects. Since I wasn't sure what the results would be, I didn't want to risk a good piece, so I used several failed etches.

Last week I set up my new polishing station with my 3M Radial Bristle Disks and polished them up. Here are the results which I feel are a success.

I did wet pack the pieces with enamel by adding a bit of distilled water. Since I was in a bit of time crunch I didn't add a bit more water and pull the solution into the corners to try and take advantage of Capillary Action. My Laurel brought his kiln to an event and we only had the space for a short while for our tests. In future I will definitely play with capillary action to get into every tiny area.

A quick way to remove a bit of water from a wet packed area is to gently touch a corner of a paper towel or tissue to soak up a bit of water. The piece must be completely dry before placing it in the kiln otherwise there's a risk of the water boiling off and popping/shaking the enamel off the piece.

Above, Right: Pieces sawed out
Above, Far Left: After they've been filed and sanded, but before polishing.

Bottom: The 2" × 6" plaque with both resists still on and after being removed 

from the etchant and neutralized with a solution of baking soda and water.

The Black areas are the TTP resist once it's reacted with the etchant, you can 
remove it either with Acetone or sanding it off.

Metals Etched: Red Brass (CDA#230) and Nickle Silver (CDA#752)
Plaques: 16 Gauge, 2" × 6" plaque
Etchant: Ferric Chloride, at room temperature
Resist: Toner Transfer Paper (TTP) and nail polish

Polishing Tools: 3M Radial Bristle Disks
Disk diameter: 1" and 3", both using 6 disks on a spindle
Grits: 80, 120, 220, 400, 6 micron, and 1 micron

Please Note: I found that the 80 and 120 grits damaged the surface of the enamel. I suggest using 220 and finer.

Artwork: Except for the Order of the Laurel medallion everything else that is within a circle is an award of the East Kingdom. The small rectangles are Populace Badges for the Principality of the Mists, Kingdom of the West.

This is how it came out of the kiln after it was enameled, you can see
the oxidation that needs to be removed using a mild acid referred
to as pickle in the jewelry industry.

East Kingdom, Order of the Silver Crescent
The same enameled piece after it's been pickled and neutralized. It requires to be polished before it is complete.

East Kingdom, Order of the Silver Brooch
After polishing. I have already tweaked the artwork after it was etched.

Order of the Laurel, After polishing.
I will tweak the artwork to reduce the number of leaves and spread them
out a bit. This should increase the recessed areas and allow for easier
wet packing which will also let the design pop more.

Links
My Copper Alloy Table on my A&S website with information on the last row about which Copper Alloys work best for Vitreous Enameling.

MY Class Handouts on my A&S website with a handout for my etching class.

Metals Suitable for Enameling by Woodrow Carpenter © Glass On Metal, Vol. 5, No. 6, June 1986

Vikings! Exhibit Photographs on Flickr

Vikings! Exhibit on Flickr Web Page

I was fortunate enough to be able to travel twice to Gatineau, Quebec to see the traveling exhibition, Vikings! which took place at the Canadian Museum of History.

These pictures were taken at the  'Vikings' exhibit held at the museum from 3Dec2015 to 17Apr2016.

This was the largest exhibition of Viking Age items to travel to Canada, and probably worldwide, that I have heard of.

Link: https://www.flickr.com/photos/gaeira/albums

Egyptian Paste, Part 1

These dried Egyptian Paste beads are slowly developing their
effloresced “scum” layer. Once enough has formed they will be kiln fired.

This is Part 1 of my series of blog posts about Egyptian Paste.

Egyptian Paste, also known as Egyptian Faience or Fayence, has been described as “the first high-tech ceramic”. It is a self-glazing ceramic body, which means that the glaze material/components are already included in the clay body, so there's no need for a glaze layer/coating, instead it slowly moves to the surface and develops. It is unlike ceramic clay which requires a bisque firing then a glaze layer to be painted/poured/dipped before being glazed fired to develop a glossy or matte surface.

I am forming a bead from
moist Egyptian Paste.

It is not like conventional, clay-based ceramics, the ingredients of Egyptian Paste is a mixture of silica, soda, and lime which react together during the kiln firing to create a new medium, which ends up being very different in nature to the ingredients individually. The Egyptians have referred to it as tjehenet, “that which is brilliant or scintillating”, because of how it reflects light once fired and reminded them of the semi-precious stones they admire most.

On the surface of the object an effloresced “scum” layer develops as it dries and this forms the colored glaze once it is fired due to being fused together.

The packaging has the instruction
of the first mixture we purchase
from our Pennsic Instructor.

Silica makes up the bulk of the dry ingredients, but there isn't enough soda and lime to completely melt the silica at the temperatures the dried paste is fired at, instead they react with the silica to form a little bit of glass to bind the silica grains.

Hands-On Projects
There are a wide variety of recipes and firing directions for Egyptian Paste. We started off by trying a mixture that we purchased from our Pennsic Instructor, we do not know the exact ingredients, the firing instructions are on the back of the packaging (see 3rd photo; from the "Getting Started" Facebook Photo Album).

After we made and used up this mixture we looked online for a recipe and ordered the needed ingredients which arrived very quickly. I mixed 1.185 kilograms (1185 grams) or 2.612 pounds of the dry base fore Egyptian Paste that it the plain color. I divided it into 11 batches of 100 grams each of the basic dry ingredients and then added different amounts of colorant to each. The remaining amount, just under 85 grams, will remain uncolored for plain beads and to experiment with. (see 4th photo; from the "Group Project" Facebook Photo Album).

Our group project day making beads
from the 2nd recipe that we tried.

Distilled water still needs to be added to each mini pouch of dry ingredients and kneaded well to form into balls of paste that are a little 'clay' like. The ingredients were purchased from The Ceramic Shop]


For more information and a look at my photo tutorials please visit:

Getting Started: Egyptian Paste (a.k.a. Egyptian Faience)

Group Project: Egyptian Paste (a.k.a. Egyptian Faience)