PB Cohen Creations

In his foreword to this 1983 hardcover book, Bernard Bernstein recalls learning while studying with one of the authors that "while it was possible to learn quite a bit about making jewelry using only books as guides, it was not easy to do the same with holloware." Bernstein was lucky to have had William Seitz as a personal guide; we are almost as lucky to have this book. As Seitz and Finegold say in their preface, silversmithing "can be mastered only by practice, literally by trial and error." And even with this book, you're bound to create quite a few errors. But this is the English-language book on the subject. And it's really good.

Silversmiths work metal cold to form it into shapes - often vessels and objects that can serve a purpose. (Blacksmiths, in contrast, work metal at red-hot temperatures.) While soldering is used, it is often as an adjunct to the forming: for example, a teapot and its spout are created separately using traditional silversmithing techniques, and then soldered together. Anybody interested in adding shape to flat metal stock can learn from these techniques, even if they don't plan on making a teapot. But the book offers good information on most activities involved in working with metal, including work ergonomics, drawing and design, the annealing process (which is crucial to silversmithing), soldering, casting, taps and dies, hinges, polishing and surface treatments.

The book starts out with some basic exercises in moving metal with a hammer, along with illustrations and definitions of things like stretching, forging, planishing, raising, and sinking. A brief overview of metals and their properties is followed by a drool-inducing discussion of tools. This is nicely differentiated by the "essential" tools required for silversmithing, and the ones that "can be acquired as the occasion demands." Yeah, if you're anything like me and tools, you'll want them all - and you'll want to use them all! Each family of tools (files, cutting tools, hammers, stakes, etc.) gets its own chapter later. Plus, the authors dedicate a chapter to custom-making tools, and more tips on that are scattered throughout the book.

Oh. I'm beginning to realize why I keep renewing this book from the library. I think I've had it checked out for three months, now, and I keep reading it instead of "just" reviewing it. I think I need to get a copy of my own....

Don't forget that this book is about silversmithing. The different steps needed to create a Paul Revere bowl are discussed in detail in several different chapters: curving flat wire for the base, raising the base, and raising the bowl. Wire rims for bowls, and wiring a rim for both round and irregular shapes (a cream pitcher with a self-spout) are described, as are making spouts and ferrules (the metal structure that a handle is attached to). Then they tell you how to solder all these pieces together. Numerous photographs, illustrations and well-written descriptions give enough information to make me think I really can learn from this book - although perhaps with more trial and error than some other endeavors in metal.

Three hundred pages later, the authors dedicate another 100-plus pages to projects. Yes - there's more! The projects cover all the major techniques of silversmithing: sinking, raising, forging and stretching. The authors suggest if you make each item (or similar ones) in order, "you will have received a basic silversmithing education." Tempting, isn't it? The projects are: sinking a bowl, sinking a plate and tray, making a bowl by raising with crimping, making a bowl by raising without crimping, raising a creamer with self-spout, constructing a box, forging flatware, forging a punchbowl ladle, and stretching a gravy boat. If you're anything like me, you're dreaming about a gravy boat right now - and not just because it's beautiful, but because it would be fun to try.

First published in hardcover in 2003, the paperback version of this book came out in 2006. It is typical of "how to" books published for — I think — the US market in the past few years. There is a basic introduction to the craft, along with information on materials and tools needed, and photos and descriptions of the basic techniques. Any specialized techniques used in the project section are also described, and safety issues are covered. Then, the book offers several projects, described in words and pictures, from start to finish. Usually, there's a small gallery of various artists' work at the end. This formula is very useful as a teaching tool, and presumably successful as a book format, since several publishers seem to be following it.

My main problem with the formula is that it tends to emphasize information for the beginner. Every book starts out with the basics, and every book has projects designed with the beginner in mind. Projects usually get more complex by the end of the book, but not all projects end up being very complex. And with some of these books, complexity doesn't seem to be the point.

This isn't all bad, even for people who are ready to see more advanced projects. For example, it's interesting to see which tools a particular artist feels are the Must Haves for the craft. And you can almost always get a tip or two from seeing someone work on basic techniques.

Gollberg's Making Metal Jewelry follows the formula well, and tends toward simpler projects. In this case, one doesn't really miss complex projects, since the emphasis is on techniques that don't require soldering, or using a torch even for annealing. This makes it a good book for a beginning jeweler.

There are 21 projects: five necklaces, five earrings, five rings, four bracelets, and two brooches. The projects cover a nice variety of techniques: piercing and sawing (sometimes quite intricate), surface textures, folding and bending both wire and sheet metal, jump rings, linking beads with wire wraps, cold connections (including rivets, tube rivets, and nuts and bolts), copper etching, and prong-set cabochons. Included are ideas for different kinds of findings, including making a catch and joint for a brooch with no soldering, and making post earrings. Gollberg uses several different metals (silver, copper and brass), and several different shapes of metal (flat sheet, tubes, and round, rectangular and square wire).

The projects also include a nice variety of designs. Ancient designs (a thorn clasp and mandala are used) and more contemporary ideas are covered. Simple elements get nice surface textures, and pieces aren't always flat (the bracelet shown in the lower right of the book cover is a lovely example). In addition, Gollberg stresses the idea of modifying her designs to suit your own style. To support this, she sometimes provides her own alternate designs of projects.

In all, a fine book for a beginner, and an interesting collection for a more advanced jeweler. Gollberg also provides a circle divider template, which is essential for many of her projects, but useful for many other designs as well.

This book was first published in Spanish in 1999, and in English in 2000; the paperback version was published in 2006.

For this book, Carles Codina i Aremgol collaborated with a number of different artists, filling its pages with instructions and detailed photographs on how to do a wide variety of things. Although there are instructions on how to create a few pieces from start to finish (and not just in the last, "Step by step" section), quite a bit of the instruction is for aspects of jewelry-making: making tubes and cylinders, how to set up a proper join for soldering, making a dome, making a pin back, etching metal with acid, granulation, using a rolling mill, making chasing tools, and combining metals, to name just a few. But the fun of this book are the beautiful examples that are included.

Photographs of both finished pieces and works-in-progress are scattered throughout, showcasing the various techniques, in such a wide variety of styles that you can't help being inspired to try new things. The book has a different sensibility than most you see written in English — I assume because the artists depicted are from Europe, not the US. There's bound to be a difference, right? Or it could be that many of the pieces are made of gold!

The book starts with a section on the history of human ornamentation, and a thorough look at metallurgy, before starting in with "Basic Techniques." But don't let the word "basic" get you thinking that this is a book for beginners: the first project has you forming a gold tube around a square copper rod to make ring, and then dissolving the copper interior in a bath of nitric acid. The project gets more complicated from there. Don't worry, though, the basics really are covered — in amongst the amazing stuff. The next section, "Surfaces," includes acid etching, combining metals (there are some interesting examples here), granulation, textures, and patinas. And more amazing stuff.

Just when you think the book can't get any more interesting, it has a "Related Techniques" section. Five techniques covered in from two to ten pages, in order: chasing and repoussé, Urushi (Japanese lacquer), enameling, stone setting, and wax model carving with lost wax casting. While the casting section shows a lot of specific techniques, in my mind the section on Urushi is the best: it describes the process and shows a bracelet being made, and it also provides recipes and photographs for 13 different applications, each of which explores both color and texture. The enameling (a nice description of champlevé) and stone setting (a nice description of pavé setting) sections are also worth a look.

Finally, there are seven pieces of jewelry described from start to finish: a repoussé pendant, a brooch set with several stones, a cast, articulated bracelet with a clasp, a pendant set with stones on a chain, a multiple loop-in-loop chain, a hollow-construction ring, and a crocheted chain.

This book is definitely worth a look: for inspiration, ideas, and practical tips.

Published in 1999, this book fittingly has two subtitles: Projects to practice and inspire, and Techniques to adapt to suit your own designs. The organization of the book is first-rate, from the clear progression through both techniques and projects, to the logical separation of techniques and projects, to the physical format of the book itself. Although I'd hesitate to suggest that anyone attempt to learn metalsmithing without ever taking a class — soldering is just too complex (and scary) to learn from a book alone — this book would make a great companion to beginning classes.

The book is spiral-bound, which is always nice for a manual, since the pages will lay flat while you're using it. But it's also cut through the middle, with Projects on the top half of the pages, and Techniques on the bottom. This way, you can flip through the Techniques section to find the lesson that applies to the project you're working on, and not lose your place. Each project is marked with the techniques used, as a reference.

The Techniques section starts with the basics (marking metal, several methods used to transfer designs, sawing and drilling), progresses through steps for finishing a piece, then tackles shaping (with requisite annealing and pickling), soldering techniques, and finally some more esoteric techniques, like drawing down wire, mitering and decorative finishes. The Techniques section also includes lessons on things that could be considered "projects" in their own right: making a hollow bead, several clasps and ear wires, and setting stones.

The Projects section is divided into several categories: rings, necklaces, earrings, brooches and bracelets. Each category begins with a simple task, and progresses through to more complex pieces. In general, the rings are simpler, and by the time you get to brooches and bracelets, the projects are more complex.

Highlights include a description of using gimp (also known as French wire or bullion) to finish the ends of a strung necklace, a couple of pieces that use clear casting resin, and two filigree projects: a necklace and a brooch. Both of these projects offer appealing approaches to making filigree, but the brooch is of particular interest because of its complexity. Coles addresses this by forming the brooch on modeling clay that doesn't harden, and using this to make a cast with plaster of paris; the brooch is then soldered in place on the plaster mold. Coles is also a fan of using silver balls, both flat-bottomed and spherical, as design elements.

This book is written for beginners, and will definitely appeal to them, although the short Gallery section at the back offers more sophisticated pieces. As with many books, this one includes a glossary, and some charts; a table of ring sizes is nice, and not always available elsewhere.

This book, subtitled "Master Classes in Jewelry Techniques," is an awesome combination of eye candy and practical information. Ten artists who have taught at the Penland School of Crafts showcase their own work; provide an essay of their views on art, jewelry, and their techniques; give a hands on tutorial of their specialty through detailed photographs and text; and present a gallery of other jewelry artists whose work they admire.

Published in 2005, this book states — and rightly so — that the information is intended for personal use only. "Any other use, especially commercial use, is forbidden under law without written permission of the copyright holder." Remember this: no design should be copied straight from somebody else and sold for your own profit. Besides, unless you're a master jeweler, you won't be able to copy the work in this book anyway. It's that good! However, any jeweler will be able to learn something from it.

The artists and their topics are:

1. Marilyn Da Silva, nontraditional color on metal
2. John Cogswell, forging
3. Jaime Pelissier, alloying
4. Rob Jackson, fabricating with steel
5. Heather White van Stolk, casting
6. Jan Baum, die forming
7. Tom McCarthy, alternative stone setting
8. Maria Phillips, electroforming
9. Mary Ann Scherr, etching
10. Douglas Harling, granulation

Each of the ten sections vary in approach, but most of the artists offer detailed presentations of what are usually complex techniques. Marilyn Da Silva, for example, employs many steps to make her colored birds: die forming, chasing, sandblasting, etching and a few fabrication steps come into play before she applies gesso to the metal, and then the many layers of colored pencil. The description of these processes is detailed enough, but her hands on section also includes photographs of color and texture samples on metal.

Jan Baum's section on die forming describes how to make the die, the multiple pressings required, tips for organizing works-in-process and making notes for future reference, and finishing information. Her hands on section also provides specifics on using a hydraulic press, including pressure settings and the urethane she used. She also provides examples of blowouts.

Douglas Harling's essay on granulation points out that many techniques can be used, but that all involve three basic necessities: the addition of copper, the use of an organic binder, and a reducing or oxygen-restricted atmosphere. He then describes the basic differences between the various techniques, and their commonalities; and then he describes his own approach. The hands on section details his method of using eutectic fusion as a means for granulation, with pictures and additional text — from making his own granules, to the kiln firing process, to finishing.

Maria Phillips' section on electroforming gives tips for using organic material, testing samples, painting with electro-conductive paint, removing the original object from the electroformed piece, and soldering the finished piece. Her hands on section also includes before and after photos of three electroformed objects: a piece of carved solid wax, mixed media made of plastic wax and an organic seed pod, and crocheted copper wire.

Rob Jackson gives practical hints for soldering precious metals with steel — and describes why this is usually avoided in traditional educational settings. Jaime Pelissier's alloying section includes photographs and descriptions of annealing, and the melting of metals and alloys — with an emphasis on problems that can be encountered.

Have I mentioned all ten? Not quite, but trust me: there's something for any jeweler to learn from each one of these artists. And even if you don't want to make jewelry, the photographs of the artists' work, plus the galleries of their own favorite artists, makes this a beautiful coffee-table book.

This book was first published in 1985 in England, and has had a few editions and/or reprintings since then. The British spelling is "Jewellery Making Manual," while the US spelling is "Jewelry Making Manual," and there are at least two different dust jacket images. The version I've read was printed in 1990 for the US market by Brynmorgen Press, but from what I've been able to research, the different versions are practically the same, except for the spelling. You can still find "used & new," or sometimes new copies at Amazon; of course, don't forget your local library, and local (probably used) bookstores.

Although this is called a "manual," and does provide some step-by-step instructions, I wouldn't recommend this book to a beginner looking for project ideas. There are pictures and directions for starting out with a jeweler's saw, and some reasonably easy projects for a beginner, but most of the more interesting instructions are in the "Special" and "Advanced" techniques sections, which have the biggest variety of settings I've seen, both for faceted stones and cabochons. I'd say this would be more of an inspiration book for a beginner, with plenty of neat things to try for the more adventurous artist. More accomplished artists will be able to refer to this time and again.

Like many jewelry-making books, this one covers most aspects of the trade. Highlights include details on making various catches, clips, and clasps (many wonderfully complex); a thorough section on enameling; and all those ideas for stone mountings, many of which you would expect to see in a high-end jewelry store (let me point out that Wicks stresses that professionals will usually specialize in either creating mountings, or setting stones). Other things to note include information on the design process, including rendering a design; an overview of anodizing; a nice idea for putting together a jig to create multiple copies of filigree elements; and a description of the RT Blanking System.

There are plenty of photographs, both black and white and in color, and a number of illustrations. The text is well written and useful, and includes both lengthy descriptions and nice tips (for example, charcoal grains sold for fish tank filters can be put into a flat, steel box to support small pieces while soldering). The book has some information specific to Britain (including a section on hallmarking), and some information that's a little old-fashioned (a description on using a lead die doesn't mention safety issues). There is a nice amount of eye candy in the book, and despite the publication date most of the styles of jewelry depicted don't seem old-fashioned today.