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.