Creating an Adjustable Length Necklace

Posted on May 18, 2013 by Ross Barbera

Example of traditional sliding knot

The image on the right illustrates a traditional sliding knot clasp. When using a sliding knot, I like to resolve the ends of the cord with beads.

The sliding knot clasp is one of the most efficient and economical methods for resolving the ends of the cord on which a pendant is hung. The sliding knot eliminates the need to use a 2-part clasp.

Sliding knot clasp with watercolor paper beads

On this Watercolor Paper Necklace, the sliding knots have been replaced with watercolor paper beads.

Construct the watercolor paper beads using the same process used to construct Watercolor Paper Pendants; the beads are attached to the ends of the cord in the areas where the knots would normally be tied.

These handmade paper beads incorporate channels just wide enough to permit the hanging cord to pass through. Replacing actual knots with paper beads allows complementary design elements to be designed into the necklace that effectively unite the pendant and hanging cord into a visually unified work of art. Complete control over the design process is achieved. The sliding beads (I sometimes refer to them as unit forms) can be shaped and painted to complement the pendant. In addition to providing a means for adjusting the pendant’s hanging length, they function as beautiful decorative elements.

The key to accomplishing this adjustability is in the design of the two sliding unit forms that lock the cord’s ends in place. Each unit form locks one end of the cord in place while permitting the opposite end to pass through and slide freely. The length that passes completely through a form also passes through the opposite form and is locked in place with a wooden bead glued to the cord’s end. It is this combination of the cord passing completely through a unit form (a watercolor paper bead) and locking into the opposite unit form that results in a mechanism that is adjustable.

Round paper punches speed up the construction process

An efficient method for creating small watercolor paper beads that can be used in place of sliding knots is to use paper punches. Paper punches are available in a variety shapes, and can significantly speed up the construction process by eliminating the need to cut out the individual paper shapes that are glued together to create the small, sliding forms. The image shows the round punches that I used to create the round sliding forms on two of the pendants illustrated in this post.

Sliding knot clasp with heart shapes and flat cord

For the heart shapes, I cut the individual paper layers out by hand. Preferring the look of “stylized” hearts, I decided not to use available paper punches. Commercially available punches would result in more generic heart shapes.

These beautiful, simple hearts, locked in place by the wooden beads glued to the ends of the cord, form an adjustable mechanism that works very well with flat, suede cord. The cord’s flatness is ideal for passing through the channel in these small shapes. Round cord can also be used.

The cord’s length can be adjusted to permit the pendant to fall relatively high

When the cord’s length is adjusted to permit the pendant to fall relatively high, this moves the beads from the back to the front and results in wonderful design interaction between the pendant and watercolor paper beads.

Soon I will be releasing a detailed video demonstrating the construction of this type of adjustable mechanism.

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Watercolor Paper Pendant: Creating a Flat Channel Without Wax

Posted on April 27, 2013 by Ross Barbera

The Watercolor Paper Pendant that you see illustrated in the photograph floats on a cord that passes through a channel built into the piece.

A channel is a beautifully functional way to mount a pendant, and is my preferred method for making pendants wearable. The channel eliminates the need for additional hanging hardware such as jump rings or eye pins, and results in the jewelry object’s design not being altered with additional hardware attachments.

If you haven’t already done so, please watch my 3-part video series on “How to Construct the Watercolor Paper Pendant.”

During the early summer I will be releasing a new Watercolor Paper Pendant video that includes the non-wax method of channel construction that I discuss in this blog article. Many of you have requested a non-wax approach, as well as instructions for creating a flat-backed channel. This post covers both, as will my coming video.

For the past few years I have used a “lost wax process,” to create the channel. This method employs a wax string that is eventually melted out to form the channel into which the cord passes through. In this article I will discuss a new method that I recently developed for constructing the channel. This method eliminates the use of wax which can be problematic, and is very effective for creating a flat, hidden channel that passes through the piece.

Having developed the pendant’s design, the first step in building the The Watercolor Paper Pendant is to prepare the paper layers.

8 cut layers of 140 lb.,cold pressed watercolor paper

The photo on the right shows 8 layers of 140lb, cold pressed watercolor paper that have been cut into the shape of the final design. All layers will be glued together to form the pendant. Note how the 4 layers in the top of the photo have been cut to accommodate the channel.

Applying glue to the first layer of paper

Using a plastic dispenser bottle, I apply glue to the first layer of paper. After the glue has been evenly spread, I position the second, solid layer of watercolor paper.

Recommended Glue:
Lineco, Neutral pH Adhesive

With the second layer of paper in place, apply a thick layer of glue, and spread it evenly with a brush.

On top of the two solid layers of paper that have been glued together, position the cut layers. The gluing of the cut layers establishes the channel formation.

The channel is four paper layers thick. This thickness is necessary and permits the jewelry cord to pass through the finished piece. It is very important to remove all excess glue, and the photograph below shows me scraping excess glue from the channel.

Removing excess glue from the channel

It is very important to keep glue away from the channel!

With the four channel layers glued in place, I carefully apply glue to the top layer.

It is important to keep the channel free of glue!

Before gluing the two remaining, top, solid layers of paper that will complete the pendant, insert a length of 3/32″ Teflon Valve Packing into the channel that was created in the previous step. This cord like Teflon material is perfect for keeping the channel open when gluing the final two top solid layers of paper in place.

3/32″ Teflon Valve Packing is available at any hardware store, and packaged in 36″ lengths.

The photograph below shows the final two top layers of paper glued in place. Make sure that the Teflon extends at least 1/2″ beyond the pendant on both sides. The Teflon replaces the wax that I used in the original method to construct the channel.

Teflon extends 1/2″ beyond the edge of the pendant on both sides

With all paper layers glued in place, I position the pendant on a curved surface and burnish it with a wooden dowel. Applying light pressure as I rub the entire surface with a dowel assures that the layers will be firmly glued together. This is an important step. Examine the piece carefully as you burnish it to assure that no paper layers are separating. If separation is occurring, apply extra pressure to that area until the glue grabs.

This old globe that I found in my basement is perfect for giving the pendant a slightly curved shape. I use it in forming almost all my Watercolor Paper Pendants and Earrings.

An old globe is perfect for creating a slightly curved shape

While the piece is still slightly damp, I slide out the 3/32″ Teflon Valve Packing, and inset a length of Round String Trimmer Line, .095″ thick. Replacing the soft Teflon Valve Packing with the stiffer Trimmer Line will enable you to keep the channel clean by repeatedly working it through the pendant during the final stages.

Trimmer Line is available at most hardware stores or garden centers. Trimmer line is used in weed wackers.

Replace the Teflon with Trimmer Line to keep the channel clean

The final steps are:

Glue the top, painted layer of paper.
Glue the decorative, back paper layer. For this I use banana paper.
Clean up the edges by filing and sanding.
Varnish the pendant
Heat in a toaster oven at 150 degrees Fahrenheit for 20 minutes to harden the varnish.

Back View: a pendant with inserted bead floats on its cord

Watch my 3-part video series on “How to Construct the Watercolor Paper Pendant.” It provides detailed, step-by-step instructions for the entire construction process. My new video demonstrating the non-wax method will be released early this summer.

One final note, when you are finished working with the Trimmer Line and Teflon Packing, soak them in water to clean off the glue, and this material can be reused in your next pendant project.

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	*More You Tube videos you might like:*
Watercolor Paper Pendant – Part 1
Watercolor Paper Pendant – Part 2
Watercolor Paper Pendant – Part 3
Channel for Pendant – Part 1
Channel for Pendant – Part 2

Watercolor Paper Bracelet – Part 1
Watercolor Paper Bracelet – Part 2

Posted in Basic watercolor jewelry construction, Pendants, Watercolor jewelry | Tagged adhesive, burnish, channel, construct, cord, design, flat, flat back, glue, jewelry, layers, Lineco, method, necklace, non-wax, paper, pendant, pH, step-by-step, watercolor, watercolor paper, watercolor paper jewelry, watercolor paper pendant, wax | Leave a comment

Watercolor Paints – My Basic Color Palette for Watercolor Paper Jewelry & Painting

Posted on March 16, 2013 by Ross Barbera

I receive many questions regarding the colors that I use for my watercolor paper jewelry and watercolor painting. In this article I will discuss the basic color palette that I employ for both jewelry and paintings.

Over the many years that I have been painting, my palette has evolved, and the amount individual tubes of colors that I use has become smaller and smaller. Even though I have always understood the need for mixing colors rather than using paints straight out of their tubes, in my early days of serious painting (early 1970′s), I would purchase almost every tube of color available. But over time I eliminated colors, and my palette gradually evolved into a spectrum of primary colors that I mix to achieve what seems to be an unlimited range of color possibilities. Gradually eliminating all secondary and tertiary tube colors, I relied exclusively on mixing primary colors to achieve all the colors that you see in my paintings and jewelry. Even most of my browns and blacks are mixed from primary colors, and, yes, there can be many rich variations on black!

Successful color mixing requires more than just using the three primary colors: Red, Yellow & Blue. Although using just the three primary colors that are as close as possible to the the spectrum primaries -in theory- should work, it does not in a practical sense. To create my watercolor painting and jewelry, I use Winsor & Newton paints exclusively, and I consider Winsor Red, Winsor Yellow and Cobalt Blue to be very close to spectrum colors. If I use these alone, however, they are not enough for me to mix all the colors that I need. By employing a variety of Reds, Yellows and Blues, l can mix any color seen in nature. Technological advancements in the formulation of modern pigments has made many variations on primary colors available to artists.

For example, Red is a primary color, and the color red cannot be mixed by combining two different colors. What red does one purchase to use in color mixing? There are a few reds available with very different color properties. I recommend purchasing a range of reds. The different color properties of the reds available as tubed pigments result in great flexibility in color mixing.

The same principle that applies to red is also true for Blue. As a primary color, I keep a variety of blues on my palette – all with uniquely different color properties. The same approach also applies to Yellow, and the yellows that I most often use are Winsor Yellow and Aureolin Yellow.

A good example of the advantages in using different blues can be seen in mixing greens. The color chart above indicates a small range of greens possible just by mixing Winsor Yellow with different blues.

The following color chart shows the colors that I use most frequently.

1. Winsor Yellow 2. Aureolin Yellow 3. Winsor Red 4. Permanent Rose

5. Scarlet Lake 6. Alizarin Crimson 7. Quinacridone Magenta

8. Winsor Blue 9. Cobalt Blue 10. French Ultramarine Blue

11. Cerulean Blue 12. Antwerp Blue 13. Quinacridone Gold

14. Burnt Sienna 15. Brown Madder

16. Mixed Green: Winsor Yellow + Cobalt Blue

17. Mixed Green: Winsor Yellow + Antwerp Blue

18. Neutral Tint 19. Mixed Gray: Antwerp Blue + Brown Madder

———————————————————-

The greens that you see in the color chart are mixed greens. I never use premixed, tube greens. They are almost always too “chemical looking” for my work. #16 on the chart represents a combination of Winsor Yellow + Cobalt Blue, and #17 results from a combination of Winsor Yellow + Antwerp Blue.

I also use primary colors to mix most of my browns and grays, and, additionally, I do use Burnt Sienna and Brown Madder in my palette of colors. For gray, I use Neutral Tint and Paynes Gray, but also rely on mixing for most grays. In the chart above, #19 is a Mixed Gray resulting from Antwerp Blue + Brown Madder. Another very useful color you might want to add to your palette is Quinacridone Gold.

In summary, although my primary palette consists of Red, Yellow and Blue, each individual primary color is represented by a range of variations.

More coming …

I will be posting a series of articles about color mixing and working with watercolors as they apply to the creation of both jewelry and painting.

Watercolor Painting DVD Now Available!

(click for info)

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Rectangular Coil Earrings Enclosing Translucent Rice Paper Tubes

Posted on January 18, 2013 by Ross Barbera

These translucent Rectangular Coil earrings are characterized by a delicate rice paper tube that is enclosed within a protective coil. The tube is only one layer of rice paper thick, and kept hollow to maximize its translucent quality.

In creating these beautiful earrings, it is necessary to form a rectangular coil. To accomplish this, I wrapped 18 gauge nickel silver wire around the jaw of square mandrel pliers. The rectangular coil that results from winding the wire on square mandrel pliers can be stretched to form a uniquely shaped coil with squared corners. This rectangular coil not only functions as a beautiful structural element, but also serves to protect the enclosed rice paper tube.

Step 1

To create the square coil, I tightly wrap 18 gauge wire around the smaller jaw on a pair of square mandrel pliers.

Wrapping the 18 gauge wire around the small jaw of the sqaure mandrel pliers

Step 2

The coil removed from the pliers

This is what the coil looks like after it has been removed from the pliers.

Step 3

The coil needs to be stretched out to form a rectangle, but before I do that I form the bottom spiral and top loop.

Forming the bottom spiral and top loop (the earrings are pictured upside down)

Step 4

Having formed the spiral and loop, the compressed coil can be stretched to whatever length that is preferred.

Stretching the coil to desired length

Step 5

The next step is to measure and cut two pieces of rice paper that will fit inside the newly formed coils. I wrap the rice paper around an object such as a toothpick, or a thin plastic tube to facilitate the process of inserting it into the coil.

Cut and insert rice paper into the coils

Step 6

The inserted rice paper tubes both have been dampened with water.

Dampen the rice paper tubes with water

Step 7

The earrings are positioned on an improvised support. This makes it easy to apply the watercolor paint. Watercolor is only applied to the bottom of the rice paper tube.

Apply watercolor paint to the bottom of the rice paper tubes while they are securely supported

Step 8

Allow the watercolor paint to completely dry before applying the final layers of varnish. This image shows the application of a 50% diluted mixture of polycrylic varnish with water.

Applying diluted varnish

Applying the varnish with an applicator eliminates the possibility of damaging the rice paper.

Apply at least 3 coats of varnish to the outside, and inside of the paper tube, and heat the piece in a preheated toaster oven at 150 degrees Fahrenheit between coats.

The finished earrings

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More videos you might like:

The Basic Earwire

Upside-Down Heart Earrings – Part 1
Upside-Down Heart Earrings – Part 2

Making Rice Paper Earrings

The jewelry objects that you see created in these videos are original designs by Ross Barbera. These designs may be copied for your personal use only, and may not be offered for sale or exhibition without written permission from Ross Barbera.

Posted in Rice Paper Jewelry, Watercolor earrings, Watercolor jewelry, Wire earrings, Wire jewelry | Tagged bend, bending, coil, combining materials, construct, construction, design, earrings, jewelry, loop, pliers, rice paper, spiral, square nose pliers, step-by-step, toaster oven, varnish, watercolor, watercolor paper jewelry, wire, wrap | 9 Comments

Tips on Preventing the S-Link Necklace from Coming Apart

Posted on November 7, 2012 by Ross Barbera

Having recently devoted a blog article to tips on constructing the “Egyptian Link Necklace,” it seemed like a good idea to also provide a few suggestions that will improve the look of the S-Link necklace and help to ensure that it does not come apart. Every so often, I receive comments from people who have viewed my video on “How to Make the S-Link Necklace”, stating that the necklace separated while wearing it. They inquire about a solution to this problem.

The most likely cause of the S-Link necklace separating is a partially opened hoop on a bridging link that connects the S-Links. The photograph below illustrates an example of this.

Most likely cause of problems – a partially open hoop on a bridging link

Simply making sure that the hoops on the attaching links are completely closed will eliminate this cause.

Assure that hoops on attaching links are completely closed

An S-Link necklace falling apart might also be the result of improperly formed S-Links.

The image below shows improperly formed S-Links. Whats wrong? The space between the inner and outer curve of the S-Links is too wide. Spaces that are too wide eventually result in S-Links separating.

The space between the inner and outer curve of the S-Links is too wide!

In forming the S-Link it is very important that the outer curve of the link is almost touching the inner curve, with minimal space existing between the inner and outer curves, as you can see in the photo below.

Note that the outer curve of the link is almost touching the inner curve

Properly formed S-Links can have their look enhanced with hammering. The next photo compares two S-Links. The link on the left has been flattened by hammering with a chasing hammer on a steel block. Working the link with a chasing hammer eliminates that “raw” look, and greatly enriches the over-all handmade beauty of the individual links and necklace.

Here is a variation of the S-Link that I will be releasing in a new YouTube video demonstration during the winter of 2012/13:

This variation includes flattened S-Links incorporated with watercolor paper and linked with rice paper bridging links.

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More videos you might like:

Greek Link Earrings
Earrings Based on Spiral & Figure 8
Egyptian Link Earrings

Spiral Hoop Necklace w/Purple Beads
Heart Link Necklace

The jewelry objects that you see created in these videos are original designs by Ross Barbera. These designs may be copied for your personal use only, and may not be offered for sale or exhibition without written permission from Ross Barbera.

Posted in Basic wire construction, Link necklaces, Other Paper Solutions, Repairs, Rice Paper Jewelry, Watercolor jewelry, Wire and Watercolor Paper Jewelry, Wire jewelry | Tagged bend, bending, chasing hammer, construct, construction, form, hammer, jewelry, link, loop, necklace, paper, pliers, prevention, rice paper, S-Link, tips, tools, watercolor paper, watercolor paper jewelry, wire | 2 Comments

Constructing Unit Form Necklaces

Posted on October 12, 2012 by Ross Barbera

The example illustrated here was inspired by my “Greek Link.” To see the original design, please watch my video on “How to Create the Greek Link.”

The Unit Form Necklace illustrated here evolved from my experiments with pendants that combined wire and paper. Having made a series of pieces exploring this combination using both rice paper and watercolor paper, I saw the potential to use a basic shape as a unit form that is repeated to create a necklace.

Constructing jewelry objects using different types of paper resulted in very different looking jewelry objects. The rice paper pendants are characterized by a luminous, translucent quality, while the pieces made with watercolor paper resemble enameled metal.

To make the necklace shown above, I designed the basic shape that was repeated to create the Unit Form necklace. The shape represents a variation on the Greek link. In this variation I eliminated the spiral part of the link and replaced it with a simple inner curve. The original Greek link was formed with 8″ of 20 gauge wire. For my variation I used 6″ of 18 gauge wire.

The challenge in creating this necklace was to replicate the unit form as many times as was necessary to construct the necklace. To achieve this, I needed to make a simple tool that would guarantee an exact copy of each link needed for the necklace.

A view of the wire secured by the hole, and wrapped around the dowel.

The shaped wire has been removed from the dowel.

After removing the wire from the dowel, I continue to form the basic shape by creating the small central spirals.

The final wire forming step is to forge the shape with a chasing hammer. To do this, I position the “link in progress” on a steel block and hammer the piece until a visually effective flattening of the wire is achieved. By restricting the hammering to only one side of the shape, a slight curvature results which enhances the look of the shape.

The unit form link is now ready for the next step, which is the application of the watercolor paper.

Here is another example of a unit form necklace that required the use of a jig to construct the basic shape. This is a work in progress.

Here is the jig used for duplication of the link variation. This jig made it possible to easily reproduce the heart shape. Coming soon - watch You Tube for my detailed videos on constructing “Unit Form Necklaces.”

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More videos you might like:

Making Rice Paper Earrings

Earrings With Dangling Flairs
Greek Link Earrings
Earrings Based on Spiral & Figure 8

The jewelry objects that you see created in my blog and videos are original designs by Ross Barbera. These designs may be copied for your personal use only, and may not be offered for sale or exhibition without written permission from Ross Barbera.

Posted in Basic watercolor jewelry construction, Basic wire construction, Link necklaces, Watercolor jewelry, Wire and Watercolor Paper Jewelry, Wire jewelry | Tagged bend, bending, chasing hammer, construct, construction, design, dowels, enamel, flattening wire, form, Greek, hammer, heart, jewelry, jig, link, loop, necklace, paper, pendant, replicate, spiral, steel block, tools, unit, watercolor paper, watercolor paper jewelry, wire, wood, wooden | 2 Comments

Tips on How to Connect the Egyptian Links Once the Individual Links Are Made

Posted on October 3, 2012 by Ross Barbera

I sometimes receive this comment from viewers who watch my YouTube video, “How to Construct the Egyptian Link” :

“I was able to make the links, but am having difficulty connecting them.”

Although I demonstrate how to connect the links in my video, sometimes the viewer cannot figure out how to position the links for connecting.

Before the links are actually connected, I always advise my students to make only 4 or 5 links at a time, and connect them before continuing on to make additional links. Forming and connecting only a few links at a time will verify that they are being made correctly, and ensure good results in the end. If one finds it extremely difficult to connect the links, this usually indicates that something is wrong. Properly made links are easily interconnected using minimal effort. Making only a few links at a time and connecting them before making more links will eliminate the possibility of wasting time and materials; this cautious approach will enable you to discover “early on” if there is something structurally wrong with the links.

Tip #1

Each circular loop that is formed after bending the wire in half needs to be exactly the same size for every link.

Tip #1 – loops must all be exactly the same size

The pliers have been marked for exact bending position

To guarantee that each loop is the same size, I mark my pliers to indicate the place that I will position the wire for bending.

Positioning the wire where the pliers have been marked

Having marked the spot, the wire will always be positioned at the same point on the round nose pliers.

Tip #2

Before connecting the links, it might be helpful to line them up like the photo below. This is the position that they need to be in so they can be connected together. Please watch my video on “How to Construct the Egyptian Link” for complete instructions on forming the links.

Tip #2 – preparing to connect the links

Tip #3

This image shows a link being inserted into another link. Notice the angle that the link is being held. To start, insert the circular hoop of one link into the first link.

Tip #3 – link being inserted into another link

The inserted links should look like this.

Pressing down the hoop with the thumb

Firmly hold the spiral end of the link with flat nose pliers.

Use your thumb to press down the hoop part of the link.

Never use pliers to press the links!

Continue to add and press down the links. Never use pliers to do this pressing!! It will overly tighten the links and stiffen the necklace. Only use your fingers.

Top View

Finished Necklace

When all the links have been added in the manner that I have just described and the necklace is complete, I continue to work all the links down using my thumb and forefinger until all the links are nicely flattened.

Posted in Basic wire construction, Best Practices, Link necklaces, Wire jewelry | Tagged bend, bending, connect, connecting, construct, construction, egyptian, form, forming, hoop, insert, interconnected, jewelry, link, loop, necklace, pliers, position, press, spiral, tools, wire | 9 Comments

Jewelry Pliers Should Not Mark Up the Wire

Posted on August 25, 2012 by Ross Barbera

I have received many inquiries both in workshops and online regarding how to prevent the pliers, used to shape wire, from leaving marks on the wire’s surface. Viewers have asked about the use of nylon pliers to eliminate this problem, or about the application of different kinds of plastic tape or other materials to eliminate the cause of the marking or scratching of wire. I have seen the damaging effects that pliers sometimes have on metal wire in my classroom, usually resulting from roughness and burrs on the pliers’ surface.

Does this mean you need to switch to nylon pliers or wrap the jaws of your pliers in tape or some other material to eliminate the marking? Absolutely not. Unless your pliers are severely damaged, or you are using the wrong type of pliers to construct your wire jewelry (utility pliers with teeth) the problem is almost always easily fixed.

The most common cause of marking or imprinting on the metal wire is usually a thin burr along the edge of the pliers, or nicks and scratches on the face of the pliers.

The easiest way to resolve this is to:

1. Use a flat jewelry file and run it along the face of the pliers to eliminate the burr and nicks. Usually the burr is extremely thin and easily removed. Do not file more than is necessary! Too much filing can also damage the pliers.

2. After the imperfections have been eliminated, buff the jaws of the pliers using 240 grit sandpaper.

In class I have employed these simple steps on many occasions to fix a student’s chain link jewelry pliers.

The dark outline that I drew on the face of these pliers indicates where the burr usually occurs.

Using a flat jewelry file, carefully file down the burr.

To finish smoothing the face of your pliers, buff the surface with 240 grit sandpaper.

Good quality pliers will completely eliminate the problem of marking up the wire. Below is a pair of Lindstrom pliers that I use. Notice the smooth face, and the pliers rounded edge. This rounded edge and smooth face completely eliminates the possibility of marking the metal.

I recommend using good quality pliers, such as these Lindstrom pliers.

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More videos you might like:

Greek Link Earrings
Earrings Based on Spiral & Figure 8
Egyptian Link Earrings
Silver Earrings with Spiral and Coil
Silver Spiral Earrings with Blue Beads
Simple Wire Hoop Earrings

Posted in Basic wire construction, Best Practices, Tools and supplies | Tagged bend, bending, burr, burrs, classroom, construct, damage, earrings, egyptian, eye pin, file, findings, jaws, jewelry, Lindstrom, link, marks, metal, nicks, nylon, nylon pliers, pliers, problems, sandpaper, scratches, spiral, tape, tools, wire | 7 Comments

Fixing the Egyptian Link

Posted on August 2, 2012 by Ross Barbera

Egyptian Link Necklace

The Egyptian Link Necklace is composed of individually interlocked links, making it very resistant to coming apart. If one of the links becomes damaged or somehow separates, and it becomes necessary to replace a link, the following steps illustrate how to accomplish this.

Removing the damaged link

Step 1

Simply cut the damaged link, and remove it from the necklace.

Step 2

To replace the damaged link, it will be necessary to form a new link using the same length and gauge wire that was used to create the links in original necklace.

To begin the replacement of the damaged link, it is important to only form the new link to the stage of development that you see illustrated in the following photograph. Please see my review video “How to Create the Egyptian Link Necklace – a Review” if you need to brush up on the steps involved in making Egyptian links.

Step 3

The partially formed link will need to be attached to one end of the necklace first. The photo just below illustrates the top view of the target link that the new link needs to be attached to.

Step 4

The next photo (right side) shows the bottom view / “linking view” of the necklace with the partially formed link attached.

: Bottom view with partially formed link attached to the target link

: Top view / “spiral side” up view of the necklace with the partially formed link attached

Step 5

Before forming the spirals, the 2 lengths of wire that will be shaped into the spirals need to be inserted into the other half of the necklace.

The photograph just below shows a view of the necklace with the spiral side up. Study the image careful, and make sure that your Egyptian Link necklace is aligned exactly the way it is in the photograph.

Attaching the necklace before forming the spirals

Step 6

Begin forming the spirals.

Step 7

Form the spirals to match the existing spirals that make up your Egyptian link necklace.

Form the spirals to match the other existing spirals

Step 8

The final photo shows the repaired Egyptian Link necklace with the new link in place. It is important to make sure that the spirals are formed in the same style as the original spirals.

For my example, I wound the center of the spiral for the new link tighter than the original links that make up the necklace. I did this for illustration purposes only.

Necklace with repaired link. I wound the new link tighter so that you can see which one it is.

Watch for new videos on my You Tube Realisticart Channel!

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Neutral pH Adhesives versus Elmer’s Glue-All

Posted on July 17, 2012 by Ross Barbera

I use Elmer’s Glue All primarily in the classroom because my students prefer it over the archival brands. The reason for this is its low odor. When using archival, neutral pH adhesive, students will often complain to me about the glue’s smell. Therefore in an effort to maintain a healthy classroom studio environment, I’ve eliminated the use of materials with strong odors.

Elmer’s Glue All does adequately provide the adhesive and structural qualities needed to construct strong paper jewelry objects, and the glue responds very well to the heating that my process employs.

The piece illustrated above was made during the early 1990s using Elmer’s glue, and so far shows no signs of deterioration.Only time will tell if the low pH of Elmer’s glue has a damaging effect on the watercolor paper used to construct this watercolor paper pendant.

There are a few good archival glues that are available which contain the necessary structural properties to create “Watercolor Paper Jewelry.” If you would like to explore this alternative, the adhesive that I recommend is Lineco Neutral pH Adhesive. This glue has excellent adhesive qualities, and I also use it in my work for building watercolor paper jewelry.

Watch for new videos on my You Tube Realisticart Channel!

Watercolor Paper Bracelet – Part 1
Watercolor Paper Bracelet – Part 2
Bracelet with Watercolor Paper & Wire
Making Watercolor Paper Earrings

Egyptian Link Necklace – Part 1
Egyptian Link Necklace– Part 2
Figure 8 Link Necklace – Review

Soon I will be releasing a detailed video demonstrating the construction of this type of adjustable mechanism.

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