Walking along the beach, Allen McGhee isn’t just there for the beautiful ocean view. He’s on the hunt for sea glass and smaller beach stones that might make a nice piece of jewelry or a DIY sea glass art project. Brown and green sea glass are common, red and blue are more elusive, but all have the potential of being transformed into a recycled work of art. Tackling this beautiful craft may be easier than you think, especially with some helpful hints to get you started.

Preparing Cuttlefish Bone Molds

Cuttlefish are cephalopods like octopuses and squid. Cuttlefish bone makes an excellent material for creating molds for jewelry-making endeavors. Cuttlefish bone is inexpensive and readily available from jewelry suppliers and pet stores. However, it’s generally cheaper at pet stores, especially those that buy and sell it in bulk.

Cuttlefish bones have a hard side and a soft side. It’s important to inspect each piece carefully to make sure the soft side of the cuttlefish bone is relatively flat. You don’t want any large cracks or indentations that can’t be easily sanded out. These can detract from your design or cause the cuttlebone to break during the jewelry-making process.

Choose medium-sized pieces that are large enough to cut in half. McGhee likes to use a flush-cut saw to halve his pieces, although you can use a jeweler’s saw or a coping saw.

When cutting a cuttlebone in half, always place the soft side down and cut from the hard side. This helps prevent cracking or splitting. The cutting process will create a lot of dust, so be sure to wear the appropriate eye protection throughout the entire process.

You also want to make sure you’re wearing appropriate clothing since you will be working with an open flame. Clear your work surface so it is free of debris that can catch on fire, such as paper towels or cloth rags.

After the cuttlebone is halved, you must prepare it to be used as a mold. Sand the soft side of the cuttlefish bone to create a smooth contact surface that provides a perfect fit between the two halves. Some people rub the soft sides of the two halves together, but McGhee likes to use sandpaper. Lay the sandpaper on a flat surface and rub the soft side of the cuttlefish bone along the top of the sandpaper, not vice versa.

McGhee uses a circular motion. Rubbing back and forth can create a curved surface you don’t want. Both halves must be flat when finished. While the sandpaper helps create a smooth surface, it doesn’t detract from the natural growth lines found within the bone. These lines resemble wood grain and give each piece a unique texture.

How to Melt Silver to Make Jewelry – Simplified Steps STEP 1: Cut the cuttlefish bone in half STEP 2: Sand soft sides of the cuttlebone until smooth STEP 3: Blow off residual dust STEP 4: Carve a design into cuttlebone STEP 5: Bind the two halves together STEPS 6 & 7: Melt and pour the metal STEP 8: Remove the hardened metal jewelry piece

How to Melt Silver to Make Jewelry – Carving the Design 

McGhee carves all his designs freestyle by hand. This is probably the most creative part of the process and one he enjoys immensely as an artist. He creates each carving using a variety of wood carving tools and dental tools. Take care when carving your design because it takes very little pressure to etch the surface. You don’t want to go too deep and risk breaking the cuttlebone.

Carve your design into one of the halves of the cuttlefish bone and leave the other side unmarred. This is also when McGhee notches a place to insert a piece of sea glass or beach stone into the mold. Sometimes he incorporates more than one piece of glass or stone into the design based on what he envisions.

While he’s carving, he uses a manual air blower to remove dust from the surface of the cuttlefish bone so the lines of his design are crisp. Because he primarily creates pendants, he either includes some type of loop or opening in the design or drills a hole in the top of the finished piece for a chain. Once he’s satisfied with the design, he cuts some air reliefs. These are simply a few thin lines that radiate from the design.

“Air reliefs help make sure the melted metal gets all the way to the bottom of the mold,” said McGhee. “Without them, the metal may only fill the crevices of your design partway and it comes out incomplete. Since you can’t reuse the mold, you have to start over, but you can melt the metal again and reuse it.”

Next, sandwich the two halves together with the flat sides facing each other and bind them. McGhee likes to wire the two pieces together. He says you can also use a clamp but wire is easiest. No matter what you use, be sure the pieces are tight to ensure none of the scorching hot, melted metal leaks out the bottom.

Carve out a pouring cone at the top of the cuttlefish. The cone is a large indentation and should just meet the top edge of the design inside. This opening is where you’ll pour your melted metal.

Cuttlefish bone is a popular option for jewelry molds because it’s naturally resistant to the heat of melted metals, but the process does destroy the mold.

QUICK TIP: Don’t throw away your used cuttlebone. A cuttlebone mold isn’t reusable for jewelry-making, but it’s recyclable as plant food.

How to Melt Silver to Make Jewelry – Pouring  

McGhee prefers sterling because of its lower melting point. It’s easier to work with and more desirable than some metals. It’s also much cheaper than gold, making it a great metal when you’re learning. While he’s used bronze some, silver remains his go-to metal. You can buy silver castings, sheets and tubes from various sources, but you can save money and practice recycling by purchasing used silver. McGhee buys broken jewelry, sterling silver flatware and other odd pieces of silver from pawnshops or at garage sales. When he uses old forks, spoons, cups or other large pieces of silver, he must first chop them down to size. The pieces must be able to fit inside your crucible. Plus, smaller pieces of silver melt faster than larger ones.

All you need to melt metal is a propane torch, propane, a crucible to hold the metal while it’s melting and some borax to act as flux. McGhee uses the small 16-ounce camp stove replacement propane tanks because they’re easier to manage since they’re small and they’re relatively cheap at about $4 a piece.

When preparing to melt, estimate how much scrap silver you need to fill your mold.

It’s better to overestimate because you can always remelt any unused metal. Place the metal into a ceramic crucible and begin heating it with your torch to melt it. Add a small amount of borax as it heats and starts to melt to prevent it from oxidizing. Carefully swirl the crucible as the metal begins to melt until it’s completely liquified.

Once you have liquid metal, pour it into the pouring cone you created. Be prepared to pour the molten metal into your mold immediately. If it cools, it will harden again. To get a nice pour, you don’t want the metal to cool down even a little as it goes into the mold.

Once the liquid metal reaches the top of the opening, stop pouring. The metal usually hardens quickly but stays very hot to the touch for a while. The safest option is to let it cool inside the mold before opening it up.

McGhee likes to open the mold as soon as the metal has hardened and throw finished pieces into a container of water to cool down quickly. However, if you choose this route, be careful as the metal will be hot enough to cause a serious burn. Wear heat-resistant gloves to protect your hands.

WARNING! Cuttlebone puts off a strong odor once the hot metal is poured inside and singes the surface of the cuttlebone.

This story about how to melt silver to make jewelry previously appeared in Rock & Gem magazine. Click here to subscribe! Story and photos by Moira K. McGhee.

The post How to Melt Silver to Make Jewelry first appeared on Rock & Gem Magazine.

From the Editor: We are connecting with our regular advertisers during this time of self-quarantine in light of the COVID-19 pandemic, to learn how they are spending this time and to learn a bit more about them and their business.

David Lee Smith and his wife, Sue, owners of SilverSmithingClass.com, are familiar with the patience, perseverance, and practical hopefulness needed to create and operate a business focused on personal passions.

After working in a few different careers, the couple opened Beads Amore’ in Indianapolis in 2001, with Sue at the helm. Through opening the business and working with customers to create jewelry, David rediscovered a creative passion he enjoyed as a teen, building metal art. With the country’s economic struggles of 2008 and 2009, business at the bead shop dropped to a point where the Smiths’ could not keep the doors open unless they found another source of income, David explained.

2020-2021 Class Schedule Update: SilverSmithingClass.com is hosting beginner classes, in small-group settings with safety measures in place, with space available in sessions set for the end of 2020 and the first quarter of 2021. Visit SilverSmithingClass.com to view the schedule and learn more.

Changing Gears

As they say, necessity is the mother of invention, and with the future of their business hanging in the balance, David contacted various bead stores across the United States, inquiring as to whether they would welcome him to teach silversmithing classes at their stores. The response was tremendously positive and thus began a busy travel schedule for David, who regularly taught at 33 stores, from 2009 until 2018. During this time, unfortunately, the Smiths had to close their bead store, at which point the couple decided it was time to move back to the West Coast.

The Smiths’ purchased a home on Saunders Lake in Oregon, and although it wasn’t supposed to be a fixer-upper, it was, David said.

“One hundred thousand dollars later and lots of sweat equity, it is really quite nice, with 280-degree lake views from just about every room,” he added.

About the time the renovation was complete, David needed to cut back on his travel and teaching schedule. This occurred as almost all of the bead stores he visited and taught at were going out of business. As David explains, the small craft bead business never seemed to fully recover following the economic challenges of 2008 and 2009.

With this shift in their industry, the Smiths’ developed SilverSmithingClass.com and the Silversmithing Retreat. This is another example of perseverance at work in the life and career of this couple. Now, the Smiths’ host silversmithing retreats in their home studio, and travel to Las Vegas and Sacramento a few times a year to teach.

In addition to operating their home-shop-studio in North Bend, Oregon, the couple sells and ships products such as videos, and tools via the www.silversmithingclass.com website. During the nation’s period of self-quarantine, the Smiths have been using the time to learn new linking techniques and SEO to implement on their website, as well as developing new Silversmithing Retreat on the Lake promo materials and manufacturing new tools for the jewelry industry, specifically bezel setting cabochons.

Hear from David himself…

We asked David a few additional questions to help us get to know this seasoned silversmith and teacher better.

Rock & Gem: When people ask what you do for a living, what’s your response?
David Smith: I teach people how to make awesome jewelry out of silver and stones.

RG: Who or what is one of the greatest sources of inspiration for you, and why?
DS: Bill Gates inspired me to succeed without a formal college education, by his success without a (formal) degree.

RG: What is the best piece of advice you’ve ever received?
DS: Focus your time on the task at hand and don’t get distracted by the unimportant or things you cannot change.

RG: In terms of business operations, what are some of the things you’ve come up with to ‘ride the tide’ during this time of self-quarantine in light of the COVID-19 pandemic?
DS: I have also spent time developing a production line for my new item of equipment, the “Superior Soldering Tripod,” and am now working on the marketing for it and our retreats.

RG: What is one thing for which you are most grateful?
DS: My wife Sue has been my solid rock for the last 17 years in many ways, including being an exceptionally good cook. Even when things are tough, if you have good food and a stable household, things go so much easier.

RG: Think back to when you were a child, what was one of your favorite things to do, and what made it special?
DS: Even in early childhood I was always building things. Blocks, Lincoln Logs, Erector Sets, hot rods, race cars, and eventually houses and then jewelry. I have supervised many different types of manufacturing workers and loved the teaching part of it. So, teaching and making tools (form) my sweet spot.

For More Information

Online: www.silversmithingclass.com and www.silversmithingretreat.com
Phone: 916-548-7361
Email: dave@silversmithingclass.com

The post Business Spotlight: SilverSmithingClass.com first appeared on Rock & Gem Magazine.

From the Editor: We are connecting with our regular advertisers during this time of self-quarantine in light of the COVID-19 pandemic, to learn how they are spending this time and to learn a bit more about them and their business.

In the beautiful community of Norway, in Michigan’s Upper Peninsula, R. Kelley Laughlin and his son, Cullen Laughlin-Yurs, are surrounded by natural beauty, and it more than serves as inspiration for the duo, it’s the very focus of their work.

Dream Job in a Dream Location

Laughlin began his business, Kelley’s Kaleidoscope, in 1984. With more than 40 years of experience in rock and gem hunting and collecting, identification, as well as lapidary work and silver jewelry design, much of his work has been a dream job in a dream location, a rockhounds dream destination certainly.

The family business includes a brick-and-mortar shop, as well as an online mail-order operation. While the Laughlins’ have temporarily closed their physical shop, in light of the country’s current state of self-quarantine, the mail-order business through the company website (www.kelleyskaleidoscope.com) continues to serve the public.

“We are still open for mail-order business,” Laughlin confirmed. “And we have used the (self-quarantine) time to reorganize our extensive stock, create more sterling silver jewelry, and cut cabochons.”

Intriguing Inventory

Reviewing the Kelley’s Kaleidoscope website there are a variety of avenues to navigate the Laughlin’s inventory, by specimen name, price, location, type, and there is even a $5 Mineral Specimens category, with a nice selection of minerals from deposits in the U.S. and abroad.

In addition to working in their shop, Laughlin and his son,

Cullen, attend various shows, and in the past from time to time, they’ve led groups of college students studying geology, on field trips. One of their chosen destinations has been the Spurr Mine, located in Imperial Heights, Baraga County, Michigan. This iron mine is in the Bijiki iron-formation of the Michigamme slate.

We asked R. Kelley a few additional questions, to learn a bit more about this member of the rockhounding and lapidary community.

Rock & Gem: When people ask what you do for a living, what’s your response?
R. Kelley Laughlin: I tell them I sell rocks which is silly because they are lying all over the place.

RG: Who or what is one of the greatest sources of inspiration for you, and why?
RKL: Johann Wolfgang von Goethe, because he was such a diverse autodidactic polymath.

RG: What is the best piece of advice you’ve ever received?
RKL: My father once told me, “The greatest thing a person can do is forgive another person.”

RG: What is one thing for which you are most grateful?
RKL: My family.

RG: Think back to when you were a child, what was one of your favorite things to do, and what made it special?
RKL: I was an explorer and would often get in trouble for wandering too far from home.

For More Information

Online: www.kelleykaleidoscope.com
Phone: 906-563-9304
Email: kelleylaughlin@yahoo.com

The post Business Spotlight: Kelley’s Kaleidoscope first appeared on Rock & Gem Magazine.

“Inspiration is the key to our evolution.”

— Eddie Peña

There is a lot to draw inspiration from within the world around us. However, sometimes, some of us keep a schedule that doesn’t allow us to really see the inspiration, or imagine what unique creation could emerge when we use our talents and skills to incorporate natural beauty like rocks, minerals, gems, and fossils in artistic endeavors.

The evolution of an artistic work, whatever it is made from, often appears to prompt a transformation on some level, for the artist responsible for the creation as well. It’s a gift given and received and shared, time and again.

The brilliant pieces showcased in the Artisan Alley blog/column are the genius of silversmiths and lapidary artists, many of whom are members of the Stone and Silver Facebook group. Below is a compilation of the artists’ answer to the question: How did creating this work, and using this stone inspire your creation? Enjoy!

Indonesian Opal Wood

Silversmith and Lapidary Artist: Allison Herfindahl

Appreciating the innate beauty of natural stone showcased in lapidary art and jewelry is certainly a benefit, and so too are the emotions and memories that may come to mind upon viewing these beautiful pieces.

For lapidary artists, the emotions and memories a piece of art or jewelry bring to mind can help shape the vision they may have for a piece. Such was the case for Allison Herfindahl when she used her lapidary and silversmithing skills and talents to create this item of lapidary art.

“I cabbed this piece of Indonesian Opal Wood to frame the floating feather/leaf above the landscape scene because it reminded me so much of where I stay in Oregon, surrounded by trees and beauty,” said Herfindahl.  “The fine silver frame that I fabricated to hold it was in need of one single feather/leaf to accent the stone and complete my vision.”

Stick Agate and Mediterranean and Turquoise Bead Necklace

Silversmith and Lapidary Artist: Sonny Cole

Even with all that is known about nature, there are plenty of mysteries. That is part of what inspired silversmith and lapidary artist Sonny Cole when she created this enchanting necklace she’s titled “Under the Sea.”

The initial source of inspiration was the stick agate showcased at the center, Cole explained. “To me, it had the mystery of the coral reefs and the sea creatures that take shelter there.”

To build on that vision she added seahorse, fish, shells, starfish, barnacles, and bubble imagery, as well as a red Mediterranean coral branch. To add to the theme, she featured antique beads, red coral and turquoise beads to accent the seafaring feelings.

Koroit Opal and Silver Ring

Silversmith: Lloyd Braunberger
Lapidary Artist: Juvy Andres

Sometimes the inspiration is all about the person who will be the recipient of the artwork, as in the case of this ring, as explained by silversmith Lloyd Braunberger.

“In mid-April of 2019, it was my great pleasure to host a meeting with Dini Alves and her two granddaughters. We spent the afternoon going through cabochons from various lapidary artists and designing rings for her and her granddaughters,” Braunberger explained.

The ring shown was created by the collaborative efforts of Juvy Andres and Braunberger, and designed specifically for one of the granddaughters of Dini Alves. The bezel, Braunberger said, is a special sterling silver material he orders from Israel. With its open design, it really lends itself to a great total viewing of this cabochon.

After the initial meeting with the clients, Braunberger worked the piece and held one final meeting to make certain the fit was perfect for the recipient before he completed the final soldering of the bezel and backplate to the band.

“While I have always enjoyed working with my customers (friends) closely to design and create exactly what they wanted, this time was special for me,” Braunberer said. “I not only had the opportunity to meet new and charming friends but the opportunity to work with them on a much more personal level.”

Crazy Lace Agate with Ingrained Botryoidal Quartz Pendant Necklace

Silversmith: Pamela Gonzalez
Lapidary Artist: Jay Spence

While each artist brings their talents, experience, and vision to each piece they create when collaborating with another artist the shared space for innovation is almost magical.

Pamela Gonzalez conferred with lapidary artist Jay Spence a few times in the course of creating this necklace. Her vision called on her to cut .999 silver wire in increments in order to form various sized silver balls to use as accents. After discussing that design element, the two agreed that the choice of a pyrope garnet for the bail would help pull in the colors present in the heart.

“I textured around the silver balls and the bail to patina in order to bring out the colors of the heart and garnet. I added onyx and garnet beads to the hand-made sterling link chain, and found a puffy heart clasp in my inventory that added an extra accent,” Gonzalez said.

Even, as Gonzalez explained, challenging moments can be inspiring. The process of sweat soldering the bail to the plate, became more involved when the end she was going to use melted, so she had to cut and slightly flatten a silver tube to solder to the back of the bail, in order for the chain to pass through.

“Lots of time on clean up of sweat solder and chain links, but all a labor of love,” she said.

The post Artisan Alley: Evolution of Art and Self first appeared on Rock & Gem Magazine.

In many examples of lapidary work, colors and silver work are both given the room to shine for themselves. Heather is one of my favorite artisans and someone who uses both color and silver to create stunning pieces.

Not only is she a kind and caring person, good friend, and generous in nature and spirit, but her work speaks of all things real, elegant, honest, and beautiful. I hope you enjoy learning more about Heather in this “Just Off the Wheels” profile.

Erin Dana Blazrette: Where is this material from, and what drew you to it?

Heather DiLello: Blue Mountain Picture Jasper is from Oregon. It is one of the “Porcelain Jaspers.” I love the glass like finish it takes and the subtle orbs and simple linear patterns. It has a quiet elegance about it.

EDB: How long have you been a rockhound and lapidary artist, and what attracted you to cabbing?

HD: I’m primarily a silversmith. I learned metal fabrication and a bit of casting at the University of New Mexico as part of my undergraduate degree in Fine Arts. I’ve been making jewelry to sell for almost 12 years. I discovered the amazing world of natural hand cut stones not long after I started my Etsy store. I have been incorporating cabs into my designs ever since.

I started doing my own lapidary work about five years ago while living in Chicago. I discovered that the city’s Parks District had lapidary equipment that was available for use by jewelry students. I signed up for their entry level jewelry class so that I could learn lapidary. I got a little bit of guidance from the jewelry instructor, but mostly I am self-taught through trial and error. I think the fact that I’ve purchased many cabs, (possibly too many), and set many different styles of cabs, gives me a great foundation for cutting stones for my own use and for resale.

EDB: What process do you use when creating cabs? Is there any special technique used when creating the featured cab?

HD: Because I am a bench jeweler, I always approach cab making with the intention of the finished product being made into a piece of jewelry. If I’m working from a slab, I look at the patterns in the rock and find a section of the stone that I think looks interesting. When I place shape templates on that spot to get an idea of what shape works best with the pattern. As I am deciding shape and size, I am usually also thinking along the lines of what the piece will be once it’s done, a ring, a necklace, a bracelet? How is this material going to be best represented? Even if I’m cutting a cab for resale and not going to set it myself, I still take these things into consideration.

EDB: What is a new cabbing approach that is bringing you great excitement?

HD: What brings me excitement is finding new materials to work

with or getting my hands on some of the harder to find materials like Peanut Obsidian or Tahoma Jasper/Agate.

EDB: What advice you would like to give new lapidary artists?

HD:I still consider myself somewhat of a newbie. My best advice would be, don’t rush the process, and always use protection. This would be my same advice for jewelry making. Always be aware of fumes, and dust, wear an apron, wash your hands, and protect your eyes!

EDB: What is your motivation to create, and your favorite part of the process?

HD: I love being creative. In lapidary my favorite part of the process is probably grinding the preform on the diamond wheel and seeing the shape take form.

WHERE TO FIND HEATHER

Company Name: Starving Artist Stones

Etsy.com Shop: StarvingArtistDSGNS.Etsy.com

Instagram: @starvingartiststones

Facebook: https://www.facebook.com/Starving-Artist-Designs-43517225925/

Facebook Groups: Cabs and Slabs

Author: Erin Dana Balzrette

The post Just Off the Wheels: Heather DiLello first appeared on Rock & Gem Magazine.

“Dancing is just discovery, discovery, discovery.”
~Martha Graham

Creative collaborations are a bit like a dance. As one party takes a step forward, the other may step back or to the side to complement the strides. Regardless of the direction the parties’ travel or the position each occupies, the dance progresses as each person patiently reads and responds to the other’s movements and intentions.

At least that’s what came to mind as I was reviewing the selection of lapidary art in this installment of Artisan Alley. The beauty and inspiration of these collaborators creative dances are unmistakable.

The brilliant pieces showcased in the Artisan Alley blog/column are the genius of silversmiths and lapidary artists who are members of the Stone and Silver Facebook group. Below is a compilation of the artists’ answer to a question regarding the inspiration behind their work in these collaborations. Enjoy!

Jet, Lucin Variscite, Kingman Turquoise, and African Stichtite Pendant and Silver Necklace
Silversmith: Andrea Krause
Lapidary Artist: Tim Barney

It may seem too simplistic, but when I read the responses of Andrea Krause and Tim Barney I felt their collaborative approach involves proceeding with a generous heart, which leads to all elements having the opportunity to shine in unique ways.

“Tim’s creations are so cool and I wanted this stone to take center stage with a bit of bling to provide a complement,” stated Andrea Krause. “(It was) done up in sterling with tube set Tanzanites and an Amethyst.”

Tim Barney speaks to the importance of contrast in the collaborative dance. “When designing this inlay stone I was looking for good contrast. Plus, colors that complement each other well.

“I really like how the Jet (black) breaks up the Lucin Variscite (green) and Kingman Turquoise (blue). Then (surrounding it with) crushed African Stichtite (purple) I feel is a nice finish to the stone.”

Amethyst and Agate Pendant and Silver Necklace
Silversmith and Lapidary Artist: Juvy Andres

Sometimes a single element, color, or perspective can reveal the direction a piece of lapidary art will take. Such was the case for Juvy Andres when considering the raw materials she spotlighted in this pendant and necklace.

“The inspiration for this piece is a tulip flower,” she said. “A big piece of amethyst/agate materials was sitting on my workbench, and as I was looking at it, thinking what to do with it, a big point of the amethyst reminded me of a tulip.

“From there, I decided to cut and shape it into a flower bud. I cabbed at least three of these. Upon finishing the cab, I started working on the setting, accenting it with the leaves and stem. The sterling silver base was cut to follow the amethyst points, giving it the appearance of a tulip.”

Namibia Shattuckite Pendant and Argentium Sterling Silver and Aquamarine Accent Stone
Silversmith: Lisa Glavish
Lapidary Artist: Jim of Hilo, Hawaii

Once, when I asked Erin Dana Balzrette how she went about deciding what shape a cabochon might take, she simply said she waited for the stone to reveal its destiny. That response sent a shiver down my spine then, and week after week artists like Lisa Glavish share similar experiences, which still send a shiver down my spine.

“When I see this piece, I see a caring face looking down towards wildflowers,” stated Glavish, when asked about the inspiration behind her item of jewelry. “I’d been searching through several stones just before Christmas, trying to decide which one to use in a pendant for my mother.”

While examining embossing patterns sitting on her workbench, the dandelion pattern happened to be close to the shattuckite, and the rest is history. “I suddenly saw the picture. It jumped right out at me,” Glavish exclaimed. “I added the faceted aquamarine to the bail, as it’s my mother’s birthstone and perfectly compliments the lovely colors of the shattuckite.”

Mother of Pearl, Black Jet, Lab Opal and Turquoise Inlay
Silversmith and Lapidary Artist: Ian Escarro

Sometimes doing the work, like this commissioned piece – a profile of one’s pet — is what drives the effort.

“It’s not really inspiration, but (having an) aspiration,” Escarro said. “It’s just projected through what I know best, rocks and gems.”

Kingman Turquoise and Spiny Oyster Necklace
Silversmith and Lapidary Artist: Cheri Rossman

Keeping with the theme of the material serving as inspiration, Paul Rossman shares the story behind this piece, which is the work of his supremely talented spouse, Cheri.

“(The) initial inspiration came from the material itself, Kingman turquoise and spiny oyster,” said Paul Rossman. “I acquired some material and cut some cabs.

“Eager to set them, Cheri created classic accents in her unique style to make the finished jewelry pieces.”

The post Artisan Alley: Collaboration as a Dance first appeared on Rock & Gem Magazine.

Cyndi Wolke’s exceptional lapidary skills and ability to find the beauty in every stone shines second only to her amazing warmth, intelligence, and kindness to everyone she meets.

She sees the best, the promise, and wonder in all things, which comes through not only in conversations with her but in seeing stones through her cabs. It is always a pleasure speaking with Cyndi Wolke, as you’ll see here.

Erin Dana Balzrette: What type of material did you use, where did you find it and what drew you to it?

Cyndi Wolke: This cab was cut from a Priday thunder egg. I love the surprise of cutting into a thunder egg because frankly, they are pretty ugly on the outside; kind of like a ‘warty’ potato. Then you cut them open, and it is just amazing the treasure that is hidden inside. We have had the privilege to collect at the Ranch (Richardson’s Rock Ranch) in Oregon where these amazing eggs are found. This particular egg was not self-collected. But I still have some that we collected and am excited to see what treasures they hold inside.

EDB: How long have you been a rockhound and lapidary artist, and what attracted you to cabbing?

CW: I have been a rock hound since I was a child growing up in Idaho. My family did a lot of camping and fishing, and I always came home with a bag full of treasures that I had collected. About 18 years ago, Dan and I made a trip to Deming, New Mexico to visit Rockhound Park to dig for geodes. We had a great adventure there and were hooked with the thrill of the hunt.

We joined the Vallejo Gem and Mineral Club and learned how to cut and cab our finds. Dan does all of the heavy lifting, cuts the slabs and gets them all cleaned up for me. I do all of the cabbing and finish work. I love finding the best picture in a slab and cutting it to make a beautiful cab that someone can set in jewelry to enjoy for a lifetime.

EDB: What creative process do you use when creating cabs? Is there a special technique you used when creating the piece featured?

CW: When I pick up a slab, I first examine it for fractures. I mark these in pencil, so I know to avoid these areas when cabbing. Then I look for the best area of the slab that speaks to me. I turn the slab over, upside down, and all around. Some people would laugh at me, but I really study the slab to figure out where I want to cut my first cab.

I always go for the best picture that I can find. Then I mark out the frame around the cab with an ultra-fine felt tip pen. I do not want to saw cut into the design that I have so painstakingly captured. Then it is off to the grinding wheels to refine, dome and polish.

EDB: What is a new cabbing approach that is bringing you great excitement?

CW: The newest cabbing approach for me has been the Nova Wheels. I love using them and the beautiful finish they give the cabs. My set up goes to 50,000 Nova, and it gives a glass-like polish to my cabs.

EDB: What advice would you give to new lapidary artists?

CW: I tell new artists to be patient with themselves and their cabs. It is not a process that can be rushed. It is methodical, and you just can’t skip steps. I also tell them that if their stone breaks during cabbing that there is a reason, and to not throw out their work. Instead, look at it to see what can be made with what is left. Sometimes my best cabs have been what I call “Shape Shifters!”

EDB: What is your motivation to create, and your favorite part of the process?

CW: My favorite part of the process is hard to pinpoint. I love being out hiking and hunting rocks, out in the fresh air and nature. I also love the grinding of the cabs, and anticipation of the finished stone. I just love the whole creative process!

I also find great happiness in seeing my stones ‘get all dressed up,’ by the many talented silversmiths and wire wrappers. I like the sense of community and the many relationships that have been built through the whole process.

WHERE TO FIND CYNDI

Facebook Groups: Cabs and Slabs

Clubs and Sponsored Shows: Vallejo Gem and Mineral Society; gem and mineral clubs throughout California – part of the California Federation of Mineralogical Societies, and the American Federation of Mineralogical Societies.

It’s also likely you’ll find the Wolkes at the gem and mineral shows held in Quartzite, Arizona, among other locales.

The post Just Off the Wheels: Cyndi Wolke first appeared on Rock & Gem Magazine.

“Be brave enough to live life creatively. The creative is the place where no one else has ever been.”

—Alan Alda, actor, director, and screenwriter

This quote by Alan Alda seems to aptly describe the ‘creative place’ where these five enchanting works of art emerged.

Each installment of the Artisan Alley blog/column provides the opportunity to examine the results of pure creative collaborations, and enjoy a ‘sneak peek’ into the minds of the lapidary artists and silversmiths behind these works of art. This comes as responses to the question: What’s the inspiration behind your work in this piece?

The brilliant pieces showcased in the Artisan Alley blog/column are the genius of silversmiths and lapidary artists who are members of the Stone and Silver Facebook group.

Salt & Pepper Diamond and Peridots Wedding Ring
Silversmith and lapidary artist Larry Ross

“When my daughter, Lyndsie, told me she was getting married and asked if I would make her wedding rings, I was honored! What dad wouldn’t be? She likes things that are different. While I’m a bit of newbie when it comes to making jewelry, I’ve been a maker for years and I also like ‘different’ and a challenge,” explains Larry Ross.

“This was a collaboration of thought and design between her and me, and this is what we came up with. For me, the most important thing was that she like it, and she does!”

Chrysocolla Sterling Silver Ring
Silversmith Lissette Alarcon Sardelis
Lapidary artist Joe Spencer

“Water for me means calmness and means peace…this ring reminds me of swimming under the waves when I was a kid,” explains Lissette Alarcon Sardelis. “When you look up you can watch how the waves move, and you feel the rocking motion. I could close my eyes and feel it. Silver represents the strength of the oceans as a whole….water contained by the grip of the ocean. That is my vision.”

Lapidary artist Joe Spencer speaks about another element of nature reminiscent in the cabochon.

“The color was the first thing that drew me to chrysocolla when I began cutting. It reminded me of flowers with the growths.” 

Argentium Silver and Blue Topaz Cabochon Pendant
“Seafoam”
Silversmith Kaelin Cordis
Lapidary artist Robert Heath

The ocean also serves as inspiration for this collaborative artistry.

“I am captivated by the ocean in all its forms. From the briny deeps to the shallowest tide pool, each face of the ocean is breathtaking and inspiring,” says Kaelin Cordis. “All of the world is touched in one way or another by the ocean, and yet so much of it is still undiscovered. Mysterious and overwhelming, or gently lapping on sunlit beaches — the ocean is indescribably wonderful.

“This piece is directly inspired by the ebb and flow of sea foam along the shore. It is a myriad of sparkling mirrored bubbles, ephemeral and intermittent. Like a dozen trillion tiny worlds that exist only to delight, there and then gone.

Kaelin adds, “I see these temporary beauties as a reflection of the multitude of small miracles that make life astonishing. The shifting seas revealing breathtaking beauty, before life sweeps along and reveals something completely different.”

Much like the path of the ocean, unique with each rolling tide and shaped by each moment, Robert Heath’s inspiration for the cabochons in this piece are the stones themselves.

“In general, I let the shape of the rough decide the shape of the finished gem, whether it be a true shape or free form. I cut most everything on the fly and seldom use a diagram, making the cut up in my head as I do it.

“Kaelin asked me for a suite of blue topaz in free form shapes and sizes, so the quick answer is, I really just cut and let the stone decide these things.”

Silver, Chrysoprase Moon, Rhodolite, Keum-boo Gold Accessory
“Breathe”
Silversmith Ling Ling M.
Lapidary artist David Oscar Wethington

“I have always loved (the) moon. I love nights and darkness,” explains Ling Ling M. “And this piece is all about love, peace, harmony and balance.”

Lapidary artist David Oscar Wethington echoed the sentiments of appreciation for lunar influence.

“My inspiration comes from the beautiful gifts of our Mother Earth, and my love affair with the moon.”

Turkish Blue Lace Onyx and Silver Cuff Bracelet
Silversmith and lapidary artist Heather DiLello

A big part of creativity is being open to unexpected change in direction. Such was the case for Heather DiLello when creating the cabochon at the center of this cuff bracelet.

“I actually cut that cab with the intention of it being used as a pendant, but I really loved how the shape looked on the wrist, so I decided to use it to create a silver cuff,” she describes. “I think Lapis Lace Onyx looks great with denim, so I intentionally kept the silver elements very streamlined, so this could be a ‘jeans and tee shirt’ piece.”

Be sure to look for new Artisan Alley showcase blogs/columns each week.

The post Artisan Alley: Fostering Creativity first appeared on Rock & Gem Magazine.