Non traditional jewelry for Non traditional people – The rings tell the story

Making your Jewelry Designs Atractive and Uncommon.

  One of my Texturing Techniques.

Ylecara’s Jewelry Art

This tutorial is intended to illustrate in 23 pictures an intermediate level process that is worthy for jewelers, model makers, miniaturists, architects, designers and many other hobbyists and artists. This technique is a regular procedure used by sculptor more than a traditional technique used for jewelry model makers. I have combined the procedure with another technique applied by print makers as one of the way to catch textures for my designs.  Textures are one of the relevant features of my pieces and one of the reasons my clients love the craftsmanship of my jewels. It is my pleasure to share with you this little and useful secret that can make your experience more attractive and your pieces really interesting. If you are motivated for textures as I am, you will have fun, too. I have included the main chords of this technique but you and only you could apply it successfully through experimentation. The textures and forms that you can get are unlimited, as your imagination is. Going through experimentation in small-scale pieces is really inexpensive. Enjoy it and share.

 Materials List

  • It is likely you go to find your own doing and your own materials along the way. This is just a good point of reference.
  • Plasticine Clay (Medium Hardness)
  • Linoleum Block for printing
  • Plaster of Paris
  • Cardboard (enough strong to build a box to contain the Plastic of Paris BLEND)
  • Plywood Plate 1/8”
  • Waxed Paper
  • Petroleum Jelly
  • 2 plastic containers (one for plaster of paris blending, and the other for petroleum jelly and turpentine mixture).
  • Petroleum Jelly
  • Turpentine

 Tools.

  • Cylinder (plastic pipe)
  • Ball pen fine or extra fine (chosen depend on your drawing design).
  • Two soft brushes (filbert # 8 works perfectly for me)
  • Wood modeling tool (Kemper JA37). You also can make it by yourself. (see picture # 20)
  • Jewelry Gravers of your choice (flat, round. onglette, etc.)

Steps

Picture # 1: On the linoleum block we draw our design. We can transfer it also from a previous drawing we have made on a paper sheet.

Picture # 2: Once we have the drawing outlines, we proceed to make precise cuts into the linoleum. I recommend you to play and test on a little linoleum block with different gravers before you go to the final project.

Picture# 3: On a waxed paper (it avoids that plasticine clay sticks to table surface), we place a piece of plasticine clay. Then, press and roll on it until we get roughly 2 mm thickness.

Picture # 4: The previous procedure applies to this step as well, but on this phase we go rolling the plasticine on the linoleum previously engraved surface.

Picture # 5: Now, we have a positive impression on the plasticine surface.

outlines drawing on lino-printing block

Picture # 6: It has been built a cardboard box strong enough to contain the pored Plaster of Paris. The box rests on another plasticine sheet and a fine plywood plate 1/8”.

Picture # 7: Three posts have been placed on the bottom of the box to support the plasticine textured piece.

Picture # 8: The plasticine is placed on top of the posts together with a conic piece of plasticine to allow the injection of wax in upcoming steps.

Picture # 9 and # 10:
The Plaster of Paris is poured on a half rubber baseball-ball. It is a useful container for that purpose, flexible and reusable.
The best tool I have found to mix plaster and water is the point finger. You can use a glove if it is your preference.

Picture # 11: Now, just clean the plasticine textured surface with a wet brush, so removing the plaster remains.

Plasticine model for jewelry textures.
Picture # 12
While Plaster of Paris is still wet we can perforate the four register holes, allowing the two halves of the mold match together. Leave the mold dry from 6 to 8 hours. Do not place it close to a heat source, but in a fresh and dry place.
Picture # 13 and # 14
A mixture of Petroleum Jelly and Turpentine is brushed on top of the first half of the mold to prevent the next plaster pouring to stick on it.
Picture # 15
The plaster pouring is covering the first cast surface. When the second pouring covers this surface, immediately shake the box softly in order to bring air bubbles up and out the textured piece surface.
Picture # 16, 17, 18, 19
Just remove the cardboard and gently start to separate the two halves of the mold.

Picture # 20, 21, 22
Because we have left an empty space (see picture 7 and 8), now we go to fix it. just refill it with a new blending of Plaster of Paris and water. Allow two or three hours for drying.
Picture # 23,24,25
Remove all the plasticine remains in the mold, and now, we are ready to the happy end. Inject your mold with a wax injector. All the desired texture is there. It is ready to be part of an interesting and attractive design. Do not forget spraying or brushing a mold release ( turpentine and petroleum jelly or any universal mold release.)
I am as excited as you are because I have written and done my textured piece in real time.
Note: The number of injections is limited due to the life time of this mold.

Mixture of turpentine and vaseline as a mold release.opening  two halves mold

The fine details texture is on the wax.

GOOD LUCK!

Contact me if I can facilitate some part of your process or if you have any question.

 
Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s