By Linda Chandler, Christine Ritchey
A brand new cord weaving process that varies the variety of wires and their thickness to create stunningly appealing bracelets, necklaces, and pendants is brought during this consultant. venture directions move way past uncomplicated line drawings to teach the meeting technique of every bit in a chain of step by step images. The 9 initiatives commence with an elegantly easy woven bracelet and circulate directly to extra dramatic initiatives that come with a domed cuff bracelet with soldered bead ends, a free-form bracelet, a woven neck piece, and a pendant with a woven body. tasks variety in trouble from effortless to complicated, and lots of may be accomplished with out soldering. The more matured craftsperson will enjoy the way in which helpful steel Clay provides notable elaborations to 3 of the projects
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Additional info for Woven Wire Jewelry: Contemporary Designs and Creative Techniques (Beadwork How-To)
For the most part we have emphasized objects you can make or activities you can carry out with natural materials found in North America. This has made it possible for us to make and field-test many of the projects ourselves or to get the advice of contemporary craftspersons who use natural materials and tribal techniques. We have tried to be as authentic as possible, describing the objects and activities just as the tribal people do them. Of course, you are free to make any changes you wantin fact, tribal designs often make such changes easy.
Fill the holes with dirt, sand, or gravel and pack. 3. The plates should extend beyond the posts one foot at each end, with the plane of the top surface of the plates higher than the tops of the posts. If the two posts don't provide sufficient support for the wall plates, add additional posts as needed. · Set the end plates in place atop the wall plates and running across the ends. 7. 7 Lashing end plate (2) to wall plate (1) Roof Frame and Side Extensions. Raise the ridgepole with the two long, forked poles.
We also want to acknowledge that the illustrations in Chapter 4 were taken directly from Frank Lebar's The Material Culture of Truk, and those in Chapter 37 from Caroline F. Jayne's String Figures and How to Make Them: A Study of Cat's-Cradle in Many Lands. We thank the Smithsonian Institution and the American Museum of Natural History for granting permission to use the photographs in Chapters 39 and 45. Finally, we wish to thank our familiesDeborah, Ethan, and Diane and Amelia, David, and Lolafor their patience, advice, and encouragement.