Honeycomb Earrings - a stone setting project | Joanne Tinley | Skillshare

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Honeycomb Earrings - a stone setting project

teacher avatar Joanne Tinley, Jewellery Designer, Tutor and Writer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Honeycomb Earrings - a stone setting project


    • 2.

      Honeycomb Earrings - materials


    • 3.

      Honeycomb Earrings - equipment


    • 4.

      Honeycomb Earrings - soldering equipment


    • 5.

      Honeycomb Earrings - sawing the sheet


    • 6.

      Honeycomb Earrings - filing the sheet


    • 7.

      Honeycomb Earrings - preparing the settings


    • 8.

      Honeycomb Earrings - soldering the settings


    • 9.

      Honeycomb Earrings - soldering the earwires


    • 10.

      Honeycomb Earrings - setting the stones


    • 11.

      Honeycomb Earrings - finishing the earwires


    • 12.

      Honeycomb Earrings - final thoughts


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About This Class

A great introduction to stone setting and a challenge to help you improve your soldering skills!

The Honeycomb Earrings class teaches you how to create a lovely pair of drop earrings with a delicate honeycomb texture and simple cabochon stone settings. The class will teach you how to prepare your stone settings and how to easily set up the silver for soldering to create the 'half on, half off' look.

I want you to focus on your design skills in the class as well as your practical ones. I carefully pulled together the different elements in the design - the texture, the stones and the shape of the silver - to complement each other, and I'd really like you look at the stones you have and the texturing tools in your workshop so that you create a project that uses the techniques I'll teach you but is truly your own.

This is one of a series of video classes, each one showing you how to quickly and easily make a lovely pair of earrings - sometimes two pairs - as part of my #52earrings challenge. I have challenged myself to design and film tutorials for 52 pairs of earrings in 2017, and I'd love you to join me. In each video I will show you the materials you will need, explain the tools and equipment and go through all the steps needed to create your own lovely pair of earrings. Along the way I will share with you the same hints and tips that I teach in my jewelry making classes and private tuition so that you become more confident with your techniques and design skills with each class that you watch.

This class is an intermediate class as previous experience of soldering is useful.

The equipment needed for the project is explained in the videos and also listed on a downloadable document that covers most of the tools that I will use in future earrings video classes as well so you can plan ahead! All the equipment listed can be used for a variety of other jewellery making projects.

Earrings #48 in the #52earrings challenge.

Meet Your Teacher

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Joanne Tinley

Jewellery Designer, Tutor and Writer


I have been making jewellery for as long as I can remember, and have been passing these wonderful (and addctive!) skills on through my classes for nearly 20 years. I am self-taught and like many people I started with wire and beads. Learning how to solder, however, opened up a whole new world of jewellery making! There is something so magical about watching solder flow through a seam, joining two pieces of metal together smoothly.

My studio is in Southampton, on the South Coast of the UK. I design and make jewellery for galleries across the UK, teach regular and popular jewellery design workshops, and also offer private tuition. My jewellery design projects have been published in both UK and US magazines and books.

Visit my Etsy shop, Jewellers Bench Shop, for jewellery ma... See full profile

Level: Intermediate

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1. Honeycomb Earrings - a stone setting project: my name's John Tinley. I'm a jewelry designer to different Southwest UK. I welcome to the honey come here. The project for this class is you can see is a lovely pair of stone set hearings with beautiful, smoky courts have Chung's flat back stones, but in this case, they've got a lovely faceted talk to them. I'm setting them in a simple stone searching. I'm using pre made metal cups, some obviously very teacher in this class of simple stone setting techniques. I'm also going to work on your soldering skills. I'm going to show you how I securely sold it the stone settings and 1/2 on and half off silver. Andi did that in a way that making sure that they are lined up neatly ondas much as possible across a pair of earrings. But refreshing off the hearings with a pair of particular secure here y soldiers onto the back of the silver instead of silver wives bend back on itself. Simple. You ear y catches under a hook, making news, as I said, a very secure, however proving your techniques, while the main things I want you to take from this class. It's a design skills because the design of the hearings is actually just as important as the techniques used to make. Some need to make sure that everything fits together. Starting point for this design is the Honey home Check Stroller, Police Silver. This is a texture that comes from one lone designed later great sheets. Andi. When I wrote it onto the silver test, I knew I wanted to use it to make a pair of earrings that had quite angular shape. I knew that I had stones waiting to be used. The's perhaps courts stones. I think the kind of stones goes particularly well, honey, Something which also faceted tops, echoed both texture on the ship with silver. So I don't want you to do straight copy of these hearings to use the techniques new space it design off. So setting half on half off the silver. But I would like you to make sure that stuns me. Choose the shape of the silver on the text you choose. If you did, you choose to put text nicely together. This class is part of the 52 hearings challenged set myself 2017 design and film tutorials for 52 different hearings. Have a cat on Instagram and Facebook for the hash type 52 hearings to see behind the scenes photos next. For the moment, though, let's have a look at the equipment and materials they need to make ups. 2. Honeycomb Earrings - materials: These are the materials that were going to use to make the honey comb earrings. The honey comb pattern is on the piece of signs of a sheets that you can see here. This was originally a piece off no 0.9 millimeter saying silver sheet. That's about a 19 gauge. Refer to work engages as you can see from the shape cut outs from one side. It was left over for another project. I rolled it out for the rolling mill to increase its surface area and also to decreases thickness. I didn't need no 0.9 millimeter for a pair of earrings on the last rolls, the rolling mill. I used one of my later and grave texture sheets, one with a honeycomb pattern, obviously, to em boss that pattern into the silver. So this is now a piece of silver sheet that is no 10.7 millimeters thick, so it's a good thickness for earrings, and it's got that lovely honey comb pattern on it. No 0.7 millimeters is part way between 20 and 21 gauge. As you can see, I've really used a nice, thin, ultra thin Sharpie on my template to mark out the shape says, I'm going to cut the earrings from. I did that to make sure that I definitely had as much silver as I needed to cut those particular shapes before I got started. The lovely stones I'm using in the project are smoky quartz. They are eight millimeter diameter around smoky quartz stones. They are Rose Cut cabbage johns, which means instead of having a nice, smooth domed top, they've got a faceted top. I chose them because the facets really, really go beautifully. I think, with the honeycomb texture, they are going to sit inside pre made metal cups specially made to fit, not 0.8 millimeter stones. I'm using pre made cups simply so that we don't have too much to focus on in a simple hearings class. But there will be other classes that would teach you had to make your own puzzles, setting from scratch to completely earrings. I've got no 0.82 millimeters sewing silver around. Why, that's 20 gauge wire, obviously not going to use as much as you can see here, but I by quite a bit of time, because I use a lot. I find it's a really, really good thickness for air wise because it's comfortable enough to go through your ears , but it's also sick enough to hold its shape nicely. 3. Honeycomb Earrings - equipment: These are the tools that we're going to need to make the honey comb earrings. The first stage of making the earrings is to prepare the silver sheet, the shapes that would be cutting out with silver sheet from the material section of the class. You've seen it. I've really textured my silver. Using one of my late and grave Texas sheets I sent with the silver through the rolling will . You can do the same. You can hammer. You can use texture punches or you can leave. The silver plane is completely up to you. If you're going to be using a rolling mill to text your silver, you're going to need to do that before you do any soaring. If it's with the texture punches of the hammers, you could do that after soaring. So obviously I'm going to need to solve the shapes out. I'm going to mark the shapes with a fine, sharply and ultra fine Sharpie. Andi, I've got some lovely shapes on the green temporarily. See here I'm using a square shape with the corners trimmed off the shapes. It's had a Sharpie mark next to it. I'm going to be cut in two of those shapes out shoes in my jewels sore, and I'm going to support my work on the bench peg with the apron underneath to catch the dust so taken, going to scrap for recycling. And after filing, I'm going to use the Emery paper just to make sure that the edges of those pieces of silver sheet are really nice and smooth. The next job is going to be preparing to stone settings. If you're stone settings are slightly to tour with E stones and sells, then you're going to need to use a six inch file toe. Help shorter than remove some of the material, and you're then going to need to use the needle file because it's easy it handle as it's smaller to help finish off the preparation to remove material around the top of the setting so that you get a smooth, that neater finish after soldering, I'm going to need to set the stones. I'm going to use a better pusher. Onda basil Burnish er, I prefer a bent nose for straight nose burn. Isha, I'm going to use those to push the silver up, over and against the stones so they're held firmly in place. I've also got the wooden block here that supports my work whilst I'm driving, and I'm going to use that to support the earrings where I'm setting the stones and just see what I mean when I get to that stage of the class as well, on the little pieces of cardboard are here to do very much saying Job to support the stone settings. As I said that, we made a look clear. When we get to that section of the class, the other tools you can see here are to prepare and finish off the year wires. I'm going to use the nylon, your pliers, the flat nose pliers, a round nose pliers to shape manipulate the ear wires. The wire cutters are obviously going to be used to cut the wire on. The ruler is going to come in handy to make sure that my ear wise are the right length Andi off in matching links. I'll be using stepped Mandel to bend the ear wise since their distinctive U shape. But do you remember that anything that is round of suitable size, a bout of Penn, for example, or a large knitting needle would do the job just as well. Toe elevated strength of the ear wise. I'm going to be hammering the front section off them on whilst I hammer. I'm going to support silver on the steel bunch block with the leather cushion underneath to help to keep the noise down. The honey comb earrings are soldering project, so let's also have a look at the soldering equipment that we're going to need. 4. Honeycomb Earrings - soldering equipment: This is the soldier equipment, as I use for all of my smaller projects, such as earrings, and so pendants everything sitting on a couple of slate tiles, a heatproof surface to help protect my desk on my work sits on a couple of soldering bricks or soldering blocks, while some heating it up. One of these soldering bricks is made of a softer material than the others. Because it's softer, it's picked up some dips and some cracks in it. It's being used over the years, and these could be very useful for supporting work that isn't completely flat. The charcoal block is there because I melt small piece of scrap on top of that on. Do they form nice of my balls as I am used to decorate my projects when I need to pick up my work or to support it whilst I'm soldering? I used reverse action tweezers that you can see here and have also got a pair on a stand through 1/3 hand, and it's there when I need 12 on extra hands to help me out. The blue handled stick is a soldier pick on and that I used to push soldier move it about to make sure it it's exactly what I wanted to be. Soldier usually comes in strips or sticks. Andi, I've got three different melting temperatures here that I use in combination for different projects. The soldier gets cut into small pieces or Palin's you ting. The red handles snips as I keep those little pieces in the labeled boxes that you can see do. Make sure that you label your boxes because once a soldier is cut up, you won't be hard to tell which is which. Melting temperature. My curl over the ends off the sticks of solder so that I can tell which melting temperature they are, the more cold over they are, they're higher. The mounting temperature, bright yellow liquid is a flux. Solder won't actually flow out through the joining unless you use a flux with it. Andi, the paintbrushes. What I used to apply the flux to the joints in my work. Small projects like hearings only need a small blowtorch, and I've got two different makes of those here. Both of them are easy to refill with the gas that comes in aerosol cans. Since the same type of gas, butane gas that you use to refill cigarette lighter. We're also going to be using some pins that usually find in the haberdashery department off stores on. We're going to be using those to hold the silver in places for Mississippi solder. These air usually called T pins because they are shaped like tea with a head going across the top. At the back of the picture, you can see a so cooker that Scots a very mild acid solution. Good safety pickle in it. When you heat silver up, the surface becomes not darker and dirtier looking that some of the capo in the study silver reacting with the heat and auction flame to forward cause copper oxides on the safety pickle cleans it a couple oxides up before you put your work in the safety pickle, it needs to be cooled down or quenched in a pot of water. Andi, you need to put your work in and out of the safety people with brass or plastic tweezers, not the stainless steel ones that I showed you before and thus, but definitely not least our home safety glasses. You've only got one pair of eyes. Look after them carefully 5. Honeycomb Earrings - sawing the sheet: of what the silver supported on the wooden bench. Paige From when I start soaring out on bond to be using my lovely new concepts or frame, tell me so I saw the lines it would seem marked on here. He's a template to mark the lines on shows in this particular shape, because I think it really compliments the, um, the honey home texture. Well, so think about, as I said already, think about the texture pattern that you've put on the silver so really pushed on there if you sing it for the rolling mill or if you're going to have more texture and after its think about the texture on Day two, the shape together how they're going to complement each other. Now there is a booklet. Attach the class materials that go through lots of hints and tips to do with soaring until they are there to help you. To get the most out of your you're still frame so they get confident with soaring out because it is one of the most important skills that you're going to need what you're making . But you run through a couple of those with, you know, try as much you can to keep your sword blade upright. If you hold it an angle, you're going to be cutting through the top of the sheet before you cut through the bottom. And I know that's any very small distance because the sheet is only 0.7 meter millimeters thick. Senator Diagonal. This is not very sick, but that is enough to make a difference and make him more awkward for you when you are turning corners and means it's more likely that you're going to break the blade. The other thing is that you don't want to put pressure on the blade it started. I'm going to here straight exactly what I mean. So I'm trying to hold the silver down, but I've got this notch cutting to the bench papers allows my blade to think I know what you want, Teoh. You don't want to hear this. That happens when you put just a tiny amount of pressure on the saw blade. You don't need to that so they do the work for you, and as you know something down, we'll take it to the corner, okay, and then that's simple and show you is how to turn a tight corner. Best thing to do is to allow your late Tioga pinned down spot, find the silver blade facing forward and then when she went facing in the right direction. Certainly be moving against that soaring. Then you won't be able to just turn the metal to the right direction. You've got to keep the police moving your way. That's a hotline gets longer. Move your finger so that you've got finger either side, even do it from this side. Well, that side doesn't matter which really go. Teoh what you find more comfortable. But if you don't support silver on both, lie inside the cut line, then one side you just signed with the least. Once Silverton lift up on the upstroke like a lot more difficult, you're more likely cool again. But by the way, if you start soaring into the wood, don't worry that it's therefore eventually these bench paid studio worn way east away. You can see where I've cut into this one, and they have to replace them, sometimes end up quite amazing. Thanks if you find that it's not moving, was that I had just sense because he moved the silver too far quickly. We need to think about swimming. - I don't have to cut out that line because I made use the straight line that was ready on sheet. Okay, that's the first shape comes out. So I'm going to get on Cut the 2nd 1 out now again of made use of the straight line here. So start at this point, I worked my way around and a speed up fulfill this time. - So we go to lovely geometric shapes cut out or something. I compliment the texture really nicely. Next thing I need to do is to file now, not going be filing very much to refine the shape because I didn't saw too far. Sees for me. Hadn't saw too fast of concentrating on the accuracy rule from the speed. But what I do need to do is make sure that I have removed the thesis obeyed marks for around the outside. Ondo also taken off any particularly sharp corners to make these more comfortable 6. Honeycomb Earrings - filing the sheet: now so still shapes out. It's time to do some filing. Andi, I've actually already filed this one. Does he comptel that to my eye? It just looks a little bit little bit neater, although so my soaring with pretty accurate. I concentration on accuracy over speed. So my lines are pretty straight. Majors pretty straight. And there's a good match between the two pieces on. They are to my eye anyway. Requite symmetrical. Um, so there's not a massive modifying to do. However, If you did go off piece a little bits, then well, that's what files afford to help you to needing it up. I would done one of them so I could show you a contrast between the site because although other such there's not a great deal of fun of me to do, it's still important to do it to help start remove the marks left by the jewellers sore. So this is the one that's really being filed? Yes, I moved from around the light. She should be on to see that catching the light a bit more differently. Eso pitifully so I better English. Um, this is looks a lot smoother. Where is this still and rougher, so that's purely because it's being filed. My also very, very slow, likely removed the shops. Corners. Um, I'll show you how to us. Well, so I think that one's done a small stone he's doing do the full longest sites at the moment , and you can do just hold the needle file the flat needle felts I'm using up against the sides. If there's a particularly stubborn area that you need to work on the, I find it quite helpful to sweep across like so as well. It's one done. I wasn't gonna take too long because I said my my soaring was my son. Accurate, of course. Wanted John each piece that she the edge of the piece of silver because that was my straightedge doesn't need very much finding a tool, just one. So do that short sites as well the same way to help me get to stay at the same angle, not change the angle of the shape, just holding a file up against it. Something else you can do if you did go of peace. Little bit has put the template back on the silver and just remarking lines. So give yourself a guide of From Not Too Far Down to Right. So next thing to do are the ages have filed. It's just not fact. These corners ever so slightly solvent to is just sweet, pruned each corner. Just a couple of fast folks. One direction. I was eight. Doing it from the other direction as well. Do it from both directions, so that end up with an even look. Okay, now I have shown you before in classes. Sometimes have been a bird left behind, many being finding It's not very much with this, but I just can't remove it just by holding the files about 45 degree angle. Just sweep across. It doesn't take very long stew. Well, say just so help. Get rid of those marks. Cricketers. Nicely, smooth as possible. It's the quick rub with some 240 grit emery paper on each site, right, so those are now ready for the stone settings to be soldered at the bottom of each shape 7. Honeycomb Earrings - preparing the settings: hopefully in this shot. Now that I've come down a bit. Andi moving the stones around in the light, you can see the beautiful facets on them a lot more clearly now. I sat thumb inside the pre made metal cups Andi. Sometimes at this stage, I then should be showing you how to reduce the height of the better cops. Because nine times out of 10 the better cups actually come a little bit too high for the stones on. All you have to do is say you have seen the clip that showing now is to use a six and file to remove some of the material at the top of the cup. So I tend to hold the cup upside down on the six inch file, put back towards the handle, turn it every now and again so that I make sure that I'm filing evenly across the top of the wall. Andi, far away to removes material at the top, it is important to keep checking a fit so that you don't find too low, obviously so special. Total. It's a bit of time, however, quite unusually. These are actually the her fate height. Should I hope, just be able to see that the war is sticking up a little bit above the point, which the Stones are starting to curve away from the war. So there is about half a millimeter excess silver above that curve that, believe it or not, is going to be enough to when it's rubbed over, pushed over the stone toe. Hold the stone in place. However, for a stone this size, that is the ben minimum that I would use. So if it turned out that the Stones didn't have enough of a war, I would have gone back to making my own bizarre setting from scratch and making it a bit taller rather using these pre made ones. But these ones are actually pretty much a perfect fit. However, I do need to do one thing to prepare the stone settings to make it easier to set them and help setting look slow there and a lot more professional. And that is to remove some of the material from around yet not from the top, but from around the outside. So I'm going to move the hammer slightly so you can get a better view of how to do that. I'm going to use the flat needle file to remove some of the metal around the edge. I'm doing that because I'm going to be pushing, rubbing the top of the wall over the stones so I'm going to be making it go into a smaller area. And if the war is, um, too thick relative to size the stone, that can lead to a rather untidy setting. So if the stone waas 10 or 12 certain as much as 15 millimeters of diameter, I might not remove the metal from the top because the thickness of the wall relatives besides the stone, which would be okay, but for certainly for an eight millimeter stone, anything smaller? I do need to remove some of the material from the top. So I'm going to do is hold the flat file at. So I was about 45. Quite 45 degree angle. Andi, I'm going to I just work in the top. Well, just finally very top A bit of a tape of to bevel the top two levels of basil I don't need to do very much. Standard rule is that you remove no more than 1/3 of the sickness of silver. Well, no says I hope you can see I'm not going to found down either. Just checking a couple way around. I get to see that, especially if I hold this one. You have to see maybe that catches like differently at the top. What I'm going to do is show you a close up of those to seek and see the difference file this one as well. I've had going quite close to shave this, but he should be able to see that the top off the two metal cups are actually can't shine a light in a side of foot way. This is once be filed. This one hasn't been filed yet. You have to see the filing at the top. Gives a sigh. Different look. So it's not very far down. You can see it's also not removed. Very much thickness Set. Spanish rulers were moving no more than 1/3 so that one is now ready for solving onto the piece off. Honey comb patterns, Silver. This one. I gotta focus again. Difficult to focus of these small, this one, our nannies fiving to match. That's the point I'm going to do next on. Then I will show you how to soldier pieces together 8. Honeycomb Earrings - soldering the settings: I've laid out the honey comb patent piece off so sheet since I saw into shape on Duthie stone setting or one piece of each for one hearing. Andi, I'm just showing you close up at the moment because I want to talk about how I set it up. You're seeing already from the introduction that the first pair of earrings has got the stone setting halfway off the piece off. So sheets Andi to be able to sell vision place. I've got another piece of silver, this sort of he stand here. Now he's a scrap off the same thickness, same gauge of sheet as the pieces are meeting for the hearing, propping up the bottom of the stone setting. If that wasn't there in the stone setting with tick forward because half of it is hanging off the piece of honeycomb sheet Andi, it wouldn't soldier in place properly because it wouldn't be touching the piece of honeycomb sheet. Or at least it wouldn't be touching it enough to get a race. Nice strong soldier joint. So this way it's going to be so did nice and firmly securely onto a piece of honey cone sheet. However, your noticed that the piece of scrap is a nice distance away. It's a good 23 millimeters away from the bottom of that hearing so that there isn't any rescuer solder flowing onto that. And for me to have an unexpected extra element to my design. I've taken the time to line up the stone setting 13th century this direction as well, and you'll see that I've put a sharply dot at one end off the honey comb piece of sheet. I've also done that on the matching pair. I've done that because both due to the pattern onto the shape they looked better one way round to the than the other least Toe II. They did. So we're going to zoom out now so you can see how I set everything else up because I need to talk to you about soldier itself, a different view this time so you can see that I've got one two pieces off meeting soldier , medium soda pal Ian's on the fabric over here. They tend to blend in a little bit, but they are. They're honest. I haven't puts them onto the silver yet time putting in place yet, because once I want to do is actually board them up before I put them in tips. I'm not sure. So I've given you before. Is it if you ball up the silver? So the soldier, if you put them into time football, was just by melting them on and then put them in place, they're a little bit less likely to jump off that you heat the flux up on that dries off. Also, it's a little bit easier to talk of a bore right up against where you want it to be than a flat Peter shed the fat piece of XI times. He spreads out a little bit more. So I'm going to put the soldier balls just in there. Where the right at the corner of where the sheet on the soldier, the stone setting rather fit and one on the other side. She not only got to see one on the other side you seem putting into in place. We might not actually see it in the camera, so they'll be tucked up nice and tightly. What I'll then do you put the flux songs Well, what I'll then do you start heating up around, make sure that's the flux does dry off licence slowly just to eliminate the soldier jumping off some being that just that little bit more careful. I need to make sure that I heat up this little Peter scrap silver as well, because that's not be drawing heat away from the stone setting. So I want to compensate for that. You want to make sure that everything is heats up nicely and then was I'm going to do is make this end of the hearing a little bit hotter. So when everything looks as if the soldiers about to flow so flux has gone a nice, darker girl, lossy, glassy appearance with silver itself is a got a bit of a reddish tinge to it whatsoever. Everything. The right temperature made it with a little bit more heat down at the bottom here. So solder flows on where I've talked to turn up the top here, underneath the stone set into stone, setting on the honey comb Peter Silver to draw it down here. Remember the sea. So do always float the hottest party work, so make burn here a bit hotter. Draw the soldier underneath those two piece of metal on then I'll know that I've got the strongest, most secure, neatest soldier joint I possibly can. So first things a bit of a flock sitting. Hope it there. Oh, dear. I knew that would happen. Just popped up back in place. That would you? It's helped to move the flaps about little bit us. Well, we're going to do now is to use a small torch. Was to see the tip of it there to melt those two little pieces. The flux actually start to dry off. Some doing this is the heat will go through the break up until the silver. So it was a very good absorb and conductor of heat. Remember, no one cheerful piece of soldier just going to use river section tweezers very carefully. Not going to worry about popping it exactly where I needed to pay, because I don't want to risk getting those tweeters in too close and knocking everything else position. So it's going to oops, more suitable soldier. Just again, it just rolled off. That's the only downside. His in trouble with the soldiers, they don't roll so just very carefully or shines positions, he says. Just taking a little bit longer to such up in some other earrings that I'm showing you. That's partly because I'm talking key. Figure it as I do it, partly because it's worth taking the time to get the neatest soldier joins you possibly can . So those are both now position. You have that. You see both some camera on that. Come on, that certain settle going to do his heater all around it first dry off that flux and then when everything's got to the right temperature. But he done here and drew over the soldier down. - The flux has virtually dried. Now consider the yellow appearance. Yellow liquid has gone. It was a little bit just bubbling out there, but soldier has stayed. Where I wanted it to is always a good sign. It was actually a bubbling up for you. See the white bubbles. It was very dark down. Now don't worry if your stone setting lifts up a little bits. Minds just done just lifted up on the bubbled up flux, but it will die down again. They go. It started back down again. The dark, glossy appeal saw the flux. You're the indicators that so soon some concentrating down on this area. Good. So the flow very nice. Is it your silvery of extra heating up down here just to make sure that everything must soldered into place? So find move that Let me go Then I see soldiers together now, Andi, but over I can see a nice life soldier. It's not particularly easy to see because there's dirty flock, secrecy and nice soldier along that age, timing of things sorted nicely into place. So I'm going to solder the second stone setting in place as well. So it's those two components going to solder those two together. Andi pop them boasts in the quench pot in the Pecker part to clean up, to clean up the upsides and also clean off the excess flux that's here, Andi On, Then my next job will be to prepare and soldier in place. The air wise 9. Honeycomb Earrings - soldering the earwires: I'm back over on the soldier in block of Koch, the to dealings with the sown setting safely soldiered on to them on. Uh, first for being talked about is what I have turned on the back here. I'm doing as sit beginning the class. I'm doing air wise that have gotta hook at the bottom of thumb on the wire, bends over in the U shape and goes underneath that hook. It catches under the cook, so it's a very secure type of ear wire I want to secure once these because a stone set on them, they're particularly nice ones. I hope so. I wanted to make sure that these were here. So what I've done. He's drawn a line down the middle of each of the piece of honey comb silver, the back of thumb to show me the mid mark, where to line up the air wise, I've also put a line going across Just 30 can see to mark the point at which I want the ear y to bend up to start forming the I have also drawn as you can see a line going across to mark the point at which I want to the ear y to stop bending upwards to form catch. So I drew the line on one and then healthy earrings up against each other so I could draw the other line on matching you can if you want to. Obviously, measure the line measure where you want to put a line of marks on then on. That's pretty about 23 millimeters up from the bottom of the piece of silver sheet. So going with that one after the way for the moment, because I don't want that on the fire. The soldering unnecessarily When I'm heating up this one, nothing to tell you about, is it? I'm resting the shayt on a cheap be sick it that you saw any sorting equipment section off the class. I've done that because without it, that's going to tip over too much because remember what was solely the stone setting on one end. I'm not to be able to get a good access. The're why. It's not maybe going to be quite a stable, So just putting it on the T plane forgettable, lined up again nicely, says Nice and stable. We could. It means it's not going to talk about as much. It lifts up piece of sheet so that it is a little bit easier to access where I want the here want to go. So I've cut too lips straightening worrying about that. I've cut to five centimeter links off no 50.8 millimeters states of around wire on, and they are going to form the ear wise was something to do. First of all, though, is used. The flat nose plans to start forming the hook that is at one end of each ear Y. So I'm just using the wits as a frank. Those pliers here just then bend up. Why, that's a right triangle. Same to the other one. I do like these pliers because that distance services a a good distance for flicking out the lost tale of the EEA Y. Um, and using these employs for these jobs every time means that I don't have to measure with a ruler of Mark, a point at which I went to bend with sharply. I know that that it's assistance I want. I just use applies the guys is really if you can get hold of a pair of pliers that does a good job for you like that. So these in a bent, which means that I can more easily so that in place with the hook already starting to go up , it means that piece of why so I wouldn't use for the hook is out of the way of any soldier is not accidentally going to get soldered onto the back. So the next thing I just read one of those out the way because I don't need both on the soldier in breath at the same time. The next sentence Helveg need. It's a soldier. I'm going to be using some easy soldiers. Get a couple of pieces out now. Couple of Italians, I'm I used medium soldier to put the sto sitting in place. So by using easy soldier on just making certain that the previous so join isn't going to remote, that's gotta Ah, higher melting temperature. I've got four very small Palin's off. Easy soldier. It's a lined up there on the Palins. I cut are very thin. I tend to send my piece of solder cerci there first, the end of my super soldier. You can see this is how it comes. This sickness here you see what curls over. I said that through the rolling mill to thin it out. So it's a lot easier for me to cut for a small pieces. I got those line drops there. I'm just going to dip the end. Uh, why in flux? And then what across there with forever suction, tweezers or something to do, First of all, is melt the solder onto the bottom of this ear wire on starting from where it's been talking, but with a little bit of that section. So what just sold up onto the back of the hearing? So, Gus, just melt the Sylvian place on there, so I can then hold it on the back remote soldier, a sort of a strange place, my hope, but beating the silver, she quite a fish out of water that super get spread out your turn, that church off on and take closer to the end. It is worth if you realize, Yes, I had then that I haven't quite set things up comfortably. It's his worst have been whole thing, Andi. Maybe it very good. It's more comfortable cross, so it's more in the middle. Off they come. Okay, so I'm going to put the most heat initially into the main part of the hearing, because what is that? A bigger piece off, Uh, silver when the ear why it's also got the cheapen touch it still taping, which is heat sink joy heat away from that silver every beach in cheap in a little bit. Start to see a sharp rock. Fage, which is a good into, created some pretty good amount of heat. Think to hearing. I just held everything. Still, until the soldier lost that paper right appearance went down again, which told me that it had gone solid. So it's now one piece safe to move about on towards the end. I moved the heat up towards this end of the hearing to draw the soldier up because the soldier when I melt it's once the airway I had accumulated here to remember, though, that a cluster of soldier almost at the bend solder flows the hottest part of your work. So by moving heat up here as the soldiers flying, it's flowed up the ey nicely. So it's nice and secure all the way along there, so I need to do the same with the next one will quench that one when set up the next one as well. Don't be tempted, by the way, some moving the searing around with your fingers. I know that it wasn't on the soldering brick as he was heated up. Just see, actually putting it on just now and touching its the steel pin were started to heat up. There's no way I could rest my fingers on on it. Silver is an excellent conductor off heat again, another four pieces solder that seem to be agreeing that amount we can I see lined up dip this of the ear wire can in flux, hosting tweezers. So again I'm going to melt the soldier onto the ear. Why try not just accumulated in one place, this time on the back of the hearing on do the same as it is? The 1st 1 I twisted over my tweezers and you see, is that sitting like that and downright that so that's going to use with the perverse section. Tweets is just, too, that we put in place source of got a little bit of abandoned expert natural come out. It's only wise, quite forgiving. If the bend waas on the section of wire. This is going to be soldiers onto the back of the earing. Please help her win Just pointed my finger, not such in silver. Then I would stop at this point and take the bend out because after it was silver it down to silver. But because it's up past that section, I can use not on your pliers to try to top later to move that run just a little bit more before comfortable. It's better way we go. Okay, that's again. So did nicely. That conjoined, the 1st 1 in the quench pot they composed be cleaned up in a pickle, starting now to look a bit more like a pair of earrings. The pickle has cleaned up the silver nicely after soldering on this stage, before I go any further, I'm going to polish the earrings. I'm going to put me in my tumble, polished shut up and go through that for about 50 minutes. I got a nice speedy once it's on. It's way too long, Andi. Then I'm going to set stones. I'm doing apology at this stage because I obviously don't want to put them in the tumble out after the Stones have been set because I could cause damage the facets on the top of the smoky quartz. I definitely don't want to do that. It's going to be easier for me to set the stones while the ear waas here are still straight . I'll show you way of dealing with this up this bit. That's sticking out the back, Uh, happy to keep that out of the way, But you'll be a lot more difficult for me to set the stone. The're why with bench round and hooks around underneath. So I'm going to passion now and then show you how to set stones. 10. Honeycomb Earrings - setting the stones: earrings all nice and shiny, and they're ready for the smoky courts. Captions. He's lovely, faceted talked cabbage johns to be set in stone settings on I've Got Toothy Bright knows Punisher on Little pusher ready to use. But before I do that, I want to have a chat with you about how I'm going to support the work when I'm sitting stones. I like to have the peace of Joyce. I'm certain stones into little bit raised up from the desk on that so that I can have the tools at the right angle. I can have my, ah, hand resting on the desk, the too nice and horizontal and hold it against the stone setting. If it was down on the desk thing, it's just well, I can't lay flat, obviously, because the bit of wire soldiers on the back. But this was on the desk. Guys trying to everything pushed the stone sitting up against the so tool up against stone setting. It would be at a bit of an angle. It wouldn't be the right angle, so all right, have everything raised up on this is what I usually support. My work on its ah rubber block in things like this is sold by anywhere that supplies metal clay because they use for supporting metal clay. When you're working because the surface is nice and soft, it's something to scratch. But the work doesn't tend to slip about Tom it, so it's a really good surface to work on. However, as you can see, if you've got something soldiers back, you piece of work. You have to have that just slightly hanging off the edge of the block and heap turning your stone setting around. But because this stone setting is hanging off the edge of a piece of sheet, if I have it on this, then it's so knots that part, that all important stone setting part, the work is not going to be supported on. What I could actually do is Bend. Twist it out of shape slightly is I'm putting pressure on it to curve a bend and push the better wall over the capital. So instead, I'm going to use a piece of wood that I usually drilling, too on. The reason I'm using it is that's drilling into it has put lots of holes into it, so I can have done here. Poot. That piece of wire that's out of the battle is going to be formed into a hook. I can put that I could find a whole again. Somebody holds a deeper than others because I drove, furthering. I can push it in a city the size hole. Andi. It's still it is sitting a little bit proud, but I think I would do as well as have other piece of a scrap silver sheet or copper sheets , maybe, or actually, maybe some pieces of card underneath here to support that little bit better. But having its on the piece of wood allows everything to sit in a more supported mother, ready for starting the stone. So I'm going to move the camera so you can get a bit of a closer Look at what I'm actually doing with the tools and get on with the sun setting. I've jumped forward a little bit and actually already set one of these stones because I wanted to show you one already fished so they see a little bit more clearly what I'm going to be doing to face sitting this one and why I'm going to be doing it so I set this one, I move the rocket boat about in light. I'm hoping that you can see that the setting around this one looks a lot smoother. It's pushed more up against the stone. Fascist has been pushed a lot up against stone up against it as so lightly up over it and thats now holding it in place. It's not moving about well, the whole thing is moving about as I move my finger. But the stones that moving to this one. However, even if you can't see it in the camera shot, I can feel it moving around undies my fingers so that one is in the setting. But it's it's not actually set yet, so this one is really nice. And through that, the top. I've used the battle pusher to push the puzzle up against a stone and then push it slightly over the body, shot to smooth around the edge because it's a a cut stone. The chop it say faceted talk to catch on. The searching isn't completely smooth and circular all the way around. There are actually parts of the stone, so part with setting that are put my idea or rather It is not a daughter, a smooth circle. It's a Siris of have short lines were corners between them apart gone following the shape of the facets on the stone. So that one's done really nicely post, by the way we saw when they're not falling off is I'm who've the block of wood about. Is that the wind? Denise, I can get this one off Is emotional little holes so gonna move? This one asked away. Now, Andi, show you how to set that second stone. Now it's every set I'm going to be using the best pusher. So it's a road off square root of steel, pushing two wooden handles of handle. It's my seem to part my hand so I can get a good grip on it worth much more about the tool . First of all, when these first arrived from the supply, the corners and the edges can be quite sharp. So what I like to do is taken old file, not one of my nice files of these dirty and silver taking old file and just take the sharp edges and corners off. And then you servos great of emery paper to make sure that There is a really nice and smooth because any sharp edges on here could get transferred onto the stuffed fine silver. Remember the puzzles a major find silver, the market that tool rather could leave marks and that find silver and obviously don't want that to happen. So I'm going to be used to the best of push up as I set to. If I show you now, hold it. What I'm push up against So you walk over stone so we should be able to see their spinning round. It's kind of held on the wood should be out to see down. Here is a sightly flatter area there the vessels being pushed in. So that's the first push pushing up and walking over. I don't want to Then work my way around this stone because what I'd owned up with is rid of bunching up material here. What you want to do is, you know, south east west, start doing the points in between. We're always crisscrossing back across the stone on That makes for a nice, smooth even finish some time down here. When I got to this side Now, now, another tip for you never scrape your tool across the silver because you put marks into it . Always get in the habit of placing that you're there, not scraping it up. Pricing to you. Push in, up and over. That's the 2nd 1 again you can see. We have to see a slightly flatter section there social going to do now, not shape something to do to do. First is I found a couple of pieces, a car that sit nicely underneath the setting to support that Welsh little bit of the setting I'm going to do. So I've done North and South, so I'm going to do. It's the worst. It's not enough, by the way, just to push at the top of the war, you got to push the whole wall. Sorry, but gets stone and then walk over. So it was quite squared off now so that what I need to do is, um, north, west, south east and so one over. So now I've done those main points on If I show you my toe, it's no falling out. It's going to stay in there nicely, but the setting isn't done quite yet. I can steals. Everybody can actually still feel the stone moving around a little bit. So there is still some points at which the setting isn't pushed nicely up against the stone . Some kind of keep working at those working back and forth across the stone all the time. By the way, I'm holding my son on top of the stone. Um, it helps to keep everything study on. That, coupled with the very slow, steady movements that I'm using, means that even though in putting a fair bit of pressure and has sampling of every pressure on because the blood started to go on with my nails and really pushing quite hard. But despite that, despite that pressure, because I'm making my movements very slow and deliberate, I'm really minimizing the chance of my two slipping across the stone. Having some on there as well helps to to protect that, you will find the first maybe doesn't or more times that you set the stone. You will have to go round again and push it in tighter. Um, and that's because you're still learning a little bit about how tightened how smooth you make the stone setting. Onda also just as importantly, learning what you can get away with with both the tools. Andi, the materials. A lot of this is getting confidence with what you're using. Work few more sections. Just work can see it sticking out a little bit. Okay, that's looking. So after view someone so close, it's ET to get out of the camera shot. Um, that's set quite nicely, but this one still looks smoother us because this one has bean burnished have been using this to So you need to do now that burn shirt is going to, um, push that sitting even closer up against the stone help to smooth out any marks that I might put in using that. That's in the best of pusher. It doesn't look at first glance if I have so you see your work on one section time I'm supporting to price going in and out of focus because I mean so close. It's trying to focus on different tools. Um, so So I'm doing, as you can see for show First fall is I'm making sure some supporting the work, and I see on my fingers that while I pi the pressure from the bush burnishing everything is nice and stable. Come back into focus again, right? There we go. So it's not going to do now. Just work on one section at a time, going round stone. We're just working on the top of that stone setting. I'm making sure that I'm keeping a tick of the burn shop off the sheet of the back so they want to scratch it. And this is the reason why. Actually, I prefer I am but better and focus breathing. My, I prefer a bank knows burnish up rather than straight nose because it helps to keep the tip of a bit further away from E think scratch do a little bit more than that section there. We're shutting bit tighter. I'm happier that so one to hearings are starting to look more hearings. Last thing I need to do. It's a finish off the ear, wise on the back 11. Honeycomb Earrings - finishing the earwires: Now, if you watched any of my other earring classes and there are quite a few hearings with your classes now, then a lot of what we're going to be doing is going to be quite familiar. First thing we're going to do it just using on your appliance just to make sure that thes sections a nice and straight I actually already did this before me. I said stones. If you remember one of the year rings, I think it was actually this one, um, has a little bit of a wobble in the wire course when the why bent for soldering. Um, but just making sure again that stay are straight because whilst being certainly since my moved about so that's that bit done. Next thing I'm going to do is make sure that these waas Ah, the same length was it actually proving. But if grassing, that's the best way to line everything up. Just checking to see that these two ends fish the same point, which, um, this one is a little bit yes, a little bit longer. So it's only about, uh, millimeter, maybe teach eyepiece for still, and after being a little bit fussy, but that such funny, But there might sit catching the light play. But bad that some we'll go this crackpot Put that somewhere safe. So now they're the same Same links. Going to use a needle file to smooth off the ends. Smooth off all four ends of wire. Wouldn't be nice and comfortable. By the way. I really know that these lengths here are the same. All eat sharing because remember, I use my flat pliers from those supplies to work that out already. Let your fingers as much your eyes to make sure. Do you feel that's Isis smooth. So much the same. Here. How to hold this license stable. This section is not going to your ears, but some. You certainly don't want it to be scratching. That's funny. This same with this hearing. No spit of fighting. You see, by the way, that they were keeping the fire going some direction, twisting the hearing so different Why was being filed? Okay, Licey finished. So fish the far with that one side next they'll want to do is just turn the hook here. So So Yes, reaching. Use my a round nose pliers on and just going to turn on a loop so it will hook. There we go. Just saying that it will hook in that piece of why it's going to use lies. Just I just sat ittle bit so sitting more upright. Okay, I invented the same with this one, but I'm going to get it to curve over in the opposite direction while explaining why in a moment just using the applies just a curve it over, although they're not going to be seen from the front. Some nice to see if he can get them right close much. Just this one. A bit more. Very good. Now the reason I'm guessing them to Kyle in opposite directions is this wire is going to come over and down. Andi. It's going to be pushed underneath that hook. So the wise actually going to be pushed to one side a little bit. Search it can hook underneath. If both hooks were facing the same direction, the wires would be twisting over just a little bit in the same direction. Because these earrings, I like how ever I possibly can to make Cem more versions of each other. So if one wire is being pushed over in that direction to go on the hook. I want the otherwise twist twist over the at the office of the other twist over the other way. So I want my hooks to be member versions for each other. What I'm doing up. So the tour that I'm going to use two puts that U shaped bend in the wind, something you've seen before, My Step Mandrell. They could use anything that is a suitable size and shape. I'm going to be using the middle. I don't want these hearings to be too long. It was about that far down you could measure and put a mark. And so that's the point at which I want to start bending. But you can see quite often I just start it and then it just it is I I need to go now. I can tell that if I'm going to continue bending at that point, my wife isn't going to be long after. Can't leave the hook. So what I'm going to do is not been that section anymore. I'm going short in this, but here, I'm going to do so just by pushing it down. No, it's going underneath such love enough to catch underneath, sir. So what I'm going to do for go any further, do this one to match? Because I want my earrings so much nicely start to bend it, pop it back on here, start to bend it round and then hold the earrings up against each other. That was easy to do. Is it? Look, that says it sounds because the stones get in the way. You can set. You see that this one is still longer. So I need to use up some more of that silver there. So pop it back on the Mandrell bend that round more quite, but is a better match. It's in focus for you, so you can see as well. That's better. Much so again, friend, this been the back choir. So is it just about catchers? Un Denise? Okay, So couple of things I need to do next, I need to, um before going further, I'm going to push it a bit of a hammer mark into the front here to strengthen that pace of why be hammering on top of the bench broke with these tools out of the way? Because otherwise we're hammering. They're going to roll for floor. You can't be easing flashing hammer. So I'm kind of doing It's just hammering this, Uh, this very front section here was, It's going to do is put some strength into the shape. That means when I'm moving this year, why through through my ear and hook it underneath the catch of the back, it's still going to say nice and strong. It's going to keep basic u shape, some holding the rest, the hearing off the bench block. So that's not gonna get in the way of the hammer. All that's needed just flattening out that section. So it's so stopping it from being round. So it's not so easy to twist and pull out of shape the same. Same with that one. So last thing that I need to do being at these back. So he's going to do just to help the ear wires catch underneath that hopes just going to Bentham back a little bit. So for once, I'm not just using the wits of the, uh, suppliers, which has knows him you little bit more. So Spike, I couldn't measure it if you want to, but just by eye that looks a good match. Sure thing is just twisting that back. What it means if you watch now, is us. I so each other to it without my fingers hiding. What I'm doing, it means this is I twists that. Does I bend that down? It just cooks nicely underneath. That's a really nice secure. Hear why the hearing isn't going to come off. See, you're not going to lose that. Stone said he just done. So push it down that she cook. I'm Denise. So one lovely stone set a pair of earrings. 12. Honeycomb Earrings - final thoughts: way have one lovely on one carefully designed pair of earrings have made sure that the texture the stone, the carter, the stone on the shape of the silver or fit together really nicely one flows on the other. So I wonder what will be the starting point of your project? Do you have a persistence that has just been waiting to use? Do you need a flower textures? Pair of earrings completed? Outfit. What will be the starting point of your project? Whatever you decide to make, I hope that you share some photos of your fished hearings in the project section of class. Have the greatest while. If you could leave, review toe students, Thank you for washing.