Guide Jewelry Making Tools.pdf
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PRESENTS
The Illustrated
Guide to Jewelry
Making Tools:
More than 125 jewelry tools
in 30 categories described –
plus pros’ favorites!
THE ILLUSTRATED GUIDE TO JEWELRY MAKING TOOLS
INSIDE:
JEWELERS BENCH
If you like making jewelry, you like jewelry making tools.
In
Jewelry Making Daily Presents: e Illustrated Guide
to Jewelry Making Tools,
you’ll find everything you need
to get started making your own handmade jewelry. Find
out what basic tools are necessary or nice to have and
what each one is designed to help you do better.
3
FORMING TOOLS
4
UTILITY HAMMERS
5
SILVERSMITHING HAMMERS
6
MANDRELS, STAKES & ANVILS
8
DAPPING, PUNCHING, & COMPRESSION
9
Don’t know the dierence between a bench block, a mandrel and an anvil? We’ll
clue you in. When do you use a ball peen hammer, a planishing hammer, and a
chasing hammer? We’ll let you know – and tell you why one pro calls a well-
formed planishing hammer his favorite jewelry making tool of all. Want to know
what chain nose pliers and round nose pliers look like, or what kinds of other
jewelry pliers are available? We’ll show you. Why is a pin vise or a tube cutter a
handy thing to have? We’ll explain that and much more.
PLIERS
10
CLAMPS & VISES
11
CUTTING TOOLS
12
SAW FRAMES & BLADES
12
FILES, GRAVERS & STAMPS
14
DRILL BITS & BURS
15
SOLDERING TOOLS
You’ll find this illustrated eBook a valuable reference if you’re just venturing into
jewelry metalsmithing, and full of interesting comments from established jewelers
even if you’re one yourself. Plus you can check out tools for more specialized
techniques like stone setting, casting, or using metal clay, as well as lapidary tools
for cabochon cutting, faceting, and gem carving – even the basics for beading!
It’s a great resource you can turn to anytime you go jewelry tool shopping or just
want to enjoy thinking about every jewelry maker’s favorite topic: jewelry tools!
16
TORCH ACCESSORIES
16
SOLDERING AIDS
17
FINISHING TOOLS
20
HAND FINISHING
20
MOTORIZED FINISHING
21
SPECIALTY TOOLS
22
CASTING
22
WAX CARVING
23
Merle White
Editorial Director, Interweave Gem & Jewelry Group
METAL CLAY
24
STONE SETTING
25
CABOCHON CUTTING
26
FACETING & GEM CARVING
27
BEADING
28
This premium has been published by Interweave Press, 201 E. Fourth St., Loveland, CO 80537-5655; (970) 669-7672. Copyright © 2010 by Interweave Press, a division of Aspire Media,
all rights reserved. The contents of this publication may not be reproduced either in whole or in part without consent of the copyright owner.
© INTERWEAVE PRESS
ŗ
NOT TO BE REPRINTED
ŗ
ALL RIGHTS RESERVED
www.JewelryMakingDaily.com
2
The Illustrated Guide to Jewelry Making Tools
BY SHARON ELAINE THOMPSON
ŗ
PHOTOS BY JIM LAWSON
A
lthough there are many ways to make jewelry, fabri-
of metal, and stones are useful features. A bench pin attached to
the front of the bench top is where most holding, filing, sanding,
and sawing will be done. A good quality bench is well built of
hardwood and will last a lifetime — or even several.
A supportive, comfortable, adjustable chair that
allows the jeweler to sit correctly without straining
is critical. Adjust chair height or bench height (by
putting blocks under the legs if necessary) to suit
your physical requirements. Get good general
lighting as well as good task lighting and provide
ventilation that draws or blows soldering and
fluxing fumes away from your face and vents them
outside. Once these general studio requirements have been met,
you’ll want to begin the serious business of acquiring hand and
mechanized tools for several metalworking processes.
cation is one of the two most widely used methods;
the other is casting. Fabricated jewelry is made
directly from metal wire, tubing, and sheet. Metal is formed or
shaped, sawn, and then joined by soldering or
other connection methods. Finally it is polished,
patinated, and the stones are set.
For fabricating jewelry or finishing jewelry
work, you’ll work most comfortably at a jeweler’s
bench. Although it is seen as furniture, the
bench is actually a specialized and important
tool designed for the many tasks of the working
jeweler. Your bench top should be almost at eye level. Storage
drawers, armrests that slide out from under the bench top, and
a catch tray underneath the working area for filings, small pieces
Although seen
as furniture, the
bench is actually
a specialized and
important tool . . .
ORIGINALLY PUBLISHED IN LAPIDARY JOURNAL JEWELRY ARTIST, MAY 2009
www.JewelryMakingDaily.com
3
THE ILLUSTRATED GUIDE TO JEWELRY MAKING TOOLS
FORMING
HAMMERS
Hammers are the most basic of the metalsmith’s
tools. Without a hammer, you are not a smith.
Most hammers have two faces that are dier-
ently sized or shaped; mallets have identical
faces. Most hammers have straight shafts;
the exception is the chasing hammer. Most
hammers can be used for several functions;
some are specialized. e fundamental dier-
ences are this: there are hammers for striking
metal and hammers for striking tools. A brief
description of their uses follows.
Note: “Peen (or pein)” refers to the business
face of the hammer. A “ball peen” is a ball-
shaped face; a “cross-peen” is one that is at right
angles to the handle.
RIVETING
GOLDSMITH’S
BALL PEEN
FLAT FACED
CHASING
FORMING DEFINED
Precious metals are ductile. eir shape can be altered by applying
force, usually by striking directly or indirectly with a hammer, as the
metal rests against a hard striking surface, such as iron or steel, or a
soft one, such as wood or pitch. is process is called forming or forg-
ing, although the term forging is usually reserved for blacksmithing.
Shallow forming, such as repoussé, chasing, dapping, and
stamping, moves the metal without cutting it, as when, for ex-
ample, you convert a round disk into a half dome by dapping.
Repoussé and chasing are interchangeable terms — both are
types of shallow forming that utilize steel punches to push metal up
or down in a bed of pitch. e flat metal is stretched from a flat plane
into relief. Repoussé pushes the metal forward from the back; chasing
produces grooves or patterns from the front of a piece (intaglio).
Dapping creates shallow, half domes. Deep forming moves
the metal into a dierent configuration, as when you flatten and
curve a straight piece of heavy gauge square wire into a neck collar.
Other tools used to stretch and shape metal are drawplates for
wire and rolling mills for sheet.
RAWHIDE MALLET
THE ILLUSTRATED GUIDE TO JEWELRY MAKING TOOLS
BY SHARON ELAINE THOMPSON
www.JewelryMakingDaily.com
4
THE ILLUSTRATED GUIDE TO JEWELRY MAKING TOOLS
FORMING
RIVETING
UTILITY HAMMERS
BALL PEEN
NYLON
MALLET
an all purpose hammer with one
round, one half-domed face, for flattening
and shaping metal, removing dents; can be
used to drive chisels, punches, stamps.
CHASING
with one flat face for striking other
tools (such as stamps) or planishing metal; one
round face for forming and riveting. Handle
has a bulbous end and a narrow neck for more
bounce back and less strain on the wrist.
GOLDSMITH’S
with one flat and one cross
peen head for riveting and other work.
MALLETS
have identical faces and can be
made of plastic, rawhide, or metal.
RIVETING
with one round, one chisel-shaped
face, for riveting, tacking, and lightweight
forming.
CURVED FACE
CHASING
PROFESSIONAL’S CHOICE
Andy Cooperman
DEAD
BLOW MALLET
“I have several ball peen hammers that I use
for many, many tasks. I forge with the flat
peen of a long-handled ball peen that I’ve
had for years. I also use it to strike dapping
punches and for general hammering as well.
I use another old ball peen that belonged
to my grandfather — it has a rusted and
pitted surface — to lay down a base layer
of texturing. I have filed the narrow cross
peen of a small goldsmith’s or riveting style
hammer to a knife edge and use this in
texturing. Sometimes, I rivet with the flat
side. I also grab a small planishing hammer
that was in the very first bag of metal-
smithing tools that I bought.”
BALL PEEN
THE ILLUSTRATED GUIDE TO JEWELRY MAKING TOOLS
BY SHARON ELAINE THOMPSON
www.JewelryMakingDaily.com
5
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