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.