Make Your Own Chains Part 2

There is nothing wrong with purchasing ready-made, designer-style chains, but they can get expensive compared to making your own.

I always encourage jewelry artists to ask themselves whether making specialty chains is worth their time, because time is valuable. In many cases, though not all, the answer is yes, because handmade chains help your designs stand out in a crowd.

For many jewelry artists, the next step after making cable chains, as covered in Making Your Own Chains, Part One, is learning the Byzantine chain.

This beautiful chain is believed to have originated around 300 BCE in the Byzantine Empire. While it may look intricate, it is actually an easy chain to construct, making it a perfect beginner project.

The Byzantine chain is a 4-in-1 chain, meaning each link passes through four others.

This makes it very strong. In comparison, the cable chain links in Part One pass through one, two, or three other links, which is why they are referred to as 2-in-2 or 3-in-3 chains.

Because the Byzantine chain is jump-ring intensive, a lot of jump rings are required. Depending on the wire gauge, jump-ring size, and the length of chain needed, it can take up to 250 jump rings to make a bracelet.

This is a good time to consider switching from flush cutters to a faster and more accurate method of cutting jump rings, since most chain maille designs require rings with exact dimensions.

Jump rings cut with flush cutters rarely meet flush. There are almost always burrs on the cut ends that need to be filed away. It is also difficult to cut each ring to the same size, especially when 1 mm or more of wire is lost during cutting.

More often than not, the rings will not all be the same size. This makes the chain harder to construct and can even make it impossible to complete a design that depends on precise ring dimensions.

When machine-cutting systems or saws are used to cut coils into jump rings, the amount of metal removed between the ends is only about ¼ mm, and every jump ring is the same size.

There are many methods for sawing jump rings, and all of them work equally well. Personal preference and the first method learned often determine which technique someone uses.

When I make jump rings for a project, I always make a few extra.

There is always a need for them in future projects. I store my jump rings in small, clear resealable bags labeled with the wire size and mandrel size used.

Those bags are then organized by ascending gauge and size in baseball card sleeve pages.

Through trial and error, every jewelry artist develops a jump-ring storage system that works for them. What works for you?

More complicated chains rely on repeating a series of ring connections. The Byzantine chain repeats the same steps twice, creating its traditional configuration. Each of the two series uses six jump rings arranged in sets of two.

When learning this chain, it can be helpful to use the same size and gauge jump rings in three different metal colors, such as brass, copper, and silver. You can also use three different colors of silver-plated craft wire, enameled craft wire, or enameled aluminum wire.

If you use plated or enameled wire, soft-jaw pliers can help prevent scratching the finish when opening and closing rings.

Kylie Jones explains why she uses different colors of jump rings in Making Chain Maille Easier.

Jump rings are tiny and difficult to hold, especially when starting a chain.

Inserting a twist tie into the first ring or rings can make the chain easier to hold. Attaching a clasp to a tightly woven chain can also be tricky once the chain is finished.

Starting the chain with the clasp already attached can make it easier to hold and helps determine the final fit or length as you work.

The Byzantine chain is strong because each ring interlocks with four others. This interlocking structure allows the chain, and other advanced chain maille designs, to withstand normal wear and tear.

Wire gauge and interior diameter (ID) make a noticeable difference in the finished look of any chain.

In the examples shown, both Byzantine bracelets were made using machine-cut jump rings, which is my preferred method.

The bracelet on the left is made with full-hard 20-gauge, 3 mm ID jump rings. The bracelet on the right is made with half-hard 18-gauge, 3.5 mm ID jump rings.

Both have a dense, tight weave, but the half-millimeter difference in ID and the change in wire gauge create a significant difference in the finished size and diameter of the chain.

In another comparison, both chains are made with 18-gauge jump rings. The lower chain uses 3.5 mm ID rings, while the upper chain uses 4.5 mm ID rings. The larger rings create a lacier, more open look, while the smaller rings result in a denser, chunkier appearance.

Pro Tip: When I first started teaching the Byzantine chain, I made three short sample sections using 18-gauge rings in different sizes so students could compare them. Those samples have since disappeared, but the lesson remains. Having samples of commonly made chains in different gauges and sizes is extremely helpful when deciding what will best complement a new design.

Both chains shown below are made with 18-gauge, 4.5 mm ID jump rings. The patina on the copper chain makes the rings appear heavier and denser than the bright silver version, even though the dimensions are the same.

Most Byzantine designs are tightly woven, but they do not have to be.

This sterling silver and gold-filled necklace chain was made with carefully hand-cut, larger jump rings for a light, open look.

In this design, 20-gauge, 4.5 mm ID sterling silver rings were used for the Byzantine links, along with 20-gauge, 6 mm ID gold-filled jump rings for the Mobius links.

Ring size differences become even more apparent when comparing chains made with 20-gauge, 4.5 mm ID jump rings to those made with 20-gauge, 3 mm ID jump rings.

A difference of just 1½ mm may not seem like much, but it dramatically changes the weave and overall feel of the chain.

After a friend passed away, her husband found a bag of 18-gauge, 4.5 mm ID jump rings among her jewelry-making supplies.

I tested them and confirmed they were sterling silver. Using those rings, I made a Byzantine bracelet for each girl in the family.

The important detail was the slightly domed disc added to each bracelet, stamped with her initials and .925.

Each bracelet will be passed down through generations, and it is important for the recipient to know it was made from precious metal and created with love by a mother and grandmother.

The Byzantine chain is constructed with three repeating sets of two smooth rings. For variation, you can replace the middle two rings with twisted square-wire rings made one step down in diameter.

For example, use 22-gauge twisted square wire rings with 20-gauge smooth rings.

For another creative idea, search for "Graduated Byzantine Necklace." There are several good videos and written directions available that can be printed and used as references.

The Byzantine weave is extremely versatile and complements many designs. It does not need to be used only for standard bracelets or necklaces. Short segments can be just as striking, especially when beads are added. The designs below highlight that.

Find the beautiful teardrop Byzantine Chain Maille Pendant by Kylie Jones here.

This bracelet could be made over and over with a myriad of 12mm flat puffed coin or square beads and it would never look the same.

Imagine making this into a longer length for a beautiful necklace.

Find the Botswana Agate Half Byzantine Chain Maille Necklace by Kylie Jones here.

These stunning Byzantine Chainmaille Earrings featuring 6mm beads by Natalie Pattten can be found here.

Combined with a 2 in 2 double cable chain with beads, this gorgeous necklace Romanov Chainmaille Pendant by Natalie Patten features two sections of Byzantine weave connected around an 8mm bead.

Tip: Try your hand at some new chains. After making Byzantine chains, the construction of the following chains will be easy.

This Chunky Chain Maille Keychain by Kylie Jones is a great introduction to the Full Persian Chain weave, which is essentially a more complex version the Byzantine weave.

The Helm Weave or Parallel Weave is another chain that looks difficult but is actually very easy. Find the Beaded Helm Chain Maille Earrings by Kylie Jones here.

When exploring these designs, remember that there are very few hard-and-fast rules in chain maille.

Experimenting with substitutions and adjustments is part of the creative process.

In one Helm weave bracelet, the directions called for a specific size of large jump ring. However, the 4 mm large-hole sterling silver beads used in the design did not move freely on those rings.

I kept the smaller connecting rings the same size but increased the size of the larger rings until the beads moved easily. The result gave the bracelet a "caterpillar" appearance.

Because this bracelet was made after hungry caterpillars had defoliated trees for miles, I chose an open leaf toggle as a fitting finishing touch.

Chain maille evolves because artists are willing to experiment, adapt, and build on simple structures.

From a basic cable chain to an intricate Byzantine weave, each step opens the door to new possibilities. Do not be afraid to try new chains, make adjustments, or put your own spin on a design.

That is how truly beautiful and personal jewelry is created.

Check out the other parts of this series below!