Jewelry making and design an illustrated textbook for teachers, students of design and craft workers

Here in a single volume is all the information you will need to extract dyestuffs from common trees, flowers, lichens, and weeds — all the information you need to create beautifully dyed materials after your own fancy, distinctive and individual. The heart of this book is fifty-two recipes for dyes made from natural, easily obtained dyestuffs: brown dyes from the bark of apple, birch, hemlock, hickory, and maple trees; yellows from a wide variety of sources such as arsemart, white ash bark, barberry bark, sassafras, lichens, camomile flowers, and coffee beans; reds from madder, cochineal, Brazilwood, and alkanet; blues from woad, chemic, orchil and cudbear, as well as from the popular indigo; and blacks most commonly made from logwood and soot. There is also the possibility of combining any of these by top-dyeing (successive dyeing) — instructions for which are given. Each recipe gives you step-by-step instructions that tell you how to prepare your ingredients, how to shred, soak, dissolve, and boil the materials you collect, how to prepare your cloth (whether cotton or wood) for dyeing, and exactly how long to boil it for optimum results. Besides the fifty-two recipes, most of which are given in several versions, Miss Adrosko deepens your knowledge of dyeing techniques with a history of the craft before the discovery of America, among the colonists, and after 1850 when synthetic dyes began to be used. Appendixes list dyes mentioned in early dyers' manuals printed in America, and give excerpts from three 19th-century treatises which reveal literally hundreds of sources for natural dyestuffs. Concisely written, well organized, this book will not only let you make all the dyes described in its pages, but will also give you the skills to make your own exciting discoveries in a field that has long been neglected. The ancient, highly skilled craft of manipulating gold, silver, precious, and semi-precious stones into jewelry is here set forth in a practical text. The authors take you through a graded series of problems, progressing from simple to complex pieces, teaching you all you need to know along the way. Making a pierced brooch is the first problem. You learn to affix a tracing of the design to the metal, and to handle a center punch, saw frame and saw, needle file and flat-round file, and emery cloth. This first problem is fully illustrated, as are all the problems, with 53 different design ideas, as well as photographs of the tools and processes involved. Subsequent problems teach you to make brooches set with stones, chased and repoussé brooches, wire pendants, rings with four different types of settings, chains, and cuff links. Executing these pieces teaches you the processes of soldering, pickling, using a gas jet and blow pipe, making a plain and shouldered bezel, annealing, enameling, making a mold for casting, and much more. Following the section on the making of jewelry, the authors turn to a discussion of the aesthetics of jewelry design. They suggest sources in nature and in art for creative ideas and motifs, and give helpful methods for developing these into designs suitable for various types of jewelry pieces. The authors, both formerly of the Rhode Island School of Design, animate every line of the text with the knowledge that only long experience in the craft and in teaching the craft can give. For many years, beginning and experienced crafters have kept this authoritative text beside them, using it to avoid costly mistakes and to save many hours of trial-and-error experimentation. CHAPTER 19 - Structural Elements of the CircleCHAPTER 20 - The Evolution of Design; CHAPTER 21 - First Problems in Design; CHAPTER 22 - Rendering in Pencil; Two VALUES; THREE OR FOUR VALUES; MULTIPLE VALUES; CHAPTER 23 - Rendering with Brush; IN BLACK AND WHITE; CHAPTER 24 - Rendering Stones; CHAPTER 25 - Rendering in Color; CHAPTER 26 - The Vital Curves; THE CURVE OF GRACE; THE CURVE OF FORCE; THE CURVE OF BEAUTY; CHAPTER 27 - How to Choose Material for Jewelry Design; CHAPTER 28 - Designs Derived from Nature; CHAPTER 29 - The Moth Mullen in Design; CHAPTER 30 - The Snow Crystal in Design DOVER CRAFT BOOKS; Title Page; Copyright Page; Dedication; Foreword - TO THE DOVER EDITION; Foreword - TO THE THIRD EDITION; ACKNOWLEDGMENTS; Table of Contents; Introduction; BOOK I - JEWELRY MAKING; CHAPTER 1 - Materials and Methods Used in Jewelry Making; PRECIOUS STONES; SEMIPRECIOUS STONES; STONE CUTTING; STYLES IN STONE CUTTING; STONE CUTTING DEFINITIONS; STONE SLITTING; ROUGHING; POLISHING; GOLD; KARAT; SILVER; MELTING POINTS AND SPECIFIC GRAVITY OF THE PRINCIPAL METALS; GENERALLY ACCEPTED LIST OF BIRTHSTONES; FINENESS OF GOLD KARATS; CHAPTER 2 - Processes Involved in Jewelry Making CHAPTER 13 - EnamelingENAMEL POSSIBILITIES; KINDS OF ENAMEL; COMPOSITION OF ENAMEL; GRINDING; ENAMELS; THE CLOISONNÉ; CHAMPLEVÉ; PAINTED ENAMEL; GRISAILLE; BASSE-TAILLE; PLIQUE-À-JOUR; NIELLO; FIRING; STONING; CHAPTER 14 - Modeling and Casting; MODELING MATERIALS; MODELING TOOLS; MODELING; CASTING MATERIALS; CASTING TOOLS; CASTING; CUTTLEBONE; CHAPTER 15 - Equipment; PLAN OF ROOM FOR JEWELRY; KEY TO PLAN; AN INDIVIDUAL EQUIPMENT; PRECISION DRILL; BOOK II - JEWELRY DESIGN; CHAPTER 16 - Nature Drawing; DRAWING FROM PLANTS AND FLOWERS; DRAWING FROM SHELLS; DRAWING FROM THE BUTTERFLY CHAPTER 3 - Pierced Brooches Without StonesCHAPTER 4 - Pierced Brooches With Stones; THE SOLDERING PROCESS; THE PICKLING PROCESS; SETTING THE STONE; CHAPTER 5 - Brooches With Wire Edges; CHAPTER 6 - Brooches, Carved and Ornaments Applied; CHAPTER 7 - Brooches Made of Wire; CHAPTER 8 - Brooches, Chased and in Repoussé; CHAPTER 9 - Pendant; WIRE PENDANT; CHAPTER 10 - Finger Ring; PIERCED RING; WIRE RING; FLAT RING WITH LEAVES APPLIED; THE CARVED RING; THE BELCHER SETTING; THE TIFFANY SETTING; THE GYPSY SETTING; CHAPTER 11 - Chains; CHAPTER 12 - Cuff Links and Cuff Buttons JAPANESE CRESTSSWORD GUARDS REDUCED; DRAWING FROM ORNAMENT; TRACING FROM HISTORIC ORNAMENT; To MAKE A SYMMETRICAL TRACING; DRAWING FROM JEWELRY DESIGN; CHAPTER 17 - Principles of Jewelry Design; FITNESS TO PURPOSE; THE NECKLACE; GIRDLES, CLASPS AND BUCKLES; THE SCARFPIN; THE CUFF BUTTON OR CUFF LINK; UNITY BETWEEN STONE AND ORNAMENT; CONFORMITY WITH CHARACTERISTICS OF WEARER; CONFORMITY WITH COSTUME; NATURE AND DISTRIBUTION OF MOTIFS; LIMITATIONS AND POSSIBILITIES OF METAL AS A MEDIUM OF EXPRESSION; CHAPTER 18 - The Beginning of Design; VARIATIONS Professional secrets of jewelry making are revealed in a thorough, practical guide. Over 200 illustrations CHAPTER 31 - The Sea Horse in Design