There are a lot of reasons to attend, even if just for a few days:

• Escape from the cold weather where you live. (Obviously a plus for some of us.)
• Find new supply sources and meet vendors personally. Don’t you just love being able to touch, feel and see the real colors of a product before you buy it? Here also, is an opportunity to purchase directly from a company with no middleman!

• Collect new product catalogues and coupons. While there, you can pick-up a variety of free magazines and catalogues from various sources, scattered throughout the shows. (I know I use my Tucson show Guide as a resource for years after!)

Network with others in your particular medium and meet professionals in all fields of jewelry making and lapidary arts.You never know with whom you might be sharing a lunch table, in a crowded courtyard. (I usually come home with a minimum of 50, new contact business cards.)

• Checkout brand new products and equipment; investigate a variety of jewelry and lapidary procedures and watch live demonstrations. The latest in gizmos and gadgets for the industry are always in Tucson in February. Watch as the inventors themselves demonstrate, and get a good deal if you decide you need whatever it is.

Take a class. Tired of shopping and walking? Take a break and take a class! The top in their field of various jewelry making procedures will be demonstrating and teaching in Tucson. Although most classes are ‘scheduled’, at the Jogs show, we teach ‘on demand’. To find out more about our International Teaching Team and the classes we are offering this year: http://www.jogsshow.com/beading_classes.htm or just stop by and say Hello!

• Shop, shop, shop!! Oh my goodness! The variety of items for sale is way too many to list – just imagine anything and everything you have ever seen in a jewelry-making catalog and more, like awesome tie dye and eclectic gift items. (How about an 8-inch tall, unicorn’s horn carved from selenite?)

• Visit Wire-Sculpture! Members of Wire-Sculpture.com will be manning a booth at the Jogs Show this year, talking with YOU, taking orders, and offering wire, tools, DVDs and more. They are also proud sponsors of the 2010 Jogs Jewelry-Making Classes. http://www.jogsshow.com/index.html

>There are a lot of great articles on-line, with ideas about what to and not to do, to get ready for your Tucson experience. Here are my personal suggestions, that may help to make your first Tucson experience a bit easier and more fun.
If you are a home jewelry business:

Pre-register for shows http://www.jewelryshowguide.com/event/results.php
• Make and carry small copies of your resale document and/or business license (vendors appreciate being able to keep a copy for their records and it makes purchase paperwork quicker)

Everyone:

• Make a list of the supplies you need to find

Make a list of the things you would like to haveCarry at least 100 business cards

• Use the Shuttles! From the airport to every show venue, hotels and back again, there are several shuttles that run constantly throughout the shows. Save having to find and pay for parking, traffic and dealing with the fact that I-10 is still closed from one end of the city to the other.
• Bring a badge lanyard (if you have one). Personally, I just find it easier to have one lanyard to which I attach all of my badges so I don’t have to worry about having the right one on for the right show.

Leave pets and small children at home. You will be doing a lot of walking, chairs are limited, it can get really hot, and a real concern: port-a-johns.

• Bring a backpack (rocks get heavy!)
• Bring a box of zipper style sandwich bags. I don’t know about you, but if I don’t take a few minutes to record my purchases as soon as I can, I’ll never do it! Therefore I individually bag each item along with its’ receipt, every night.

• Bring a maker, pen and a small notebook. To help me stay as close to my budget as possible, while shopping for things I need I often see things I want; so I carry a small notebook and pen with me to be able to write down what I saw and where. Also, sometimes great deals are made with cash and do not have receipts, so I make a note for my records
• Wear comfortable shoes and clothing (maybe bring a hat). Oh yes, like any type of event, you will see many ‘fashion statements’. They are fun to watch, but I prefer not to be one. I am more comfortable in my jeans, boots and t-shirt, and I always have a straw hat, because walking around in the Arizona sun will burn this winter-white skin! Remember that you will be on your feet for hours! Unless attending a special event, I also advise against wearing lots of expensive jewelry, as unscrupulous individuals are always looking for opportunities.
• Carry gum, mints and a granola (or similar) bar, and Band-Aids

• Do bring one dressy-casual outfit. You never know when you’ll be invited of one of the many, special parties and events being held all over town!

• A light jacket is a must as it does get rather chilly in the evening.
• And of course your camera, but be sure to ask permission before taking a picture of a display!

With all of the shopping, dealing, walking, rich foods, etc, I think it’s important to take a few hours for rest and relaxation. A nice drive into the desert is always re-energizing for me (and stopping to look for agates is about a must!)

See you in Tucson ~ stay ‘twisted’!!

Dale/Cougar

Since learning wire jewelry techniques, Donna has become a mixed-media jewelry maker; experimenting with PMC, silver smithing and lapidary work. She teaches at local bead shops, has been published in Step-by-Step Wire magazine and participates in many craft shows.

Donna and her husband reside in south-central Tennessee with their Sheltie, Ellie-Mae.

You are excited and ready to get serious with your jewelry-making hobby. But where are you going to work? And just what will you need to get started?

Thinking about these things first, can save a lot of time and aggravation, as well as help you develop good habits; organizing both yourself and your materials and hopefully being able to remain organized as your talents grow. Plus, by pre-thinking your options you can also get an idea of whether or not you have something on hand you can utilize, or if you may have to purchase an item.

Sit down with a pen and tablet and list just what you are going to need, as well as the things you need to plan for, including both what can be helpful as well as distracting to you while you create.

Q. What area can be designated as a workspace? Probably the most important thing you need is a space where you can work and store your materials. An extra room in the house would be ideal, but you may not have that option.

Answer:

When I first started out, I made use of the dining room table. Really not the best place, but since there are just two of us it worked well, until I outgrew the space and has to rethink the entire idea.

Where can you leave everything without worrying about it? And just how much room will you need? And once it is assigned, can you leave everything in plain sight or will you have to lock it away? These are serious questions to consider and you have to decide what your personal options are.

Did you know that even an extra closet can be utilized and turned into a work area? A friend of mine took an extra closet, lined it with shelving and added a drop down table with fold out legs on the end. It not only looks great but also serves her purpose very well. Everything is within reach and by following her own set of organization rules, she produces some great jewelry using this idea. Plus, it can all be closed back up and even locked if need be. (Since she has small children, and locking it keeps little hands out of mom’s stuff.)

Believe it or not, by pre-thinking your basic needs you can be creative in a small amount of space if done correctly. You know that you need a flat work surface to start with and maybe some type of storage container (s).  Also electricity is a must, so having a handy outlet nearby is important too. Okay, so what do you have that you can utilize for this purpose?

One of Dale’s students keeps her supplies in a hutch located in her dining room and uses a fold-up TV tray to work on, so she can move it wherever she wants to. This allows her to ‘work’ while watching television with her family, or moving to her porch on a pretty day.

Still another uses a large, antique desk located in her bedroom. All of her supplies are kept in the drawers, nooks and crannies and she can easily close her workspace whenever she wished. This not only keeps everything organized, but clean and ‘out-of-the-way’. (Her business has now grown to the point of asking her husband to build her a studio!)

Dale actually began in her back kitchen by using a warped, fiberglass table (rescued after hurricane Hugo). Her storage system consisted of just a few plastic potato salad containers, prescription bottles and hardware organizers. (Yes, her faceting machine also resided on this same table.) This is also where she began her, then unplanned, teaching career.

Q. What are the basics I am going to need?

Answer:

1. Space & Work Surface: An area that gives you at least 6 to 8 feet will do for starters. Having a space that includes a blank area of wall would be great. Maybe you have an old, unused desk that you could relocate to this area. No desk? How about what I used for a good, long time; an old wooden door (hardware removed) and two half-size file cabinets. The door my husband had, and I picked up the 2 file cabinets from a Goodwill store for next to nothing. Now I had a work surface with storage space on each side underneath, plus the space along the back when the door was pushed up against the wall. These days 6 or 8 foot, fold out tables can be purchased rather inexpensively at an office supply or department store, as well as from a wholesale club. And remember; don’t hesitate to ask family and friends if they have anything they’d be willing to give you to get started.
2. Chair: A good, comfortable chair is a definite must! One with rollers is a plus, and it has to be comfortable because you are going to spend a lot of time sitting in it while working. Used office furniture stores, flea markets and once again Goodwill, even Craigslist can be a great source for finding a good chair. Take your time and sit in each before making the decision on which is the most comfortable for you.
3. Flooring: Now if you have carpet on your floor, give some serious thought about obtaining some type of rubber mat to go under your work area. Why? Mainly for protection against loose pieces of wire that somehow always manage to find their way to the floor. (If you are like me, the first thing I do when getting home is to kick off my shoes and I know Dale does too.) A lot of us live barefooted when home, plus I have a dog who keeps me company when I am working and carpeting catches wires which can end up getting stuck in either your foot or the paw of your fur baby. Also, you are working with gemstones or cameos and having a mat gives a cushion against damage if you accidentally drop anything.
4. Lighting: Yes, good lighting is a definite must! Of course natural light is wonderful, but the sun doesn’t always cooperate or remain in the same position (and some of us get ‘creative storms’ late at night). Overhead fluorescent lighting is fine, if it doesn’t put you in your own shadow. Two of those arm-type lamps, one clamped on each side of your table, will give you plenty of illumination. (I prefer halogen lighting because the lamps don’t heat up to where you can accidently burn yourself by brushing up against the bulb shield, plus halogen reproduces daylight.) You may prefer a halogen that includes a magnifier. Remembering that ‘hobby’ stores often have higher prices, so check out office supply or department stores to see what your options are.  
5. Optional, work surface on your work surface: A protective mat on your working surface can be invaluable. Now this can be whatever you like; some folks use a folded hand towel, others purchase a ‘beaders mat’ and Dale prefers a cushion style mouse pad. Personally I bought a roll of woven rubber, shelf liner so I could cut a piece the whole width of my working area. I love this stuff because beads and stones don’t bounce around on it, wires don’t fly off to the floor and everything stays put. Plus, as it can be cut it to any size desired, I even cut a few squares to take with me when I travel to shows and ‘play dates’.
6. Storage: You will need some type of storage system to organize and keep all of your supplies. One of my chain maille friends uses a plastic, rollaway unit that was originally designed and sold to store Christmas ornaments. All of her jump rings and findings are kept in plastic organizers within the units’ drawers, as well as her directions and tools. This type of storage unit is great when you are starting out and only need a few supplies, and it can easily be moved anywhere. As mentioned above, other people have found storage opportunities by utilizing previously unused furniture like a desk or hutch already in their home. A beader friend uses lots of empty prescription bottles that she has all of us save for her. As for me, those filing cabinets came in handy! My wire is sorted out in hanging file folders that are labeled by size and gauge in one cabinet and plastic storage cases full of beads and findings are on the other side, in the second cabinet. I still use them but I also use a selection of hardware storage cabinets, with pull out drawers that I have labeled as to what is inside them, like cabochons, beads and findings. These cabinets sit against the wall at the back of my working area, within easy reach.
7. Music and/or television: Of course we all have our own different types of ‘music to work by’. Whether you have a small, portable CD player/radio combination or an MP3 player, you will probably enjoy being able to go into your own creative zone by listening to your favorite music while you work. Some people like having a small television too, as they watch instructional DVDs while working on projects that are new to them.

These basic ideas will help you begin planning and then setting up your own personal workspace. Items can be added as you need them, such as a vise that can be mounted on one side of your work surface for working with long strands of wire, or holding your ring mandrel, etc. The battery charger for your drill will need a place and later you will probably find a spot for your tools and the rack you keep them on, not to mention a plastic container or two for your wire scraps (1 for each metal please). Everything has its own spot, and as you work you will establish what works best for you, to really personalize ‘your’ jewelry-making space.

Mary W. Bailey

When asked to write this article, I had to stop and really think on it.  First off, because I don’t use a tumbler to clean my jewelry nor as a method for hardening the wire.  Why would I?  After all, I am working with half-hard wire to start with so it is hardening as I work it and the other idea, well, the thought of putting finished settings into a tumbler gives me the shivers.  And, most importantly, in all the years I have taken classes and worked with Dale, she has never suggested using a tumbler of any kind to clean jewelry items.  Notice please, I said a tumbler as opposed to using a Speed Brite ionic cleaner

With this in mind I began doing some research on the subject, reading what others had posted, and talking with several jewelry artists I know who do use a tumbler regarding their reasons why and the methods they use to achieve success with a tumbler.  It seems that some people believe that this is the proper way to complete their jewelry items, while others do so for the benefits the tumbler offers them.  It is a case of polishing the finished piece as well as work hardening the wire and removing any nicks or burrs that may be present.

So, with that said, let’s get down to the basics:

There are two types of tumblers available:  a rotating tumbler and a vibratory tumbler.  They each serve a basic need for anyone working with rough stones that want to achieve a more finished product for use in their jewelry creations.

In a rotating tumbler, you have a rubber drum or barrel that is filled with different levels of polishing medium, water and the stones that you want to “tumble”.  In this case, the rocks continuously fall over each other, polishing slowly, much in the same way tumbling waves from the ocean polish sea glass and stones.  And, like the action of the waves, it takes a lot of time to polish stones from the rough to a highly polished stage.  It is not unusual to take two weeks to a month or more to tumble a batch of stones to the desired finish.

The advantage of using a rotating tumbler is the fact that it will reshape natural rough material, reducing and rounding any angular points on the material.

The vibrating tumblers don’t actually “tumble” but rather they agitate side to side at a high rate, creating a moving action that carries the polish over and between the stones in it.  Mostly used ‘dry’, the bowl or hopper vibrates rapidly and this action produces a lot of friction between the vibrating rock particles – this is why a vibrating tumbler works quickly.

The rocks do not “tumble” in the hopper, but a circulating action develops that continuously moves the rocks from the bottom of the bowl up to the surface, along the outside edges of the bowl and then back down to the bottom. The tumbling action of a rotary tumbler that rounds and reshapes the rocks is not produced.  Therefore, in the lapidary world, a vibratory tumbler is best used to polish slabs.

The main advantage of a vibratory tumbler is that it has the ability to polish rocks and other objects very quickly. A rotary tumbler will require several days or weeks (depending on the hardness of the stone) to do the pre-polish and polishing steps for a batch of rocks but a vibratory tumbler can do each of these steps in just one or two days. This speeds production. A final advantage is that the vibratory tumbler subjects the rocks to less impact than a rotary tumbler. This gentle action is important when you are tumbling stones that break or bruise easily such as rocks with self-healed fractures and softer materials like turquoise and malachite.

Please also note that these types of tumblers are lapidary tumblers, meaning they are made to contain and hold water in them.  If you shop an alternative source, be sure what you are buying is designed to do the job you want.  Case in point, vibratory tumblers, the type that come from gun shops, are used to polish shells for reloading and so are available at a better price because of this.  Stainless steel shot is heavy and requires a tumbler designed to handle the weight as well as the liquid it is using.  Vibratory tumblers from gun shops are designed to use a dry medium, such as ground walnut shells, and are not waterproofed.  If you do shop at a gun shop, be sure to ask about whether or not the tumbler is designed for what you want to use it for.

So how does this work for your jewelry?  And what do you have to use to achieve the results you want?  Please read on as I explain the steps necessary to utilize a tumbler for polishing finished jewelry pieces.

I will be explaining the steps for using a rotary tumbler, as this is what everyone I talked with uses for their jewelry.

Getting Started…

As I stated earlier, I visited and talked with several friends regarding their tumblers and what they use them for.  It was a variety of different mediums, such as chain mail, Viking knit, wirework and component-assembly work, that all fell under the same final stage of needing a good cleaning and/or hardening.

And in just about every case, the materials used were the same for each individual:  a rotary tumbler, mixed stainless steel shot, Dawn dishwashing liquid and water.

There are a lot rotary tumblers out there. Here at Wire-Sculpture.com we offer a good selection of brands and accessories for you to purchase whether you desire to tumble polish stones or your finished jewelry pieces.

By tumbling your jewelry, three things are accomplished.  First, it cleans your work, removing dirt and any oils that have accumulated on your stones and/or wire.  Second, it is lightly polishing the metal in your pieces by using stainless steel shot that will burnish, or polish the metal.  And third, by leaving the piece in the tumbler long enough, the metal or wire becomes what is referred to as “work-hardened”.  (I believe this last step applies mostly to those of you who work in dead soft wire and need this added step to harden the wire.)

Procedure:

The first thing to do with your tumbler is to remove the barrel from its stand and open it up.  A thorough cleaning of the inside of the drum needs to be done, using a baking soda paste and a toothbrush.  Why?  The rubber usually has a coating on it, which will cause the first tumbling to turn the water black and your jewelry pieces a gray color.  So scrub the drum out thoroughly and rinse it out with clean water a couple of times.

The size of the tumbler you are using will determine the amount of stainless steel shot you will need.  The stainless steel shot, that all I spoke with used, is what is referred to as a “jewelers mix” consisting of pin, oval, and elliptical shapes, which in turn ensure that all the little nooks and crannies of your work will receive a good polish.

For a small tumbler, usually you will fill about a 1/3 of the tumbler barrel with shot. You need to be absolutely sure that it is stainless steel shot and not the less expensive carbon steel shot.  I made this mistake by purchasing a bag from a gun shop and my first (and last) tumbling experiment ended up with rusted and blackened items that I ended up throwing away completely.  (Thank goodness they were copper items and not sterling silver!)  Even the “stainless shot” was a rusted pile of pellets and went into the trash as well.  Oh, and let me add, the tumbler was also not water tight, so I ended up with a large wet spot on my work bench.  (Sigh, live and learn, as they say.)

Once the shot is loaded into the barrel of the tumbler, you will need to add a “burnishing compound” to it.  The simplest and least expensive is Dawn dishwashing liquid. Add a couple of good drops of the detergent to the shot. This detergent works great at removing oil and grim from the surfaces of your jewelry.

Next, put in the jewelry pieces you want to clean and then add just enough water to cover the shot and jewelry.  (Avoid adding too much water, as it will dilute the detergent too much.)  You don’t want too much water.  The whole tub should not be over halfway full, as there needs to be room for the shot and the jewelry to move around freely while tumbling.  Just make sure a thin layer of water covers everything inside.  Check the edges of the drum and if water is beading around the opening, wipe it dry before inserting the drum lid.  Depending on the model you are using, attach and tighten down any additional outer lid and slip the drum into its mounting place.

The amount of time you allow the tumbler to run can vary depending on how many pieces you have loaded and what type of stones, etc. you have wrapped.  If there are no sensitive stones in you work, you could safely allow it to run for a couple of hours.  From the questions I asked, most folks recommend just one hour of tumbling time.  However all of them did state that if you are unsure of the hardness of any jewelry item, check it after 20-30 minutes to see how it looks.   (To avoid possible disaster, I would suggest that before putting any finished piece with a questionable material into a tumbler that you take the time to experiment with an individual stone or gemstone bead to see how it looks after tumbling.)

Retrieving your items can be done several ways.  If they are large enough, simply reach into the drum and remove them.  If you have tumbled a variety of items, then using a small holed, plastic colander works great.   To dump the drum out, take some preventive steps first.  Put the sink plug in and as added protection use one of those flat, plastic drain seals over the plug. Even using a small wire strainer (found at a hardware store) over the sink opening to catch anything small, as well as any shot that gets away from you, is a good idea instead of the plastic stopper.

Now, gently pour the contents of the drum into the colander, draining out all of the water.  From there, it is easy enough to set the colander on a folded towel on the countertop and begin sorting thru the shot for your jewelry.  Be sure to take the time to dry off your shot too, either by rolling it up in a towel and removing the moisture or by laying it out on the towel and letting it air dry, before using it again.

I hope this does explain to you, the use of a rotary tumbler to polish jewelry.

From what I have collected in opinions, the lapidary vibratory tumbler does work as well, using basically the same steps.  Some people prefer using the vibratory tumbler purchased from a gun shop, and choose to use a dry medium of crushed walnut shells that have been “charged” with a red jeweler’s rouge, or a finer polish made of medium corncobs ground up with green polishing compound added.

“Although I really loved my work as a teacher of young children, in 2003 my life changed a lot! I met my soul mate Peter and moved to Arizona where we were married, and a year later our beautiful daughter Anya was born. Then a Russian friend living in Japan sent me a beautiful, red beaded rose as a Christmas gift. I thought, ‘is it possible to make something as lovely as Mother Nature creates? Probably not, but sometimes copies can be worth that of the original.’ That is when I fell in love with beads and wire. My first experience was to make a beaded Money Tree. In spite of the fact that it looks like an old untrimmed tree and has a lot of ‘technical’ mistakes, I still love it.”

Albina then discovered The Bead Museum in Glendale, AZ where displays include the incredible beadwork of Lana May from Phoenix. Just ‘down-the-road’, Albina contacted Lana who inspired Albina’s jewelry making hobby (which was a perfect fit for the stay-home-mom). The two are now close friends.

Albina now enjoys teaching at The Bead Museum, The Beaderie, and at the J.O.G.S Gem & Jewelry Show, (where she and Dale ‘Cougar’ Armstrong became friends). Her work Bonsai Shakkan has been used by Fire Mountain Gems both as a back cover advertisement and inside their catalog. In 2009 Albina won the 1st Place Gold Medal award with her piece titled ‘Inca’s Gold Necklace’ in FMG’s wirework category. She has been published in ‘Art Bead Circle Magazine’ as well as in an upcoming book ‘Mixed Media Jewelry Techniques’, (available at the JOGS show February 2010). Learn more about Albina on her website: http://www.around-beads.info

Karen now shares her knowledge and skills by teaching bead and wirework classes in her home state of Texas, where she is constantly amazed with the new ideas beginning students are able to come up with. “That’s what makes everyone’s work different,” she says, “everyone approaches a craft with ‘different eyes.”

Striving to remain inspired, Karen tries to keep a ‘different eye’ by exploring all types of color and media. She especially enjoys working with wire, freshwater pearls, gemstones and Swarovski crystal. In 2009, Karen won the Fire Mountain Gems beading contest, Bronze Medal for her stunning earring design.

Now, I have to stop here and tell you that this show was two weeks away and having only ever visited a variety of art shows and craft festivals around the country, I had no earthly idea as to what I was getting myself into! I had no tent, no display items, no ‘anything’ that I needed. So I turned to a co-worker (you now know as my friend and faculty member ‘Stained Glass Lindi’) and asked if she wanted to do the show with me, adding her beautiful glass pieces. She agreed and then admitted that she also was clueless about how to get things together.

The following weekend I paid a visit to another local show, just to ‘walk it’ with a different eye, looking at how vendors had their booths set-up, what type of tents were available, etc. Obviously I was supposed to get into this business, because when I stopped to question an older woodworker about his type of tent, he offered to sell it to me the next day (at show closing) for just $100 because he had decided to retire. OK, now I had a tent! And a good one at that, with metal bars you could ‘chin’ on. (And while the gentleman took it down, I had to number each of the zillion pieces with a magic marker so I knew how it went together again.)

Display items and tables were my next goal. I choose a wooden rack (the kind that goes on the back of a commode) to which I added lots of screw-in hooks so I could hang my hand-made earring cards. (Poster board cut with scissors and holes made with a small paper-punch, labeled also by hand.)  At a local yard sale I picked up a couple of tall, plastic, soda displays and had my husband use his grinder to remove the logos and names. My main table was a fold-up aluminum one borrowed from Lindi, who had used it for years while doing wallpaper work (and it was more than a bit wobbly). A folding chair was borrowed from our travel trailer as well as a rug, and as I had worked for a direct sales company in the past, I had some great, blue tablecloths. We all thought I needed more color, so I draped a Mexican blanket over the blue. Now I had to find some type of cover for the holes in those soda displays, and as sewing is not my thing, I bought and cut some felt in the same colors as the blanket (no hemming necessary).

To display my pendants I just used U-shaped jewelry pins and attached each piece to the velvet boards I used inside my storage trays. Rings and bracelets went into the one glass topped box I had to keep cabochons in. All of the signage was made out of paper, printed on my computer, and then covered with adhering clear plastic (I think I found in the cabinet lining section of a department store). And although my very first business cards were quite sad, they did have my name and address on them, and a brief description of what I make and sell.

The result? Well, during that first three-day show I about sold out! I also received several show applications in the mail from other promoters who liked my work enough to invite me to participate in their show. Not bad for a two-week learning experience. Needless to say, over the years I became more professional with my set-up and displays, but not all at once! After all, this was my ‘hobby business’ and I was not going to take funds out of the household to make it happen. Rather, after every show I took my profits and purchased one or two more items (a lot of which I still use today).

The lesson from this experience is: you do not need a lot of expensive display items and professional equipment to get started! Look around your home, basement, garage and those of your family and friends. You will be amazed at what your imagination can do with a few simple items. After all, your jewelry is what people are coming to see and hopefully purchase.

Today one can begin participating in outdoor art and craft shows quite inexpensively due to the selection of affordable tents available from a variety of companies. Check your local department store or ‘wholesale’ club for some nice choices. If you are an outdoors person, you probably have a few good tarps that could be used to begin with, for no additional cost. Colored sheets make great table covers (I still use a lot of those today) and about every computer comes preloaded with a good design program so you can make your own business cards and signage.

Choosing the right show for your work is very important. If it is a local or ‘drive’ show (no hotel/motel necessary) and the booth fee is reasonable, sure, give it a shot. However I always advise my students to ‘walk’ a more expensive or ‘travel ’show first. Yes this means not participating in it right away, but take the time to make the drive and check out the local area for restaurants and a decent place to spend the night, besides ‘walking the show’ to see what types of vendors and items are included, how the promoter seems to be handling things (or if you can even find them) and ask vendors questions. (More on this in a future article.)

Here are examples of different types of booth set-up and displays, according to the venue. The photo below was taken at a high-end sci-fi con, where in addition to their gallery table, each juried artist also has the option of purchasing one 6-foot table. No, that’s not a lot of space and it depends on what you are doing as to how to set it up. This costumed artist was using her space to demonstrate her art form that in turn generated customers interest, who then paid a visit to her gallery table and made their purchases from it. (Atlanta, GA)

The following picture is of a display at an art gallery where the artist was ‘the feature’ and her work is only priced via a list in the customers program. (Boston, MA)

I don’t know about you, but I have found that most people will NOT walk INTO a jewelry booth! (Maybe they are intimidated by thinking they have to purchase an item as admission or something.) To counter this situation (with the exception of my first 2 shows) I never set-up so people have to walk in! Instead, I set my tables up around the perimeter of my space, which puts a boundary between them and me. (Maybe they feel safer this way?) When they walk by my tables I just say ‘Hi’ and tell them ‘what’ they are looking at, describing my art form. If they are interested, I can always come around the tables to help them try things on. (Dothen, AL)

Yes, not being on the end of a booth row can limit your space if you set up around the perimeter, as you would only have about 10-feet of space. My solution to this challenge is to make my own aisle. (Virginia Beach, VA)

After many years of participating in shows all over the United States, I finally have one basic set-up that I now use all the time, with variations being made just by changing the table covers or the holiday theme, (and I still add one new display item every year). Life is good. (Bmghm, AL)

Yes, I like to have most of my work displayed in covered cases. Not only do cases prevent jewelry items from developing limbs and disappearing, but they also protect my work from dust and dirt. (You would be amazed to see how much lint and dust collects on the safety glass tops, within just a few hours ‘indoors’!) And if you are wondering how I fill my cases, I choose to display my items by what I personally feel go together, rarely the same combination twice, and usually surround a higher priced item with a variety of mid to lower priced pieces. (I am also known for changing and moving the contents of my display cases around during a show.) Other folks like to group their work according to either color or material, and still others group by price. As seen in some of the above pictures, I also think that it is very important for customers to be able to freely pick up and try things on, so some of my bracelets are lying loose on my main table too.

You may also notice the little white squares along the edge of the cases. These are my prices. (I think tags are ugly and take away from the jewelry.) I cut small shapes from 3×5 cards and list the item name or the material it is made from and the price. (I know that if I walk into a jewelry store or booth and cannot see any prices, I think they are probably high and I couldn’t afford them anyways.) By using these small cards I can also change the price whenever I want, and not have to worry about cutting and threading, etc.

The arena of display and booth set-up ideas is HUGE! This is just a sample of things I have tried that I hope may help those of you who are wondering in which direction to head while thinking about participating in shows, or those of you who are looking for a fresh idea. (And for all of those who have asked me for such an article via our ‘tips’ submission form, thanks!) 

Stay ‘Twisted’!

Dale/Cougar

Let’s begin by looking at a variety of ‘wire twisters’, and how to use them.

http://wire-sculpture.com/wire-twisters/Wire_Twisting_Pliers_6_Inch_Pack_of_1-5948-0.html

These are called “wire-twisting pliers”.  They are basically a pair of large, heavier pliers with an attached pin vise that has a spring-loaded handle.  After cutting the desired length of wire to be twisted, one end is tightly secured to a solid surface such as winding it around a nail on a bench or a wall, (or having another person hold the end firmly in a heavy pair of flat-nose pliers).  The operation is to then insert the other end of the wire(s) through a hole at the back of the plier’s jaws and then into the end of the pin vise.  After locking the wires tightly into the pin vise, the round knob at the end of the pin vise is pulled out and let go, causing the spring mechanism within the pin vise unit to twist the wire(s).  It can be continuously pulled and released until the wire is twisted to satisfaction, and would be best used for lengths of wire18-inches and longer.  After the desired twist has been achieved, open the pin vise to release the wire and pull it out of the pliers, then unhook the wire from the nail or other secured end.  Yes, these pliers can be used to twist either a single or most multiple wire combinations.

My personal opinion: yes these pliers work, however I feel that they are a bit archaic since one can get the same results using either a hand-held automatic screwdriver or drill that is easier to use, and costs about the same or less than these cumbersome pliers.  Also, these wire-twisting pliers only allow you to twist in one direction.

http://wire-sculpture.com/wire-twisters/3_6_Volt_Automatic_Wire_Twister_Cordless_Screwdriver-3517-0.html

A cordless power screwdriver is a small, compact unit that can be used to twist either a single or most multiple wire combinations easily.  It has a chuck end, (the opening used to insert a variety of bits), that will not close around any wire, and therefore a hex chuck needs to be inserted into the bit opening.  (See description below)  Procedure: place the end(s) of the length of wire(s) to be twisted into the chuck and spin the chuck tightly closed around the wire(s).  Hold the opposite end of the wire firmly in a pair of flat-nose pliers and push the button in either the forward or the reverse direction and twist until the desired effect has been obtained.  Open the chuck and release the wire.  (Having the option of either forward or reverse is nice when planning wire designs as discussed later.)  Most power screwdrivers include an A/C adaptor that can be used to charge the unit for use without electricity.  The A/C adaptor is also a nice feature as when the charged power has run out, the unit can still be used while plugged into an electric source and charging.  Yes, a power screwdriver can be used to twist really long lengths of wire, gauges 12 and smaller.

My personal opinion: As a power screwdriver will keep its charge for quite a while, this is a nice unit to take to shows and to travel with, (however please remember that although one is not allowed to take a power tool ‘on a plane’, it can be in your checked luggage).  While working a show, I like the option of having a single tool that has multiple uses because sometimes I need a screwdriver or drill too!  The only drawback to using a power screwdriver is the fact that with most styles, a separate chuck has to be inserted to hold the wire and when used you have to be careful not to pull both the wire and the chuck out of the unit.  The answer is simple, try not to ‘pull’, just hold the wire taunt with the flat-nose pliers, and if it pulls out, just put the chuck back in and continue twisting.  Or, if you think you will never use the power screwdriver for anything other than twisting wire, the hex chuck can be glued into it.  (See picture below that shows how to ‘hold’ wire(s) when twisting)

http://wire-sculpture.com/wire-twisters/3_Prong_Wire_Twister_Head-3518-0.html

This little gem is called a keyless hex chuck and is the unit inserted into the end of most power screwdrivers when they are used to twist wire(s).  (See above)

http://wire-sculpture.com/wire-twisters/Automatic_Wire_Twister_1_5_lb_7_25×7_0_Inches-3516-0.html

Another unit used to twist very long lengths of either a single or about all multiple wire combinations is a power drill.  Most power drills have a chuck end that will spin down tight enough to securely hold a single wire, however if yours does not, simply insert a just the end of a sliding pin vise or a hex chuck into the end and tighten the drill’s chuck around it.  (Inserting any pin vise in its entirety will limit being able to use the reverse mode of the drill as the ends of pin vises are threaded and will screw off!  (See picture below.)  Yes, both a corded and a cordless drill can be used to twist wire, a cordless being more convenient.
My personal opinion:  One of my favorite tools!  I absolutely love a cordless power drill for twisting long lengths of wire in many gauges, (I use up to 10g).  Over the past years, I have used a variety of brands and burn one up about every two years or so, due to the amount of wire I use.  The only drawback is that a power drill can be cumbersome to travel with, so I also own and regularly use four cordless power screwdrivers, when I teach and work shows.

http://wire-sculpture.com/wire-twisters/Swivel_Head_Pin_Vise-3514-0.html

http://wire-sculpture.com/wire-twisters/Double_Ended_Pin_Vise-3519-0.html

These are two types of pin vises.  The one on the top is a ‘Swivel Head’ and the one on the bottom is a Double Ended or better known as the ‘standard’ pin vise.  Each is used in the same manner, twist one of the heads to open the inset jaws and then insert the end of a single piece of wire, (or two or three small gauged wires), into the center and twist the head tightly closed around the wire(s).  Hold the opposite end(s) of the wire(s) firmly with flat-nose pliers and twist the pin vise with the other hand until the wire is twisted to the desired look.  Then twist the head open to release the wire.  With regards to wire jewelry creation, these units are most often used to twist shorter lengths of wire, from ¼-inch to 12-inches.  Each of these two pin vise styles can be used to twist separate segments on the same wire, (as the swivel head is removable).  This is done by either opening both ends, or by removing the end opposite that which is to hold the wire, and inserting a longer length of wire through the entire pin vise, so only a short length is protruding from the tightened end.  Hold this end with flat –nose pliers and twist to desired effect, then open the tightened end and slide the untwisted wire through to the desired length, hold that segment where desired with flat-most pliers and twist the part that is between the flat-nose pliers and the tightened end of the pin vise.  Repeat the procedure until the entire wire length has been twisted in whatever segments are planned.  For example, a 12-inch wire could be twisted every other inch and then used in the planned design.  Either pin vise will work to twist a single wire up to a 16g.    When either pin vise is used to twist multiple wires, the best results happen when using no more than 2 wires at a time, in gauges 22 and smaller.  Most often, either of these units is used to twist a single wire.

My personal opinion: The only benefit to owning either of these styles of pin vise is in having the option of twisting certain segments on a single wire. Each is small, compact and can be traveled with easily.  As for twisting single wires when embellishing a design, it takes a bit of time to unscrew the head, inset a short segment of wire, screw the head tight around the wire, twist a few times and then unscrew the head to release the wire.

http://wire-sculpture.com/wire-twisters/Sliding_Pin_Vise-3493-0.html

Pictured here is a thumb-operated or Sliding Pin Vise.  It will perform all of the duties listed for the other two just described and works the same way.  The main benefit of this marvelous device is that it takes a fraction of the time to set-up and use.  Center and insert the end of a single, or up to two small wires, into the rounded end, use your thumb to push the knurled slide up the end, until it has tightly enclosed the wire(s) and twist.  Use your thumb to push the slide down to release the wire(s).  Please note that pin vises are most often used to twist a single, shorter wire.

My personal opinion: The Sliding Pin Vise is one of my favorite tools.  When I am embellishing a piece of wire jewelry, I find this unit easy to use, fast and very convenient.  The only drawback is that you can not use it to twist in a counterclockwise direction, without holding onto just the head, immediately below the knurled slide, as the head will twist off; making it inconvenient for those who prefer to twist using their left hand.

Holding Wire While Twisting
Although a pair of chain-nose pliers can be used, I prefer to use flat-nose pliers to hold the opposite end of the wire I am twisting.  The larger surface area inside the jaws of a flat-nose give more stability and you do not have to hold them in a ‘death grip’, thus preventing possible damage to your hand or wrist.

Place about 1/8-inch of the wire end into the jaws of flat-nose pliers, about mid-way down the jaw.  Hold the pliers so they are vertical to the horizontal position of the wire, grip firmly and hold the wire so it is just tautly and twist away!  (If you hear a ‘clicking’ noise coming from the flat-nose end, you are not holding the wire tightly enough and the wire is turning within the flats!)

Before you ask; Yes!  It is normal for a wire to occasionally twist tighter at each end when compared to the twist in the center, especially when using a type of ‘power’ tool.  Sometimes this happens because the person using the tool is not consistent with the pressure/speed at which they are operating the power tool and sometimes it’s just the nature of the wire and how it was milled to being with.

You could take this in account when planning the wire’s length and cut it about an inch longer, (as it will twist more tightly for about ½-inch at each end), and then cut those ends off.  Rather than waste wire, I suggest that you don’t stress over this little issue; you are creating a handmade item that is not supposed to look ‘machine made’!

What Wires??
I receive a lot of questions with regards to confusion about the sizes, shapes and tempers of wire to twist . . . . or not to twist.  Let’s talk about the shapes most commonly used in wire jewelry design.
Square:
•    When an individual square wire is twisted, the resulting appearance is similar to a diamond cut chain, which is referred to as a ‘bead’.
•    Although two individually twisted square wires can then be twisted together, due to the difficulty in getting each individually twisted to the same ‘bead’, the result will more than likely be a looser twist as the two twisted wires will seem to repel each other.
Round:
•    A single round wire cannot be twisted to get a ‘party streamer’ or coiled appearance!!
•    Two or more round wires can be put into a wire twister and twisted together.
•    Round wire can be twisted around a square wire.
Half-round:
•    Half-round wire can be twisted around a square or a round wire.
•    Half-round wire can be twisted individually

Facts to Remember:
•    Twisting any temper of wire will harden it!  (Therefore I recommend that when 19 gauge or larger square wire is twisted before using, that you use dead soft.)
•    The more tightly any wire is twisted, the thinner and weaker the wire becomes; therefore take care when working a tightly twisted wire using complicated techniques.
Examples:
If a tightly twisted wire is made into a rosette or spiral and that rosette is then folded over at a hard angle, the wire may break!
If a twisted wire is used as the top wire on a framed stone, when that wire is tightly pulled over the stone the wire may break!

I hope this answers a few of the many questions I’ve received about ‘twisting wire’.

“Stay Twisted!!”

Dale/Cougar
DaleCgr@wire-sculpture.com

Easily found in abundance, pre-historic man discovered the malleability of copper and used it to form simple weapons, tools and talismans. Some of coppers’ other historic roles include: being formed into statues and all forms of ritual and/or decorative art; used in the construction and protection of dwellings as roofs, gates and plumbing; shaped into eating and drinking vessels and utensils; used in thin sheets as a painter’s canvas and to protect the underside of ships from algae and parasites; used as trade barter and currency; and of course for personal and often functional ornamentation, copper and its early alloys of bronze and brass have been made into pieces of jewelry. (The following samples are from Morocco and can be seen at Epcot.)

The main property of copper that associates it with healing, is that copper is ‘biostatic’.  This means that bacteria will not grow on its’ surface. The ‘ancients’ realized this feature and made drinking vessels of copper to drink water from as a healing method.  Modern man uses copper in garden sprays to dispel mildew and other bacteria from plants. Copper tubing is used in air conditioning units to prevent the spread of bacteria. Copper-impregnated fabrics have many uses as socks, uniforms and underwear for the sports industry; gauze bandages, wound products and textiles used in healthcare such as gowns, masks, towels, etc; household pillowcases, mattresses and carpeting; and for military and industrial clothing. Did you know that some hospitals use copper doorknobs to prevent the spread of germs? I realize now that what I though were just gorgeous older elevators, they were actually made using copper and brass as disease resistant decor! (This example is found in a bulding on Liberty Ave in Pittsburg, PA.)

Copper is very important to the human body too. We all consume copper in the form of vegetable, nuts, dried beads, seafood and (thank goodness) chocolate! Copper is also present in the air we breathe and in the water we drink. A copper deficiency in a humans diet can be associated with many stomach diseases, chronic diarrhea and premature birth, as well as high cholesterol levels. So enjoy your chocolate desert!

I’ll bet you have more copper in your personal home than you think (I know I do). One of coppers alloys is brass. Look around your home. Do you see brass andirons and tools near your fireplace or woodstove? How about any brass lamps, bells, a Grandfather or antique clock, a brass bed frame, silver plated flatware or tea set?  Ok, now how about the construction of your home. Did you know that an average single-family house in the United States contains more than 400 pounds of copper? Think about the builder’s hardware, plumber’s brass fittings and goods and the electrical wire. Now look at all of your electronic devices (computers, game players, stereo) and regular appliances like the heat pump or furnace and AC unit, stove, refrigerator, washer and dryer, etc.  Amazing when you think about this, isn’t it. (And I’m not even going to detail all of ways that copper is used within the transportation industry!)

Native or natural copper is a lovely pinkish color, however most of what we are familiar with has a reddish/orange/brown tone due to the fact that when copper is exposed to oxygen it develops a layer of tarnish. Copper also forms within several other minerals like chalcopyrite (fools gold), covellite, malachite and azurite. Copper is also the responsible color pigment for the mineral turquoise. Most copper findings produced today are polished, and most copper jewelry is coated with a lacquer both of which are temporary protection from tarnish. Copper will eventually turn a human’s skin green due to the reaction of the copper with the chemicals present in the human body.

 This is a photo I took of a basket of malachite in various forms. The specimens in the center show copper inclusions.

All of the pictures included in this article are from my private collection. The following picture is of a piece of ‘flow’ from a copper mine in Arizona. When it was given to me, it was explained that as copper is smelted to remove all impurities, all types of ore emerge, such as silver, gold and platinum. Taken in the morning sunlight, this piece clearly shows all of those metals!

This copper ‘drip’ is part of my outdoors collection as it weighs about 5 pounds and has very sharp edges. It is a solidified ‘drip’ from a smelting vat. The ’sheet’  and freeform mass are just more of my copper collection.

The only serious way to release deadly chemicals such as arsenic from copper is by heating it. Therefore all copper cookware is coated with a protective shield and anyone who uses any type of heat when working with copper needs to work in an area with adequate ventilation as well as wear personal protection such as a respirator. My husband is a boilermaker who is occasionally in situations where deadly fumes are present; such as repairs in the copper mines of the SW United States, and all workers there are required to wear respiratory protection. 

 All of the above information and facts are scientifically proven and true. Now let’s look at some healing theories associated with copper.

Many different cultures through the ages have used copper as a healing agent. Most of these cures were based on the fact that copper is biostatic or an antibacterial material. Second only to silver, copper is the best conductor of both heat and electricity therefore it is presumable that it would also help to conduct the flow of oxygen, energy, blood and other bodily fluids. 

Many people swear by the use of copper as an assistant with arthritic pain, however there is no scientific proof of this to date.

Based on scientific facts, it can be concluded that copper is a very important part of the human body and without it our entire circulatory and digestive systems suffer, and that copper peptides assist in cell regeneration that quickens wound healing.

I leave the rest up to your own individual judgment.

‘Stay Twisted!’

Dale/Cougar