Posts Tagged ‘how-to’

How to Macramé a Hemp Bracelet

Tuesday, May 7th, 2013
Square knot macrame bracelet.

Simple square-knot macrame bracelet.

Growing up in the 1970′s, I predictably spent part of my childhood making macramé. In fact, I spent hours tied to the ends of masses of cording creating the ubiquitous plant hangers that have become an icon of the era. Call me sentimental, but I got a warm and fuzzy feeling when asked to dust off my knotting fingers and make a hemp macramé bracelet for Rings & Things’ Blog.

One of Rings & Things’ most popular online jewelry projects has always been Project #68-002-10 (catchy title, eh?). Well, we decided it was time to give our classic, line-drawing macramé technique sheet some 21st Century pep. Here goes …

First, you’ll want to gather all your materials — and a great thing about hemp bracelets is that they don’t require much!

1mm hemp cord.

Hemp cord comes in a rainbow of colors,
on your choice of spools and cards.

Here’s what you’ll need to make one 8-inch bracelet:

  • 100 inches of 1mm hemp cord (just under 3 yards)
  • Beads (see below to make your choices)
  • Tape (good ole’ masking tape works great)
  • Scissors or clippers
  • Glue (any school or craft glue that dries clear will do)
  • Optional: a clipboard, to make your project portable

For the beads, you’ve got a lot of options, but the important thing to keep in mind is that the hole size needs to be large enough to encompass two strands of cord! For 1mm hemp cord, the holes need to be at least 2mm wide (preferably wider).

Beads for macrame bracelets.

6mm beads with 2mm+ large holes work great.

You’ll use 5-8 smaller beads to adorn the knotted bracelet. Options include:

Color changing Mirage Beads.

Mirage Beads™ change color with slight temperature changes, like the mood rings of the 1970′s.

And, you’ll use 1 larger bead (or large-hole button) to create a simple clasp. Options include:

For the bracelet pictured above, I decided to go full retro 1970’s and use barrel Mirage Beads™ since they are reminiscent of the mood rings that were popular back then — the beads actually change color with small temperature changes!

C-Koop enamel beads I decided to also use C-Koop enameled copper “shorties” because I’ve always liked the colorful, enameled C-Koop components. For the clasp, I chose a matching C-Koop enameled copper cupped disk which worked perfectly to make a simple button-style clasp.

Plan your pattern ahead of time to see how many beads will fit in the desired bracelet length. You can use just one type of bead, or create a pattern that alternates between 2 or more types/colors of beads. In the bracelet pictured above, I chose to use 7 beads in a simple alternating pattern that is symmetrical and centered, with an enameled “shortie” in the center: M E M E M E M. I also chose to space my beads so that the blue enameled shorties would NOT end up next to the blue enameled clasp (cupped disk).

Line drawing of macrame bracelet.

The bead pattern in our original macrame bracelet project used 8 beads in a symmetical pattern:
R G Y B B Y G R.

Once you’ve gathered all your supplies, cut your hemp cord into the following measurements:

  • One 10″ piece
  • One 20″ piece
  • One 70″ piece (the remainder)

Find the centers of the 20″ piece and the 70″ piece and place the center loop of one on top of the center of the other.

Line up the centers of your cords.

Line up the centers of your 20″ and 70″ cords.

Connecting cords to begin macrame.

Loop the 10″ cord through the centers of both longer cords.

Then, take the center of your 10” cord and make a half-hitch knot around the center of the longer four strands. Check to make sure the cording is still even and all ends still match up.

Making a half-hitch knot.

Once all cords are even (symmetrical), make a half-hitch knot with the 10″ cord and pull tight.

Now you’ll want to anchor the project, so you can make nice, tight knots. For a short project like a bracelet, a clipboard works great since it makes your project portable. Secure the short (10″) cord into the top clip. Pull the 20″ cords tight and tape them to the bottom of the clipboard. Leave the longest 2 cord ends dangling loosely.

Macrame cords secured to clipboard.

Once your cords are secured, you’re ready to start knotting.

If you don’t have a clipboard, you can anchor your cords to a table top with tape. (When I was a kid, I anchored long projects by tying the anchor cord to my Mom’s cabinet handle and sitting on the center cords to keep them taut).

It’s time to start knotting! This bracelet project uses a single basic knot, called the square knot (a.k.a. half knot). To create a square knot, follow the illustrations below, in which the long (knotting) cord that starts on the right is “A,” the two short (filler) cords in the middle are “B” and the long (knotting) cord that starts on the left is “C”.

  • Start with cord A and bring it behind cords B, forming a loop (about the size of a 50-cent piece) on the right side.
  • Make sure cord C is behind the long length of A (now on the left side).
  • Starting a square knot.

    Start a square knot by taking cord “A” under both cords “B” and over cord “C”.

  • Now, bring cord “C” over cords B and through the loop of cord A.
  • Completing a square knot.

    To complete a square knot, pull cord “C” through the loop formed by cord “A”.

  • Pull tight.
  • Tip: The tighter the cord is pulled, the smaller the knot will be. Find your desired size and pull at that same tightness throughout the project for consistency.
  • Repeat the previous 3 steps, but this time start on the left side with cord “A” to make your 2nd knot.
Image of making a square knot from the left.

Make your second square knot from the left side.

Repeat again, switching back to the right side for the 3rd knot.

Alternate sides for every knot (one knot starting from the left, the next knot starting from the right). Do this for approximately 20 knots. Be sure to create an even number of knots, and remember to pull knots consistently snugly.

Hint: keep track of which side you are working on. After a knot is pulled tight, notice that the side to be worked on next is the side with the cord facing forward, not the cord facing the back.

Square knot macrame pattern.

Once you’ve make about 20 knots, your square knot pattern should look like this.

Note: It you continue knotting from a single side, instead of alternating sides, you will create a half-knot spiral (a.k.a. spiral stitch) instead. The spiral stitch is also really cool and can also be used to make a bracelet. Just keep in mind that it will have more dimension and will not lay flat.

Macrame half-knot spiral stitch.

If you don’t alternate sides, you’ll make a
half-knot spiral (a.k.a. spiral stitch).

Adding beads to your macramé pattern:

  • Tip: to make stringing the beads easier (and help prevent the ends of the B cords from fraying), rub a dab of glue into each B cord end and form each end into a tip. Let the tips dry, then commence stringing.
  • Slide your first bead over both cords B, and push it up close to the last knot (but don’t bunch up the knots). If the bead is difficult to slide over the cord, twist the bead as you push it on.
  • Go around the beads with cords A and C, then make a knot as usual with cord A (starting on the right side, assuming your last knot before adding the bead started on the left).
  • Push the knot up to the bottom of the bead and tighten to the desired consistency.
  • Add 3 more alternating knots.
  • Add 2 more beads the same way (adding 4 knots after each bead).
  • Square knot pattern with beads.

    Square knot pattern with 4 of my 7 beads added.

  • Even if you’ve pre-planned your bead pattern, it’s a good idea at this point to test the length on your wrist (or ankle). Does it go about half way around? If yes, then this is the middle — only add 2 more beads. If no, then continue adding beads (with 4 knots after each bead).
  • Don’t worry if it seems like the project won’t be long enough. That piece of cord hanging back at the beginning makes this project any desired length between 6 and 12 inches.

After adding your last bead, make about 20 more knots (the same number you made at the beginning).

To make a simple clasp: After you’re done knotting, slide your large bead onto all 4 cords — if it fits. For the cupped disk, I improvised since only 3 of the four strands would fit through the disk’s hole. I knotted one of the middle (B) cords snug up against the last square knot, trimmed it flush and added a drop of glue.

Adding a button-style clasp.

Since all 4 cords don’t fit through the cupped disk, I finished one of the “B” cords with a knot and strung the remaining 3 cords through the cupped disk.

Finishing the end of a macrame bracelet.

Then I cut the knotted “B” cord flush and
added a drop of glue for security.

Pull all (remaining) cords snugly and tie a knot. Trim the ends and add a dab of glue for extra security. This forms the “button” or “hook” part of your clasp.

To make the “loop” part of your clasp:

  • Measure bracelet on wrist (or anklet on ankle) to find your desired length.
  • On the opposite side of the bracelet (the 10 inch length of cording), tie a knot where you want the bottom of your loop. (Since my wrists are small, I was able to start my loop right next to the macramé section, and did not need to create this first knot).
  • Determine how long the loop needs to be for your “hook” to go through it and hold (about 3/4 of an inch works for crow beads and cupped disks). At that spot, tie another knot to complete the loop.
  • Trim excess cord and apply a drop of glue to secure the knots.
Clasp close-up.

Close-up of the finished button-style clasp.

You can alternately use a metal jewelry clasp by tying it to the finished ends of your knotted strand.

Once you’ve got the hang of the square knot, these bracelets are a snap to make, and it won’t be long till you’re coming up with an array of variations!

A variety of macrame bracelets.

Macramé bracelets made with hemp cord. Some use a square knot and others use a spiral knot.

Macramé bracelets make great inexpensive price points for craft fairs and festivals, as well as great gifts for old friends and new. With so many vibrant colors of hemp cord now available, the possibilities are endless for design variation.

Once you’ve mastered this basic square knot bracelet project, check out our Shamballa Bracelet Blog Project and Kumihimo Bracelet Blog Project for more cool knotting designs that use hemp cord. Happy knotting! ~ Melissa

Add color and shine with Gilders Paste

Monday, February 4th, 2013

I had the pleasure of testing out Gilders Paste, trying various methods and materials, and deciding I like it!

86-381-gilderspaste2

Rings & Things has added an assortment of colors.  Each tin is 1.5 oz of wax-based medium, and is enough to cover 30 square feet of metal, wood, resin, et cetera.

You can apply Gilders Paste with a cloth, cotton swab, or fingertip.  Thin with paint thinner, turpenoid (but not turpenoid natural) or mineral spirits to transform the highly concentrated Gilders Paste for brushing, sponging, staining, washing or spray painting.

I suggest having the following tools handy when you plan to colorize with Gilders Paste:

  • Soft Rag (an old cotton t-shirt worked well)
  • Baby Wipes
  • Small Mixing cup
  • Disposable (cheap) small paint brushes
  • Palette
  • Stir Sticks
  • Mineral Spirits – from the hardware or craft store.
  • Non Stick Craft Sheet
  • Apron

I don’t really mind getting my hands dirty.  I didn’t have the foresight to use a craft sheet, so the table was gilded along with the objects.  After I was done, the plastic table cleaned up good as new with some mineral spirits, and my hands cleaned up fine with soap and water.  If you are more particular (and don’t want any gilding of your fingernails), you may want to wear latex gloves.

Drying time varies depending on substrate and surface preparation, approximately 60 minutes to the touch on dry debris-free surfaces and 12 hours for complete cure time. If polishing or burnishing is required, allow 12 hours drying time.

Rubbing the base coat immediately after application with a dry cloth or slightly wet with thinner will remove Gilders Paste from the relief detail and highlight depressed details.  Lightly brushing Gilders Paste over the top will highlight the relief details.

This is patina color on a reproduction Ching dynasty coin.  I scraped a little paste out of the tin, and then wet the paint brush with mineral spirits and mixed it together on the palette until I had a paintable consistency.

mineral spirits

I put on a fairly thick coat.

44-062 with patinaAfter an hour or so, I buffed off the excess paste, and this was the result (with a  un-gilded example for contrast).

44-062 patina buffedThis is a nice use of the Gilders Paste for faux aging.

The color was a bit paler than I hoped for so I mixed some african bronze paste into my patina color.

patina and african bronzeI painted a new layer of paste onto the opposite side of the coin, and the new color was more to my liking.

44-062 dark patinaThis is a filigree cross in antiqued copper plating, which I colored with verdigris Gilders Paste.  For this color, I still mixed in the mineral spirits, but I applied the color with a stir stick.  verdigris cross

After drying and buffing, the verdigris color is subtle, but it counters the reddishness of the copper metal.

verdigris cross compare

This color was nice, but I wanted a bit more shine, so I layered german silver Gilders Paste over the verdigris.

german silver filigree crossHere is the filigree with the metallic layer lightly buffed off, and the original plating for contrast.

german silver filigree cross buffedToo much of the verdigris was covered now, so I went back in for a 3rd layer, verdigris paste on top of the previous two applications.  After some more drying and buffing time, this was my final result:

filigree cross final

My next experiment involved resin flowers.  I was curious about the results on a highly dimensional, non-metallic item.  I thinned out violet Gilders Paste, and applied it to 3 colors of resin flower with a paintbrush.

violet paste on resin flowersAfter drying, this was too tricky to just buff with a cloth, so I touched up the high points with my cloth, and then used a dry brush to remove excess paste from the crevices.  The two lower flowers are un-colored.  The flowers with the paste have an almost velvety look to them.

colored resin flowers

This is another antiqued copper plated filigree.  The piece on the right has iris blue Gilders Paste applied directly with a cloth.  The piece on the left has been layered.  White Gilders Paste on the filigree makes the iris blue top layer more visible.   Both of these are dried and buffed.

blue iris filigreeNext I tried colorizing some silver plated wavy disk beads.  I thinned out the iris blue and damson pastes, and applied them to the beads with a brush.  This is after buffing, with a shiny bead in the center for contrast.  The lighter the metal color is to start with, the greater contrast the paste seems to make.

wavy disksI tried out the rusty red pinotage color Gilders Paste on both silver plated flower charms and antique brass filigree.  This was my chance to paint the flowers red.   For these items, I added a bit of mineral spirits to my brush, and conditioned some of the paste directly in the tin.

pinotageLastly, I wanted to mix colors, as opposed to layering them.  I mixed the pinotage with the german silver Gilders Paste in the palette.  Both of these colors happened to be creamier than some others, so I didn’t need to thin them down.  I applied this mixture by brush to a raw brass filigree and got a lovely metallic pink finish.

metallic pink

The manufacturer says Gilders Paste will be permanent in 24 hours.  It will accept an over coat such as clear lacquer, varnish, urethane, or powder coating to achieve a uniform appearance where the paste was not used, or to provide further durability to areas where repeated handling is required, such as a door knob.  Due to the anticipated increased wear for jewelry, I tested 4 different products for sealing Gilders Paste.

The first 3 sealers all worked great.  The spray sealer was the easiest to use, but the fumes from it can be quite obnoxious.

spray sealed filigree

I sealed one of the filigree crosses with the glaze, and the other with glossy accents.  To me they look identical.

sealed crossesThe renaissance wax, however, provided unanticipated results.  Due to the cleaning components of this product, it stripped most of the color from the item I applied it to.   The disk on the left was the original gilded iris blue wavy disk.  The disk on the right has had renaissance wax applied, which lightened the color.  It is good to know that this may work to lighten a color without fully removing it if that is ever your desired effect.

waxed disk

Be aware that the consistency of this product will vary from color to color and from tin to tin.  If you have a tin with creamy consistency, enjoy it.  If the product is crumbly, (whether it came that way, or you left the lid open) don’t ever consider it “bad”.  You can re-constitute the paste with mineral spirits, a few drops at a time.

So, having tried Gilders Paste, I’m hooked.  Now I need to figure out what colors to buy to start my collection.   ~  Rita

 

How to solder jewelry with Simply Swank tools

Monday, June 27th, 2011

How to solder custom frame pendants

Edited April 2013 – See our NEW soft-solder blog entry for updated information and new supplies.

Soldered glass pendant frame necklace created with R&T’s soft soldering kit.

Solder is a confusing topic. There are two completely different soldering methods used in jewelry making, yet people rarely explain which type they’re talking about – much the way people say they spent the weekend simply “at the lake.” (If they are your friends, you do know which lake … and hopefully this post will help you make friends with solder!)

Solder is a metal alloy that is melted to connect or coat metal pieces.  I think of it as hot metal glue. Soldering is the act of melting and applying solder.  The two soldering methods are:

  1. Soldering with a torch. Often called hard soldering, brazing or silver soldering, although copper, brass, gold and other metals can be torch soldered.  There are different grades of hard solder (which melt at different temperatures, and just to confuse things further, are called soft, medium and hard). We’ll talk more about this type of soldering in a future post.
  2. Soldering with a soldering iron. This is often referred to as soft soldering, and is used with base metals (like pewter) and plated metals. The solder is made mostly of tin and has a (relatively) low melting temperature. Never use a soldering iron with precious metal jewelry: it will ruin the jewelry.

Therefore, if jewelry is made of silver or gold, it has to be torch soldered. Successful soldering requires heating the metal pieces, not just melting the solder, so if the piece is very large or thick, it’s probably torch soldered as well. Now that you know the general soldering landscape, we are ready to jump into Lake Soldering Iron!

Mollie’s Poppy Field soldered pendant necklace uses two #41-254-1 fold-over crimp ends instead of jump rings as hangers.

First off, not all soldering irons are created equal. There are many varieties on the market and most were not designed for jewelry making. The two most important things to look for are tip style and wattage. We recommend a 60-watt chisel-tip soldering iron. The pointy tip irons are designed for tiny electronics like circuit boards and are of little use for jewelry, other than sealing jump rings.  Lower than 60 watts might not heat up enough. Simply Swank’s soldering iron and the 60w Hakko soldering iron meet both requirements!

The iron on the left has a pointy tip (not recommended). The iron on the right has the recommended chisel tip, but needs to be cleaned! Soldering is difficult when the tip is black and crusty – if the wet sponge doesn’t help while you are working, let the iron cool and then file off the gunk.

Next, the solder itself. It is important to use lead-free solid-core solder. Avoid solders that have rosin or acid cores. Rings & Things sells Choice, SILVERGLEEM, and Staybrite silver solder. All 3 work great with soldering irons; Staybrite is more expensive because of its higher silver content.

Third, flux. All solder requires flux in order to melt and flow. Flux is included with the Staybrite solder. Simply Swank’s flux is sold separately and packaged in a super convenient nail-polish bottle. LA-CO Brite flux is a larger 6oz package, and is designed to be dripped or brushed onto your project.

Simply Swank’s full video tutorial for making jewelry is available on DVD (Ed. note: It’s a good dvd, but there are just a few left … Simply Swank is no longer in business). Here is my condensed version of the process:

Copper tape creates the metal base needed for the solder to flow onto.

Sandwich images between 2 pieces of glass and wrap edges with copper foil tape. Burnish smooth. Clean with alcohol to remove any oils from your fingers – a clean surface is the best soldering surface!

Shaping the solder coil into a snake makes it easier to feed onto your soldering iron.

Apply flux to the copper tape. Touch your hot soldering iron to the solder to pick up a blob, and run the iron over the copper tape. Repeat. Repeat. Completely cover the copper tape with solder. If it looks lumpy, run the iron across the bumps to remelt the solder and smooth it out. Be sure to clean your soldering iron’s tip frequently. If the solder isn’t flowing, either the tip is dirty, your piece is dirty, you need more flux or you aren’t heating the piece sufficiently. Clips, clothespins or a third hand are all helpful tools for holding your piece while protecting your fingers.

Here Rita is holding her piece steady with bent chain nose pliers.

Add a blob of solder to the point where you’d like to attach your jump ring. Use pliers to hold the jump ring on the blob, and reheat with the iron to secure it in place. File any rough edges, buff with a polishing cloth, and you’re done!

Making soldered pendants is totally addictive. Microscope slide glass is an affordable way to indulge your pendant-making habit. When I saw this ad for Sharktopus (an actual movie!) I had to preserve it within a frame.

This quote belonged to the “Chocolate Pixie” (part of the Simply Swank Queens and Divas collage art set).

My solder isn’t completely smooth, but it isn’t too bad for a first attempt. Now that I know how to care for the soldering iron (thanks Simply Swank) I’m sure my next will be better! And don’t worry – there are no evil sea monsters lurking in Lake Soldering Iron.  Come play! ~ Cindy

 

Editor’s Note Please see the
UPDATED How to Solder Glass Pendants
blog article, which replaces
the (no-longer-manufactured)
Simply Swank links.

 

How to make a sliding adjustable necklace

Thursday, June 23rd, 2011

…with no knots! This easy leather necklace design uses sliding cord adjusters that simply glue on to the ends of the cord.  Push the ends closer together to shorten the necklace. Pull the ends away from each other to lengthen it.

My example is with 2mm olive green Greek leather, but you can use any round cord except rattail with this technique (rattail is just too slippery). Just match the size of your cord to the inner diameter (ID) of the cord end. The cord ends are available in four sizes and four platings: gunmetal and antiqued brass, copper and silver.

  1. Measure your cord. My technique: take your desired finished length and add 12″. For my 18″ necklace I used 30″ of leather.
  2. Center your beads or pendant. (I used 5 silver plated leaves. To keep them in place, I just flattened their loops slightly with my flat nose pliers.)
  3. Slide a cord end onto each end. Make sure that the bottoms of the closed tubes are pointing towards the center of your necklace.
  4. Glue the cord ends into the opposite open adjuster tubes. Make sure the cord touches the bottom of the tube, and be sure to clean up any glue drips before they dry. I used Eco-Glue because it works with both metal and fabric. Tenax is another good option, especially if you don’t like waiting!

That’s all there is to it! Too easy, right? The only problem you might encounter is the cord not fitting the cord end. Since most types of cord, and the ends themselves, may vary in diameter +/- 10%, this is a fairly common problem, but a simple one to fix.  Try mitering (cutting at an angle) or rolling the ends to make them a tad thicker or thinner.   ~ Cindy