Take a class or workshop Why not try something new, or hone the skills you already have! Taught by talented area artists and nationally recognized visiting artists, Flux Metal Arts offers a wide variety of exciting classes and workshops in jewelry making and metalworking for students and artists of all levels. Our comfortable and inviting studio encourages creativity, exploration, and artistic community. Bring a fresh perspective to your jewelry making and metalworking, fall in love with a new technique, and let your creative inspiration shine! Master Workshop- Making Multiples with Blanking Dies with *visiting artist* Jayne Redman Handmade Chains Basket Weave Cuff Hurricane Cuff Soldering Basics Master Workshop- Hydraulic Forming Combined with Chasing & Repousse with *visiting artist* Liza Nechamkin Glasser Introduction to Jewelry & Metalsmithing Pipe Dream Jewelry: PVC Pipe Technique with Exploration in Cold Connections with *visiting artist* Casey Sheppard Master Workshop- Torch Fired Enamels: Enamel & Setting as Equal Partners with *visiting artist* Anne Havel Mentored Independent Study Register in person at the studio, by phone (440) 205-1770 or online. Master Workshop- Making Multiples with Blanking Dies One-piece blanking dies allow you to easily cut out precise duplicate shapes from silver, gold and other non-ferrous sheet metals. Jayne Redman has been using this method for her own production jewelry for 20 years and has developed ways of creating dies and blanking multiples that dramatically speed up production. In this workshop you will learn how to develop patterns for this process and the method of sawing dies from flat stock tool steel. You will have the opportunity to make combination silhouette/blanking dies and create relief forms using the hydraulic press. You will be amazed at how quickly you can go from original idea to duplicated shape as you make and use your own dies during class. Jayne will also be demonstrating her own inventive methods of forming, connecting, and engineering. This class is limited to eight students. Tools will be available for use. 24 gauge copper will be available to test dies. If students wish to work in silver, please bring 24 gauge or thinner. Saturday, March 12 & Saturday, March 13 10:00 am – 5:00 pm Basic sawing and filing skills are required. (Ages 18 & up.) Class Fee: $425 + $20 Consumable fee due at registration (specialty saw blades, drill bits etc…) Materials Fee: Payable to instructor at start of workshop $150- includes Jayne Redman Rotational Bench Pin with aluminum sawing surface for student to keep, tool steel, and magnetic protractor. or $35- includes tool steel and magnetic protractor, with an option to purchase Rotational Bench Pin with aluminum sawing surface for an additional fee at the end of the workshop. (Please note preference at registration) Instructor: *Visiting Artist* Jayne Redman Please note our *visiting artist* registration policy for this workshop. Visiting artist Jayne Redman earned her B.F.A. in Jewelry and Silversmithing from Maine College of Art in 1977. She began her jewelry career in the fashion jewelry industry in New York as a design and production assistant. She started her own company, Jayne Redman Jewelry, in 1982. She has exhibited at numerous American Craft Council Shows and Buyers Market of American Craft shows as well as the Smithsonian Craft Show and the Philadelphia Museum of Art Craft Show and is represented by fine jewelry galleries and craft stores across the country. Jayne is a former faculty member of the Maine College of Art Department of Jewelry and Metals. She teaches workshops nationally and at Riverview Workshops at Jayne Redman StudioHandmade chains are beautiful and indispensable pieces of jewelry that make a dramatic statement. In this one day workshop, create a uniquely fun silver or mixed metal bracelet from beginning to end. Learn essential chain making skills including tricks for efficient ring forming and cutting, linking variations, soldering links, and finishing with a handmade clasp. This interactive workshop will involve many demonstrations and lots of hands on work. This class is limited to eight students. Tools will be available for use, magnifiers are suggested. Materials are included for making a bracelet. Additional materials available for purchase if students wish work on necklace length chains. Saturday, February 27 10:00 am – 5:00 pm Basic metalworking and soldering skills are helpful. (ages 16 and up). Class Fee: $120 Instructor: Kim Baxter Only one spot left! Make it today, wear it tonight! Weaving wire is a wonderful way to add texture and dimension to any project! Students will learn to create their own woven wire sheet, then cold connect it to a cuff base while creating a dramatic cuff. Time permitting a pendant or earrings may also be created. This class is limited to eight students. Tools will be available for use. All levels are welcome and no metalworking experience is required. Class Fee: $65 Materials Fee: $30 payable to the instructor Instructor: Eva Sherman Make it today, wear it tonight! Creating a hurricane of wire is another great way to add texture and dimension while creating a dramatic cuff! Students will learn to form, anneal and shape wire using a rolling mill. Time permitting a pendant or earrings may also be created. This class is limited to eight students. Tools will be available for use. Saturday, March 19 2:00 – 5:00 PM Save 10% your Class Fee when you sign up for both “Basket Weave Cuff” & “Hurricane Cuff” with Eva Sherman. Materials Fees of $30 per project payable to the instructor the day of class. If you want to learn or improve your silver-soldering skills, this workshop is for you. We will take you step-by-step through the process with detailed demonstrations followed by lots of hands on practice time. Students will become intimate with the process, and receive personal guidance with an acetylene/air torch and butane torch. Students are encouraged to bring in projects for guidance and problem solving. If you have questions, or are struggling with a problem, this immersive workshop will have the answers you are looking for. This class is limited to eight students. Saturday, March 26 10:00 AM – 4:00 PM All levels are welcomed, and no metalworking experience is required. Class Fee: .00 Materials Fee: materials are included Instructor: Kim Baxter (5% Early Bird Discount when you register by February 26) Master Workshop-Hydraulic Forming Combined with Chasing and Repousse During this weekend intensive, students will explore combining hydraulic forming with chasing and repousse’ to produce unique hand chased pieces suited to be replicated once or many times, in a small studio environment. Students will learn how to produce small hollow forms of jewelry scale, on the hydraulic press which will then be chased onto or into to produce striking detail and unique pattern. Basic hydraulic forming and basic chasing and repousse will be covered. Advanced techniques will also be explored and discussed. This workshop is limited to 9 students There is a required student tool/ supply list for this class. Class Dates: April 1 - 3, 2016 Class Times: 10 am- 6 pm Friday & Saturday 11 am – 4 pm Sunday Half hour lunch break each day Basic metalworking skills are helpful, but all levels are welcome (ages 18 and up). Class Fee: $500 Materials Fee: Materials are included Instructor: *visiting artist* Liza Nechamkin-Glasser Please note our *Visiting Artist* registration & refund policy for this workshop. Visiting artist Liza Nechamkin-Glasser earned her BFA from the Rochester Institute of Technology, School for American Crafts and immediately thereafter went on to work for Tiffany and Company for 13 years as a Silversmith/Chaser. During this time she developed her silver restoration business and began to instruct chasing and jewelry workshops. Liza resigned her position with Tiffany and Co. to manage Nechamkin Silver Studios full-time and pursue the development and marketing of her popular chasing tools, custom holloware and restoration services. Introduction to Jewelry and Metalsmithing, April Session This introductory class is perfect for anyone who wants to learn or refresh the fundamental skills involved in making jewelry and metalsmithing. Working primarily in copper, nickel and brass, each student will be guided through the design and fabrication of a piece of jewelry or small metal object of their own design. Skills covered will include sawing, filing, forming, surface textures, soldering with a gas fueled torch, and bezel setting stones. This fun and interactive class will involve many demonstrations and lots of hands on work. This class is limited to eight students. Studio tools and equipment will be available for use. Five Thursdays, April 7 - May 5: 6:30 – 9:30 PM (make up class Thursday, May 12) All levels are welcomed and no metalworking experience is required (ages 15 and up). Class Fee: $220 Materials/Supplies: Basic materials included. Silver, stones and additional materials available for purchase. Instructor: Kim Baxter (5% Early Bird Discount when you register by March 7) Pipe Dream Jewelry: PVC Pipe Technique with Exploration in Cold Connections Open your creative mind, and view everyday hardware store materials with a new eye! Learn how easy it is to transform an industrial item like PVC pipe into one-of-a-kind wearable art. In this two day workshop learn how to uniquely prepare PVC to make it appear organic, like bone or ivory scrimshaw. Then incorporate inspiring design elements like wire rivet inlay, stitching and other cold connections to accent and complete your piece. Students will learn the basics of sawing, piercing, drilling, how to layer and add unique design details to your creation. Other techniques include wire & tube rivets, metal/wire forming and finishing details with oxidization. With Casey’s fun and unique approach to jewelry design beginners to advanced levels will take something useful from this class. This workshop is limited to eight students. Tools will be available for use. A gluten free potluck lunch is planned for this workshop. April 16-17 10:00 AM – 4:30 PM No jewelry experience is necessary but can be useful. (Ages 18 & up) Class Fee: $285 Materials Fee: $20 payable to the instructor Instructor: *visiting artist*Casey Sheppard This workshop is part of the second half of Casey’s year long (14 month) road trip to connect communities “Case of The Nomads.” Please join us after the workshop to take a tour of Jones.

Each of our beads is made by hand in a painstaking process that requires enormous skill and patience. Every little silver ball, every tiny filigree wire is made and applied by hand. Most of the silversmiths at our production facility are young men and women who have trained for many years. Ketut Kosim is a twenty nine year old silversmith from Cambangoan near Celuk. He comes from a family of farmers but began to study silver work when he was thirteen years old. Of the four children in his family, three are silversmiths and one sells art work...

The Story: Why Every Christmas Tree Needs a Spider: A long time ago in Germany, a mother was busily cleaning for Christmas. The spiders fled to the attic to escape her broom. When the house became quiet the spiders slowly crept downstairs for a peek. Oh what a beautiful Christmas tree they saw! In their excitement they scurried up the trunk and out along each branch. They were filled with happiness as they climbed all over the glittering tree. As they climbed, the tree became completely shrouded in their dusty grey spider webs...

Handmade beaded gemstone jewelry that contains either white gemstone beads or clear transparent gemstone beads. These beautiful gemstone necklaces are handcrafted using our own unique jewelry designs. Moonstone and Lapis Necklace Length: 18 inches. Consists of: 3/4 inch long rainbow moonstone puff ovals, 4 mm faceted dark blue lapis lazuli rounds. Clasp: sterling silver hook and eye #392 Rainbow Moonstone and Lapis Gemstone Necklace $47 Large Handmade Rock Crystal Necklace Length:18 inches. Consists of rock crystal quartz 16mm x 20 mm (about 3/4 inch) puff ovals, 16 mm puff coins, 8 mm and 6 mm faceted round gemstone beads, 9 mm ( 3/8 inch) bali silver round beads...

If basic necklaces, earrings, and bracelets aren't exciting anymore, it's time to think outside the box. Making jewelry for a hobby means that there are no limitations as to what can be made. Here are a few creative jewelry ideas that will help anyone get started on fun and unique projects. 1. A Harness Harnesses show up on the fashion runways with regularity, so why not interpret the trend with homemade jewelry? A basic harness shape runs around the neck, then down over the front of the torso, and then around the torso at the ribcage or stomach...

2. Sprinkle on a little glitter to add a little bling to your beads. Coat your bead with a thin layer glue or Mod Podge and then sprinkle or roll in sparkly glitter. Or you can add glitter directly to the sealant before you brush the sealant onto your bead. I like using Folk Art – Extreme Glitter by Plaid which is clear acrylic paint with very fine glitter already in it. It comes in several colors and can be found at your local craft store or online at Amazon. 3. Paint designs on paper beads with fabric paint. The little squeeze bottles that many of the fabric paints come in make it easy to do precise placement. You can make all sorts of designs with the paints and they come in lots and lots of colors. Be careful and wait for the beads to fully dry after painting on the fabric paint. I’ve been wanting to try the glow-in-the-dark fabric paint and seeing what kind of cool beads could be made with that! 4. Make metallic paper beads with rub-on metallic finish. Just because your beads aren’t metallic doesn’t mean they can’t look like it. Try rubbing on Waxed Metallic Finish by Plaid for metallic highlights. Just be sure to seal the bead afterwards so the finish will stay in place. 5. Wrap up beads with jewelry wire. Try out different types and gauges of wire. Jewelry wire comes in lots of different colors and can be coordinated with your beads. Try wrapping them in different ways. For example, wrap it right around the middle like a yoyo. I love how paper beads can be decorated in different ways, and I hope these suggestions help get the creative juices flowing!

With the growing popularity of Pandora and other european style charm bracelet companies like Troll and Chamilia in recent years, there has also been been a steady rise in the number of counterfeit and imitation pieces that try to copy their distinct and beautiful style. It’s especially difficult given that for a lot of us collectors, buying online is the only way to get our hands on some of the rarer pieces that were either retired before we got into Pandora or were not available in our country. In this post I’ll write about some tips and basic information on how to spot a fake Pandora charm. Does it have the right Pandora markings? All Pandora products are engraved with several distinct markings that can be used to distinguish them from imitators or other brands. The ALE marking The first and most notable marking is the three letter marking “ALE”. This marking comes from Per Enevoldsen, the original founder of the Pandora jewelry company, and are the initials of his father Algot Enevoldsen. All Pandora charms and and accessories will have this ALE hallmark engraved on the piece, usually close to where the sterling silver or gold mark is. If the piece does not have this mark, then for sure it is not a genuine Pandora piece. This used to be an easy identifier of a counterfeit, but the imitators out there are getting better at copying the Pandora pieces and will often include the ALE mark now so it’s not a guaranteed indicator. Crown over the O This marking is only on the barrel clasps – another good indication that the bracelet is authentic. However, older Pandora bracelets/necklaces do not have the crown over the O (my two-tone necklace does not have the crown) because they did not come with the crown before 2008. This is usually because the store had older inventory, so no need to worry if that’s the only oddity. The Sterling 925 and Gold 585 markings These two numbers, the 925 for sterling silver and 585 of 14k gold, is an international standard and required markings for jewelry pieces made from these two materials. While it sounds nice to have something made from pure silver or gold, these precious metals are actually very soft and benefit greatly from having other metals mixed in with them to form an alloy. Sterling silver must contain at least 92.5% silver, so hence the 925 marking that’s seen on all Pandora sterling silver pieces. The same goes for 14 karat gold, which must contain at least 58.5% gold. Pandora gold pieces are engraved with the number 585, again usually near where the ALE marking is placed. In addition to the 925 mark on Pandora silver jewelry, beginning in June 2011 Pandora has added an “S” in addition to 925, a change in the international standard to identify silver jewelry. So don’t worry if some of the older charms have no “S” and only the traditional 925. As for two-tone (duotone) charms and jewelry, Pandora will only stamp it with the S 925 or 925 mark since all the two-tone charms are still mainly silver with gold accents. Like the ALE trademark of the Pandora line, the lack of a 925 or 585 numerical marking on a piece is a surefire sign that it’s a fake piece. Counterfeiters are getting wiser, however, and will often include these marks on the higher end imitation pieces even if the charm or jewelry piece is not actually made from that material.

Learn how to make a basic ball knot. Learn how to make a braided knot. Learn how to make a basic overhand knot. by Diane Ericson an Online Extra to #117 Have a few fabric scraps lying around? I mean those little scraps that you've been saving for years. Well, you were right. There is a good use for them. Almost any fabric or leather can be knotted, rolled, padded, or wrapped into decorative shapes you can use anywhere that you'd use ordinary beads or buttons. You can string them into necklaces or stitch them, make them hard as rocks or leave them soft, and embellish them all you want with additional stitches, beads, and other surface effects. Making little fabric gems is quick and easy, and you'll find everything you need around your home: a sturdy needle, scissors, knitting needles or nails, and some white glue. As you can see from the photo, fabric beads and buttons tend to be oversized, but depending on how you choose to pair them with other elements in your wardrobe, they can be inconspicuous or outrageous or anything in between. The only thing they won't be is ordinary. Fabrics Different fabrics will work with varying results, so the main thing you need to know about your fabric is whether you like the way it looks when it's knotted. To see how your fabric will knot, twist a length of it and tie it in an overhand knot. If you're using a thin piece of fabric and want a larger knot, you'll need to fold a wider piece or wrap it around some other scrap fabric to add bulk. You don't have to use a bias strip, but some fabric prints will look more interesting on the bias, and bias strips roll nicely into tubes. Knit fabrics work fine. You can choose to leave raw edges exposed or fold them completely out of sight as shown at right before making your knot. To make beads in graduating sizes, the strip you make your knot from and/or the filling material you use to pad it with has to increase or decrease in thickness to step the beads up or down. Assemble small stacks of filler scraps to be included in each bead, and use them to make two or more beads in a row of the same size, then change the amount of fabric you use for the next two, and continue making varying sizes until you have the range you want. Folding, knotting, and finishing Below you'll find directions for a variety of basic knots, folds, and rolls that you can apply to your fabrics. Basic overhand knot Basic ball knot Braided knot Rolled beads and toggles Single rolled beads and toggles There's nothing fancy about the knots. Typically you form them with the same kind of attention to their appearance you'd apply to a decorative bow, tightening and adjusting them until you like the way they look. After knotting, trim the ends and tuck them out of sight using a sturdy needle or a nail. If you've added filling, remove it entirely so the end is as thin as possible. You can stitch the ends in place or hold them with a spot of glue hidden inside the knot. Put the glue in, then tack the tail in between the strands. If you want your knots to be soft looking and feeling just like the fabric they're made from, work with the fabric dry. You can also make any of these knots into hard beads by dipping the fabric, before knotting, in a half-cup or so of white glue mixed with water to the consistency of milk. Dip your fabric pieces in the glue mixture until they're saturated, squeeze them lightly, then knot. After the beads have a chance to dry, drill a hole in them and thread them onto a string. You can also knot or wrap the wet fabrics around a nail or a knitting needle so that the beads are formed with a hole in the middle. Slip them off the nails before they dry. If you want a waterproof finish, string your creations on a heavy thread and dip the dry knots into a clear glossy- or satin-finish polyurethane wood sealer (I use Varathane), and hang the beads up to dry, spreading them out so they don't stick to each other. I prefer a satin finish, but a gloss surface would also be interesting. If you leave your beads soft, I suggest spraying them with Scotchgard to help the fabric resist dirt.

Since 2006, we have been designing unique jewelry so that you stand out from the crowd. We create everything ourselves in the heart of Ohio, so you can be sure that your jewelry is handcrafted in the USA. Most of our jewelry is created in my little stone cottage, so it is truly “cottage industry”! Whether you are a retail or a wholesale customer, we are ready to meet your needs. Call or email us today with any questions. Your satisfaction is our top priority and we provide immediate shipping to the US and Canada...

More Information about Our Processes There are many different processes for making rose petal rosary beads, most of which involve boiling a large number of petals and mixing them with various organic ingredients. We do it a little differently because we not only wish to preserve the flowers, but want to make sure that the finished bead is going to last as long as possible. We chop and then grind the dried petals down, gently knead the rose powder into the chosen clay, hand-roll the beads to 8mm each and fire them (unglazed) in a kiln. This creates strong, ceramic beads that contain the essence and elements of the original petals, thereby preserving the memory for a lifetime. Alternatively, we can use polymer clay. Both materials are excellent, but each has its advantages and disadvantages: Ceramic Clay Polymer Clay Color and Appearance Ceramic or "earth" clay starts out white, brown or terra cotta. We add clay stain to bring about other colors, but the colors are generally soft, pastel-like, and have a matte-finish. Name a soft, pastel color, and we can "make it happen" with ceramic clay. We do not glaze the ceramic beads. The flower fragments cannot be directly seen in the clay, but irregularities in the surface reveal them. A large variety of colors are available, including strong, bold ones not available in ceramic clay. Also, colors can be easily mixed, and additives kneaded in to give the beads pearl-like, sparkle, translucent, or even glow-in-the-dark effects. They look smooth, almost polished, compared to ceramic clay beads. The flower particles are usually visible to the unaided eye. Shape and Size Whether ceramic or polymer, we usually make the beads 8mm spherical (unless requested otherwise). We can make larger, smaller and other shapes upon request (cylindrical, barrel, square, disk, pony, conical and others). Feel/Touch Ceramic clay beads feel like the water-worn pebbles one might find in a stream; it is slightly abrasive, like a fine sandpaper. If the rosary is kept in a pocket the constant rubbing will wear against the metal parts of the rosary and remove metal. This can darken the beads, and the metal might also be transferred to (and darken) the fingers. Polymer clay is smooth and non-porous. It doesn't appear to have any abrasive action on metal components. Longevity Kiln fired ceramic clay can last thousands of years. The longevity of polymer clay isn't certain. But it is a PVC-like plastic material, impervious to water, and should last hundreds of years. The color, however, may fade if exposed to excessive sun or other UV light sources. Solvents, cleaners or other chemicals may have unanticipated effects. Bead Strength Both materials are very strong. The ceramic clay beads are rigid like small stones, where the polymer beads have a degree of flexibility and resiliance. Both can be broken if purposefully attempted - with a hammer, for example - but common actions like an accidental drop or placing something heavy on top them is not going to cause any damage to the beads. Nor will an accidental trip through the washing machine - something that would destroy organic beads. In normal use, it is unlikely that an individual bead will ever experience more than about 5 pounds of force. In our testing, 200 pounds of direct pressure had no visible effect upon the ceramic bead. The same 200 pounds caused the polymer bead to deform and begin to crack (at lower pressures it was fine). Speed It takes just about the same length of time regardless of the clay used. They both require similar working, mixing, rolling, pinning and firing. Though the firing process is longer for ceramic clay, it does not significantly-affect the overall rosary-making process. Smell Rose beads do not naturally have any fragrance. Regardless of the bead-making method used, the rose-odor must be added to the beads after the firing process (even with almost all organic processes, too). We do this using rose oil, and usually omit this unless it is specifically requested so as to avoid allergy problems or situations where people don't care for the particular perfume or oil used. If you ever wish to add more "smell" to the beads, rose-fragrance oil is available at many craft shops; keeping the beads with a sachet will have a similar effect. Cost The cost to make the clay beads, themselves, is the same whether they are ceramic or polymer, about $50 for a typical rosary. Add the labor to then assemble the rosary, plus the cost of the other parts, and most rosaries made with real roses start around $75. We offer discounts of 10% or more for large orders in which we can make the clay in a single, large batch. Which is better? It is purely a matter of personal taste. However, if the rosary is likely to be kept in a pocket or purse, if you want to be able to see the flower particles in the clay, or if you would like a stronger, non-pastel color, then we recommend polymer clay instead of ceramic for reasons mentioned above. We usually use polymer clay unless you specifically request otherwise. Close-up Image of Sample Beads Polymer clay beads are available in almost any color, even mixed/swirled colors. They are smoother and the rose petal particles are visible in the clay. Ceramic clay beads are available in pastel colors, white and terra cotta. They generally have a rough exterior. How to Order Try our fancy new, or If ordering the beads alone or a small chaplet like a bracelet, there is a minimum charge of $25 for making the beads. If the online ordering system seems too complicated or confusing, please feel free to simply mail your roses to us along with a note describing your order. See the questions, below, for a list of the information we need. After Ordering... Once you place your order, please send your dried rose petals to us in a padded paper envelope (the petals are easily dried on a tray in an oven set to low heat). Our address is at the bottom of every web page. We will need at least the petals from one entire flower for each set of rosary beads. If you wish to send more, that is fine, but one will be enough (even a single petal is sufficient if that is all you have, as the bulk of the bead is clay). Please do not send them in a sealed plastic bag - any residual moisture can lead to mold. If you have any last-minute, special requests about the rosary, it is usually best just to include them in writing with the flowers. Please allow 2 weeks from the time we receive your rose petals for us to make the beads - up to 4 weeks if we are also making a rosary with them. Do not be alarmed if we do not use all of the roses that you send. It is important that we do not weaken the clay by adding too many rosepetals. Common Questions How do I preserve the flowers? It is best for us if they arrive already dried. They do not need to be on the stem. We remove the petals from the stem anyway and use only the petals in the clay. It is easy to dry petals by removing them from the stem, laying them on a cookie sheet and warming them on low heat in an oven, or by setting them in the sun for a few days.