Southwest Style Pendant

by Judy Larson

Category: Metalwork
Technique(s): Cutting, Sawing, Texturing, Butane Torch Techniques
Skill Level: Intermediate

If there is scrap sheet metal languishing on the workbench or in the storage cupboard, this pendant may be a way to use some of it.

A normal cabochon is easy to set but a paua shell cabochon is very thin and can pose a problem. This tutorial shows how to raise it to the needed level to then be able to push the bezel wire over the edges to secure it in place.

Materials

Matte Onyx 25mm Round Cabochon

E8-20J

Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $4.36
Gold Club Price: $3.27

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28 Gauge 3/16" Fine Silver Bezel Wire

H9-28BZL

Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 1FT
Price: $11.26
Gold Club Price: $8.44

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20 Gauge Dead Soft Argentium Silver Sheet - 6 Inches

H19-20SM6

Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 1 Inch
Price: $69.44
Gold Club Price: $52.08

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16 Gauge Round Half Hard Argentium .940 Silver Wire

H19-16H

Lesson Quantity: 3.00 inches
Purchase Quantity: 1.00 1FT
Price: $9.03
Gold Club Price: $6.77

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Tools

Silver Solder Paste Hard SS75 - 1/4 T.O.

SOL-822.20

SOL-822.20
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $19.95
Gold Club Price: $14.96

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Silver Solder Paste Medium SS70 - 1/4 T.O.

SOL-822.15

SOL-822.15
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $18.95
Gold Club Price: $14.21

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Silver Solder Paste Soft SS65- 1/4 T.O.

SOL-822.10

SOL-822.10
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $16.95
Gold Club Price: $12.71

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Deluxe Soldering Kit

G15-5

G15-5
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $116.97
Gold Club Price: $87.73

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7 Piece Mini TruStrike Hammer Set with Stand

HAM-520.70

HAM-520.70
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $140.54
Gold Club Price: $105.40

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Premium Steel Bench Block 2 1/2 X 2 1/2

G17-9

G17-9
Lesson Quantity: 2.00 pieces
Purchase Quantity: 2.00 each
Price: $15.97
Gold Club Price: $11.98

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French Shears - Curved Shear with Spring

SHR-531.01

SHR-531.01
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $29.97
Gold Club Price: $22.48

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C.H.P Milano Italian Flush Cutter, 5 1/2 Inches

PLR-487.00

PLR-487.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $16.97
Gold Club Price: $12.73

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Classic Wubbers Medium Flat Nose Pliers

G2-1237

G2-1237
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $27.97
Gold Club Price: $20.98

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Dimple Pliers - 3mm (Green Handle)

PLR-726.30

PLR-726.30
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $15.97
Gold Club Price: $11.98

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1IN Curved Burnisher

BRN-200.10

BRN-200.10
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $3.97
Gold Club Price: $2.98

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GROBET FILE - BARRETTE CUT 2, 6"

FIL-31.030

FIL-31.030
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $31.20
Gold Club Price: $23.40

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GROBET FILE - BARRETTE CUT 4, 6"

FIL-31.031

FIL-31.031
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $35.10
Gold Club Price: $26.33

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6 Step Barrel Plier - Pack of 1

G2-503

G2-503
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $14.95
Gold Club Price: $11.21

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24 Piece Dapping Punch Set

DAP-705.00

DAP-705.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $85.97
Gold Club Price: $64.48

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Multi Angle Cutting Jig

VIS-512.00

VIS-512.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $84.95
Gold Club Price: $63.71

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Instructions

Step 1

Note: Read through all the directions before beginning the project.

Hint: Sketch out the design, remembering that the design always changes. Make notes on the design as the work progresses in case duplicates are needed in the future. And remember, designs can change as work progresses.

Use the photo to draw out the stencil/template designs for the leaves and flower.

Pro Tip: I prefer to use a stencil-seen on the bottom of the left photo-rather than a template-seen on the left side of the photo-to trace designs on sheet metal. When cutting, I cut outside the drawn line. That way, I have an idea of how much needs to be filed away to get the exact design. If I cut inside the line, as would be needed with a template, the design outline would change slightly because it is easier to cut more off than necessary, which might affect the finished project. I then would have no reference lines for refining the edges of the piece.

Judy Larson's Southwest Style Pendant - , Metalwork, Cutting, Cutting Tool, Cutters, Sawing, Saw, Wire Saw, Texturing, Butane Torch, Soldering, Solder, southwest style pendant

Step 2

Cut out the stencils or templates.

Step 3

These designs are small enough to place on scrap sheet metal. Position the stencils or templates on the sheet metal, making sure there is a right and left facing leaf-mirror images. Use an ultra fine point Sharpie marker to draw a line around the design. Note: The bail, the lower left piece, is an upcoming tutorial.

Step 4

Because these pieces are so small, adding texture to the metal will be easier to do before they are cut out. Use an ultra fine point Sharpie marker to draw a line down each leaf where the central vein would be. Mark the center of the flower and then a line down the center of each petal.

Step 5

Place a leaf on the bench block. Texture leaf lines using the narrower side of a Mini TruStrike Sharp Designer Hammer. Use the same hammer to form lines radiating out from center on the flower. Note that there is extra metal to hold on to so that the hammer is less likely to strike fingertips.

Step 6

Cut the design leaves and flowers out.

Step 7

Refine the edges of each cut leaf and flower, first with files, then with 400, 600, and then 1200 grit sandpaper

Step 8

Anneal, pickle and dry the leaves.

Pro Tip: Squeaky clean metal equals successful solder joins. Every time you use a torch to fuse, solder or ball wire ends or work on sheet metal, fire scale develops. It is necessary to pickle these pieces to remove the fire scale so each succeeding solder join is successful. Do this throughout this tutorial each time a torch is used. If pickling is not necessary, rubbing alcohol can be used to remove finger oils, etc., from finished pieces before soldering.

Step 9

To make it easier to do this step, the center vein line can be redrawn. Place the tips of the flat nose pliers just outside the center vein line on one side of the leaf. Press the other side of the leaf down on the bench block. Continue down the center vein of the leaf in this manner until the tip is reached. Repeat down the other side of the leaf if needed.

Step 10

Use the tips of the small soft jaw round nose pliers to round the upper edge of the leaf on both sides towards the back of the leaf. Use the same pliers to round the leaf tip slightly to the back of the leaf.

Step 11

Place the flower in a dapping block, textured side up. Place a small piece of felt over it to protect the texture. Use a dapping punch to shape the flower, working from larger to smaller impressions to obtain the desired cup to the flower.

Step 12

Anneal, pickle and dry the flower.

Step 13

Use the small soft jaw round nose pliers to round the flower petals towards the back.

Step 14

Anneal, pickle and dry the flower.

Step 15

Place the flower in a small well on the dapping block that will the allow the petals to stay above it. Lightly hammer a small dapping punch into the center of the flower, creating a deeper well in the center of the flower. Be careful that the rounded flower petals are not straightened or pushed upward too much.

Step 16

Center the edge of one of the petal over the well in the 3mm dimpling pliers. Squeeze the pliers to create a bend in the tip of the flower petal, creating more dimension.

Step 17

Clean the flower and the leaves with an alcohol soaked pad.

Step 18

Clean and straighten a piece of bezel wire the approximate length needed to go around the cabochon with a little extra.

Step 19

Square up one end of a piece of bezel wire. Place the bezel wire in a Miter Joint Jig Vise. File off the excess bezel wire to achieve a perfect 90 degree flat end to it. Hint: Place a Sharpie mark "X" close to that end to aid in quickly identifying the squared up end.

Pro Tip: To obtain a good solder join, each end of bezel wire must be perfectly flat. In a perfect world, there would be access to a Miter Joint Jig Vise. Secure one edge of the bezel wire flush against the flat fence alignment notch in the 90 degree opening in the vice. File the end flat. Repeat with the other end. Note: The vise used here is has 45 and 90 degree jaws.

Step 20

Wrap the bezel wire around the cabochon. Use an ultra fine point Sharpie marker to make a line where the excess bezel wire needs to be removed.

Step 21

Cut the excess bezel wire off, leaving a scant bit extra.

Step 22

Follow Step 19, removing only a little bezel wire at a time, until a good fit is achieved around the cabochon.

Step 23

Clean the bezel wire.

Step 24

Line the ends of the bezel wire up so they are perfectly matched. Using a clean titanium solder pick, place a small amounts of hard paste solder across the inner bezel seam.

Step 25

Place the bezel on a soldering surface. Use a butane torch to evenly heat the bezel, continually moving around the bezel, until the solder flows, pulling through the seam to the outside. Immediately remove the torch.

Step 26

Pickle the bezel.

Step 27

Use 320, 400, 600, 1200 and 2000 grit sandpaper to refine the bezel seam-See Step 50.

Step 28

Reshape the bezel. If the bezel is very out of round, trying to do this on the cabochon may scratch it. Since the cabochon in this case is round, a round hoop mandrel (used when making hoop earrings) is helpful to re-round the bezel. Slide it on the mandrel and finger press the bezel into shape. Remove the bezel, flip it over, and repeat the process.

Step 29

Place the bezel ring on a piece of 400 grit sandpaper. Using two or three fingers to hold the bezel down, use a figure 8 motion to sand the back perfectly flat. This will be the side that faces the backplate so it needs to be perfectly flat.

Step 30

Place the cabochon in the bezel. Notice the very thin paua shell cabochon sits way down in the bezel. Either the bezel needs to be sanded down or the cabochon needs to be raised. Raising the cabochon is more in keeping with the design esthetic of the pendant so that was the choice. A thicker cabochon, like the turquoise mountain jade, does not need to be raised.

Step 31

For thin cabochons: Push the cabochon up in the bezel until there is only enough space for the metal to bend over and hold the cabochon in place. Decide what thickness of wire would be needed to raise the cabochon to that point. Make a ring from the wire to fit inside the bezel. Several thicknesses of washers cut from sheet metal could also be used to raise the cabochon-washers use less metal for less weight.

Step 32

Draw a 1¼" circle on a piece of 20 or 22 gauge sheet metal. Flatten and save a scrap of the cut away metal to help in Steps 51 and 52.

Step 33

Optional: Use a Sharpie marker to divide the circle evenly. Use a Mini TruStrike Sharp Designer Hammer to texture lines radiating out from the center of the circle.

Pro Tip: Texturing will push the metal out of shape so the circle may need to be redrawn.

Step 34

Use shears to cut the disc out.

Step 35

Refine the edge of the circle, first with a file and then with the sandpaper, working from 320 grit up through 2000 grit.

Step 36

Use a metal content stamp to mark the back of the disc inside the area where the bezel will be.

Step 37

Anneal, pickle and dry the disc.

Step 38

The disc must be perfectly flat. Place a disc in the center of a bench block. Place another bench block on top of the disc, catty (or kitty) corner. Doing this makes it easier to pick the top block up with the fingers of two hands. Pick the block up a half inch or so and evenly, forcefully and quickly push the top block down onto the disc. Flip the disc over and repeat the process if needed.

Step 39

Cut the following lengths of 18 gauge wire: three pieces ¾" long, three pieces ¼" long, four pieces ½" long and two pieces 3/8" long.

Step 40

Use a butane torch to melt each wire piece into balls.

Pro Tip: With copper, it sometimes helps if you cut the wire into smaller sections and place the pieces side by side to ball them.

Step 41

Let the balls cool. Hold each with the tips of your chain nose pliers and run the back of the ball over 320 or 400 grit sandpaper to remove any fire scale and any bits of fire block that may be sticking to them.

Pro Tip: A dry run around this time, fitting some of the elements in place, can help in design decision making-what to add, what to remove, what changes and adjustments need to be made, etc.

Step 42

Cut a piece of 16 gauge wire 3" long. Use a butane torch to ball the ends.

Step 43

Use an ultra fine point Sharpie marker to mark the center of the balled wire.

Step 44

Place the mark between the center two steps on the 6-step pliers. Bend the two ends down over step 3, making sure that the balled ends are even.

Step 45

Keep the wire on the 6-step pliers to form the loop-not shown, but important to keep the loop round. Use the tips of a soft jaw round nose pliers to grasp the two wires just below the step 3 barrel. Bend the wire ends out, as shown. Be careful if not using soft jaw round nose pliers.

Step 46

Lightly pull the wire "vines" apart where they crossed on top of each other so they will sit side by side.

Step 47

Round the vines of the piece on a 1" mandrel.

Step 48

Use a soft jaw round nose pliers to bend the ends of the vine up. Check the fit on the bezel.

Step 49

Center the bezel on the disk. Use an ultra fine point Sharpie marker to draw around the bezel. This circle on the disc will help in bezel placement, helping to avoid smearing solder around on the disc if the bezel was misplace and had to be moved.

Step 50

Using a clean titanium solder pick, place small amounts of medium paste solder around the bottom inside of the bezel. Place the bezel, centered on the disc, solder side down, and the bezel seam facing towards where the flower will be. This will hide any imperfections in the join.

Step 51

Place the loop and vine section on top of the disc, close to the bezel to determine where to place the solder. Be careful to not move the bezel. Place medium paste solder on the back of the loop and vine section where it will connect to the disc and bezel. The solder should not be placed close to the ends of the vines. Those sections need to bend up and over the leaves. Use a scrap piece of metal the same gauge as the disc to prop the loop and vine section.

Step 52

Transfer the pieces to a solder brick. Use the butane torch to evenly heat the loop and vine, disc and bezel, moving the torch around the entire piece. Be careful. The bezel wire is fine silver and very thin, so it will melt very easily if too much heat is applied to it for too long. When the solder flows, immediately remove the torch.

Step 53

Use the solder pick to place medium paste solder on the flat side of three balled ¼" long pieces of 18 gauge wire. Place in the center of the flower. An alternative is to ball 2" of 18 gauge wire for one large central bead.

Step 54

Use a butane torch to evenly heat the flower and balls until the solder flows. Immediately remove the torch.

Step 55

Pickle the loop and vine bezel assembly and flower.

Step 56

Place the leaves in the desired location to determine where to place solder. Use a clean titanium solder pick to place small amounts of easy paste solder on the base assembly where they touch the bezel and loop and vine section. Press the leaves lightly in place.

Step 57

Place the flower between the two leaves to determine where to place solder. Use a titanium solder pick to place small amounts of easy paste solder where the flower will touch the bezel, leaves and vine and loop section.

Step 58

Use a titanium solder pick to place a small amount of easy paste solder on the back of each of the three balled ¾" long pieces of 18 gauge wire and on the side where they will touch the bezel. Place one at the center bottom of the bezel. Place one slightly under the tip of each leaf. Place a small amount of easy paste solder on the back of each of the three balled ½" long pieces of 18 gauge, where they will touch the bezel and where they will touch the bead they are positioned next to. Place one on either side of the bottom center ball. Place one ball below each large ball on either side of the pendant by the leaves. Place a small amount of easy paste solder on the back of each of the two balled 3/8" long pieces of 18 gauge, where they will touch the bezel and where they will touch the bead they are positioned next to. Place one of these balls below the two upper balls on either side of the bezel.

Step 59

Use the butane torch to evenly heat the assembly, concentrating a bit more on the loop and vine, flower and leaf section as that is the thicker portion of the pendant and will require longer to heat up to temperature to melt the solder.

Pro Tip: It can sometimes help to raise the assembly up to make it easier to see a solder join and to allow more heat to go under the piece. Here you see a stack of pennies used.

Step 60

Pickle the piece to remove fire scale.

Step 61

Bend the vines over the leaves.

Step 62

Tumble the piece in steel shot to bring up a nice shine.

Step 63

Leave the piece bright and shiny or use liver of sulfur to patina it. Hint: The bail can be added at this time if patinating together is desired. However, it is a bit more difficult to bezel set the cabochon if this is done now because the bail does not allow the pendant to sit flat on a surface. Buff with 0000 steel wool to bring out the dimension of your texturing. (The ring to raise the cabochon was temporarily placed in the bezel in this photo. )

Step 64

Buffing with steel wool creates a satin finish on the metal. If a shine is desired, tumble for 30 more minutes.

Step 65

For paua shell thin cabochons: Place the ring inside the bezel. Place the cabochon on top of the ring inside the bezel. Push down to seat the cabochon.

For regular cabochons: Slip the cabochon under the flower and slide into the bezel. If the flower is in the way and will scratch the cabochon, use a soft jaw pliers to carefully lift the petal out of the way. Push the cabochon down to seat it in the bezel.

Step 66

Carefully use a bezel rocker to push the bezel in over the cab. Think of the bezel as a clock. Starting at 6 o'clock, gently push the top of the bezel wire toward the cabochon, rocking the bezel rocker back and forth to push about ¼" of the bezel in. Then, if the flower petal was bent up to accommodate the cabochon, use your fingers or a wooden dowel to push it back down over the cabochon (This was the 12 o'clock position).

Step 67

Just as in Step 66, work opposite sides of the bezel. Starting at 9 o'clock, gently push the top of the bezel wire toward the cabochon, rocking the bezel rocker back and forth to push about ¼" of the bezel in. Do the same thing at 3 o'clock.

Step 68

Four quadrants have been created. Starting in the center of one quadrant, gently push the top of the bezel wire toward the cabochon, rocking the bezel rocker back and forth to push about ¼" of the bezel in. Because the opposite side is under the leaf, the tip of a narrow blade knife may need to be used to push the bezel down.

Step 69

Repeat Step 68 in the other quadrant.

Step 70

Use the bezel rocker to continue to push the bezel wire in until no more gaps are left.

Step 71

The bezel will still look a bit rough. If a bezel burnisher slips, it can scratch the metal and/or cabochon. Wood does not scratch in that manner. Use the tip of a sharpened wooden dowel to smooth the bezel under the leaves. Push the flat end of the wooden dowel along the top of the bezel to smooth it around the rest of the cabochon. A bezel burnisher is used in the same manner and it makes a high shine on the metal where it has been used, which wood does not do. Photos below show a favorite bezel pusher of mine-half a wooden clothespin-in use

Step 72

Attach a bail to the pendant.

Reviews

Judy Larson

My philosophy has always been "I will never live long enough to learn everything I want to learn, go everywhere I want to go and see everything I want to see!" So, what I make and how I create it is always changing and evolving. I was born shortly after WWII to parents who grew up during the Depression. They always had a "we can do it, we can make it" attitude which rubbed off on my two younger brothers and me. My brothers are amazing and can make and do ANYTHING! When I was a little girl, my mother gave me an old carved cigar box, which I cherish, filled with pop beads, wooden beads and yarn for stringing. That was the beginning of my jewelry making journey.

On a visit to the Grand Canyon when I was a young woman, I was fortunate enough to help a Native American silversmith sand cast my first silver bracelet and bezel set a large turquoise nugget on top. I was in love, hook, line and sinker! While working full time and having a family here in northern Minnesota, my artistic endeavors slowed down but never stopped. I am an artist, scrapbooker, seamstress, woodworker and jewelry artisan. Now that I am retired, I am able to indulge in all my hobbies. However, there just never seems to be enough time in the day to do it all, but I try!

I have been teaching community education beginner and intermediate jewelry making classes since my retirement. Many of my students have been bitten so hard by the jewelry making bug that they say I have turned them into monsters-they just can't get enough. Making jewelry, seeing something take shape from small bits and pieces, is so rewarding that I hope it brings out the "monster" in you, too!