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• Metalsmithing Tools

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• Bracelet Technic

Mini Bench Vise | Copper and Brass Sheet | Oxidizing Solution
Metal Mesh | Mini Blow Torch | Sealing | Miniature Hardware
Metal Punch Sets | Saw Frame

Copper and Brass Sheet

Christine Cox 6/06
Milton
Purpleheart wood, Copper, paper, Thread
Color is gesso, colored pencils, StazOn Ink

Milton Open

Christine Cox 8/05
Distressed Bird of Paradise
Nickel Silver, Acrylic, Oxidizer

Jody Maple 5/05
Maple Leaf Pendant
Patinated Copper Sheet and Copper Mesh, Copper Eyelets
Jody made this in an Art Parts class taught by Christine Cox
Find out how to achieve the color on this brooch in our new booklet Coloring Base Metals: A Practical Guide by Christine Cox.

Pam Hewitt 4/05
Etched Book Cover
nickel, copper, paper
Pam made this in one of my
5-day Metalsmithing Intensives

Carolyn Disher 4/05
Fabricated Book Cover
nickel, copper, leather, paper
Carolyn made this in one of my
5-day Metalsmithing Intensives

Christine Cox 10/04
See close-up photos of this bracelet and others here

Bambi Stalder 7/04
Butterfly Book
Bambi made this in my Art Parts: Etched and Fabricated Metal class. Learn to etch from our Metal Etching How-To and Idea Book.

Artist: Christine Cox 4/04
Brass Bezel Box
22 and 26 ga. Brass Sheet, brass wire, stone, silver solder, Oxidizing Solution

Artist: Christine Cox 3/04
Vincent's Pet Tag
(In the collection of Vincent Cox)
20 ga. Copper, 22 ga. Nickel Silver and 26 ga. Brass
Learn to make pet tags in my article in The Muse

Artist: Christine Cox 3/04
Butterfly Stick Pin (in the collection of Sandy Brien). 22 gauge Brass Sheet, Brass Wire, Torched for Color

Artist: Christine Cox 3/04
Vincent Cox with Good Luck box
The ornament on top of the box was etched using the instructions in our Etched Metal: How-To and Idea Book

Gayle? Art & Soul 2004 class - The student started with an old Masonite clipboard and just look at the results! She also used our Extra Long Eyelets and our Copper Mesh.

Artist: Jerra Banwarth 2003
Jerra made this très élégant toothpick holder from 26 Gauge Copper and patterned silver wire.

Virginia Dunstan (hardware) 9/05
Made from our
Original Traveler Journal Kit
and Brass Sheet and wire

Christine Cox 10/04
Find out how to achieve the color on this clock in our new booklet Coloring Base Metals: A Practical Guide by Christine Cox.

Christine Cox 8/05
Erté Dancer
In the collection of Glenny Densem-Moir
This clock is etched. Learn to etch from our Metal Etching How-To and Idea Book.

Christine Cox 8/04
Find out how to achieve the color on this book cover in our booklet Coloring Base Metals: A Practical Guide by Christine Cox.

Artist: Christine Cox 4/04
Jules' Collar and Slide
(In the collection of Jules Cox)
Collar is leather with Rivets and Snaps
Tag is 20 ga. Copper Sheet
Learn to make pet tags in my article in The Muse

Artist: Christine Cox 3/04
Alabama's Pet Tag
(In the collection of Alabama Cox)
22 ga. Brass
Learn to make pet tags in my article in The Muse

Artist: Christine Cox 3/04
Dinosaur Egg Box
22 Brass Sheet, silver solder, Oxidizing Solution. Learn to etch from our Metal Etching How-To and Idea Book

Artist: Christine Cox 3/04
Etched Checked Necklace
20 ga. Copper Sheet, copper wire, 60/40 Solder, Sterling Jump Ring
I fluxed the edges of the piece after it was riveted together and then soldered using my Soldering Iron. Learn to etch from our Metal Etching How-To and Idea Book

Artist: Christine Cox 3/04
Cox/Art Necklace
22 ga. Nickel Silver Sheet, copper wire, 24 Ga. Copper Sheet. Learn to etch from our Metal Etching How-To and Idea Book

Artist: Christine Cox 3/04
Etched Tinkly Necklace
22 ga. Nickel Silver Sheet, sterling chain, Sterling Jump Rings. Make a necklace like this in Christine's Art Parts class! Learn to etch from our Metal Etching How-To and Idea Book

Artist: Christine Cox 3/04
'Elektra' (detail)
Body is made from 20 ga. Copper Sheet
Fibers are attached to a round piece of 22 gauge Brass Sheet

Artist: Carole Lamb 2003
Carole made these 2 buttons from 26 gauge copper and brass sheet. The letters were punched using our Metal Punch Stamps.

Christine Cox 8/03
Li'l Traveler Journal Kit: Khaki/Black
22 gauge brass, copper wire

Christine Cox 3/04
In the collection of Karen Ritter
Click on the photo and check out the Copper Mesh in the background.
Find out how to achieve the color on this clock in our new booklet Coloring Base Metals: A Practical Guide by Christine Cox.

Artist: Christine Cox 12/03
Materials: mask armature, 26 Gauge Copper, Copper Wire, Copper Mesh, Eyelet, acrylic paint
This life-size mask was covered with 26 gauge copper which I annealed and then formed and riveted.
Mask was made for Art & Soul 2004 Challenge
Published in "Somerset Studio Gallery IV"

Artist: Christine Cox 3/04
2 Etched Tube Necklaces
22 ga. Nickel Silver Sheet, 22 gauge Brass Sheet. Learn to etch from our Metal Etching How-To and Idea Book

Saw Frame

Cutting Music Albums
I just love cutting up albums and using them in my metal work. Check your local thrift stores as they sometimes have albums in colors other than black. I have a great brown one that's destined to be cut up soon. I find that a 5/0 Blade is perfect for vinyl.

Cut the album with a Saw Frame rather than trying to cut it on a paper cutter -- a mistake I made (the album shattered). To make the vinyl pieces smaller and more manageable, score them deeply (3 or 4 cuts) with a utility knife and ruler. Snap the record in half as you would glass.

This drawing will show you the correct way to string blades in your saw frame

Christine Cox 2004

How to String a Blade in a Saw Frame
To install a Blade in your jeweler’s Saw Frame, first observe the orientation of the blade’s teeth. When properly installed, the teeth will face out (in the cutting direction of the frame) and down toward the handle (see drawing). A great trick for finding the direction of the teeth (those little guys can be very hard to see) is to run the blade across your sleeve. The teeth will hang up on the fabric in one direction and not in the other. The direction in which it hangs is the direction the teeth are facing.

Now open the key closest to the handle of the saw frame. Insert the blade, double checking the orientation. Tighten the key.

Flex the saw frame by placing the handle against your breastbone (or stand up and use your hip) and resting the screw or nub at the top of the frame on a table. When you push the handle with your chest (or hip), the frame will flex so that the blade can reach to the top key. Note: when the frame is at rest, the blade should not quite touch the top key. You should have to flex the frame to get the blade into the right position. If the frame is too short for the blade, the blade will be loose and will not cut correctly.

Use the “ping” test to ensure that the blade is tight enough. After stringing and tightening the blade, hold it up close to your ear and “ping” it with a fingernail. The resulting sound should be high and sharp. If it’s dull, the blade is loose. Try again.

Note that I'm using a Poly Hammer in this photo. This is the hammer I recommend for hitting steel tools. It's heavy and it doesn't bounce on the tool like a steel hammer can.

Christine Cox 2/05
A Brief Moment in Time
Click image for larger view

Butterfly Brooch

Oxidizing Solution

• Our oxidizing solution works on sterling silver, white brass (nickel silver), copper and brass.

• Use stick-on letters on your metal and then oxidize it. When you pull the letters off you'll have a great 2-color effect!

• Our oxidizer is low-odor.

• Also, while you should always wear gloves when using it, our oxidizer is fairly benign. If you get any on your hands simply wash them in soap and water. 

• Make sure you don't trap any bubbles underneath your metal or you'll get a spot with no oxidation. 

• If you just leave copper, brass or nickel in the oxidizer for a few seconds you'll get a warm, yellow/brown color. More time means darker colors ranging from brown to blue/gray to black.

• Sterling silver will turn from light gray to a deep blue/gray (notice the picture of the sterling ring I oxidized).

• For the darkest color possible, a really nice charcoal gray (it never gets really solid black), you can soak the clean metal in the solution for about 2 minutes.
  
  Remove the metal (AWAY from the solution) and use a soft brass brush with a drop of soap on it to gently brush the entire piece of metal.
  
  Rinse the metal. You need to make sure there is no soap on it, otherwise when you put it back into the solution the soap will neutralize the solution and it will no longer oxidize. Also, be sure not to use the brass brush over the solution as you will be scraping off bits of oxidized metal and they will pollute the solution. As the solution can be used over and over again it's important to keep it as pure as possible.
  
  Put the metal back into the solution and let it sit another 2 minutes or so.
  
  Brass brush with soap and water again.
  
  Rinse and repeat several times. It will seem as though the solution is just coming back off every time you brush it but then, suddenly, the metal will stay nice and dark. At this point you are done. No more color can be achieved.
  
  Clean the metal gently (just with your gloved hands) with soap and water.
   

• While the oxidizer is still wet you can move a paper towel or something else over it to 'variegate' the color. 

• If you don't like how the oxidizing looks because you dipped it for too long, you can take it back off with Polishing Paper, Scotch Brite, steel wool, sand paper, a wire wheel on your flex shaft, etc.

• Try this cool trick I discovered (wear gloves and goggles as the oxidizer splutters a lot), torch your metal to give it color then, while it's still hot, dip directly into the oxidizer. If you sort of in-out-in-out the metal you'll get a wave-y pattern. The bubbling makes a very cool pattern on the metal. I call this technique 'Torch Collage.' Caution, if your metal is too hot it may lose its temper when you put it into the oxidizing solution. Test this on a scrap of the same gauge and alloy. This and several other coloring techniques are featured in our booklet "Coloring Base Metals: A Practical Guide by Christine Cox." Be sure to wear goggles and gloves to protect yourself from the splattering solution.

• Try torching the metal for maximum color and then quenching it in water. Then oxidize it just a little. You'll get cool variations in the colors caused by the torch (mostly shades of browns, you'll lose the brighter colors).

Artist: Christine Cox 5/04
Sterling Silver Ring darkened in our Oxidizing Solution after being formed on our Steel Ring Mandrel

Artist: Christine Cox 3/04
22 Gauge Brass Sheet
I etched the letters onto the metal and then cut out, formed and soldered the pieces together. The lid has a ring on the under-side which holds it onto the box with friction.

Doesn't the box look great after a bath in our Oxidizing Solution?

Learn to etch from our Metal Etching How-To and Idea Book

Think out of the box! Clipiolas (those fantastic paperclips from Italy) are made of brass so they oxidize beautifully! Our Brass Eyelets also oxidize to beautiful colors.

The mesh also oxidizes beautifully in our Oxidizing Solution

Christine Cox 7/03
Pin made in Tim McCreight's class at OCAC, Portland, OR

Christine Cox 8/03
Pictures and Transparencies by ARTchix Studios
All charms are 1" X 1 1/4"

Christine Cox 8/03

Check out the Winter 2003 and Spring 2004 issues of ARTitude Zine: Full directions and diagrams for making these very cool charms and a bracelet using them!

You will need the following:

• 24 or 26 ga. Copper Sheet 

• Flex Shaft

• Saw Frame and Blades

• Bench Pin

• Flat File

• Needle Files

• Mini Needle Files

• Automagic Center Punch

• Charm Template (printed on sticker paper)

• Polishing Cloths

• Bench Block

• Riveting Hammer (or small ball pien, in a pinch)

Christine Cox 8/03

Christine Cox 8/03

Charm Template
Print this on sticker paper 

Mini Bench Vise

Use a Mini Bench Vise to hold tools while you work. You'll want it right next to your seat as you'll find a million uses for it. Here's my set-up when I'm making bead or cupped rivets. The nail-set (available at hardware stores) gently prevents the front of the rivet  from being damaged or flattened while you hammer the back of the rivet.

Here I'm using my Mini Bench Vise to hold a wire while I form a rivet head. The hammer is a special Riveting Hammer. Note correct use of hammer.

Here I have a charm in my Mini Bench Vise that I'm soft soldering (with a Soldering Iron). The piece of leather is to protect the charm from the vise jaws and the pencil acts as a little level. I just raise or lower one end of the pencil when I want to level the charm. It keeps me from burning my fingers and makes my Solder bead level.