Semi Snap-on Bail

by Judy Larson

Category: Findings
Technique(s): Oxidizing / Antiquing, Texturing, Butane Torch Techniques
Skill Level: Beginner

This bail is a perfect addition to pendants that lean toward a more traditional style. It can take on a more rustic appearance with a little texturing of the center wire and patina.

Materials

24 Gauge Dead Soft Sterling Silver Sheet - 6 Inches

H8-24SM6

Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 1 Inch
Price: $44.43
Gold Club Price: $33.32

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18 Gauge Round Half Hard .925 Sterling Silver Wire

H8-18H

Lesson Quantity: 1.50 inches
Purchase Quantity: 1.00 1FT
Price: $5.59
Gold Club Price: $4.19

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Tools

Silver Solder Paste Soft SS65- 1/4 T.O.

SOL-822.10

SOL-822.10
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $16.95
Gold Club Price: $12.71

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Blazer Big Buddy Turbo Torch, Black

TRCH-8010

TRCH-8010
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $40.00
Gold Club Price: $30.00

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Metal Cutting Shears

SHR-536.00

SHR-536.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $14.97
Gold Club Price: $11.23

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Magnesia Soldering Block

SOL-455.00

SOL-455.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $7.95
Gold Club Price: $5.96

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Pickle Pot, 16 Ounces

CLN-584.00

CLN-584.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $31.95
Gold Club Price: $23.96

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Sparex Number 2 Pickling Compound

SOL-802.10

SOL-802.10
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $6.95
Gold Club Price: $5.21

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Aqui Flux, 1/2 Pint Spray Bottle

SOL-932.03

SOL-932.03
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $6.95
Gold Club Price: $5.21

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C.H.P Milano Italian Flush Cutter, 5 1/2 Inches

PLR-487.00

PLR-487.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $16.97
Gold Club Price: $12.73

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Premium Steel Bench Block 2 1/2 X 2 1/2

G17-9

G17-9
Lesson Quantity: 2.00 pieces
Purchase Quantity: 2.00 each
Price: $15.97
Gold Club Price: $11.98

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4 1/2 Inch Flat Nose Prong Making Pliers 1.50mm

G2-84

G2-84
Lesson Quantity: 2.00 pieces
Purchase Quantity: 2.00 each
Price: $7.57
Gold Club Price: $5.68

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Economy Nylon Jaw Pliers

G2-25

G2-25
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $11.97
Gold Club Price: $8.98

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6 Step Barrel Plier - Pack of 1

G2-503

G2-503
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $18.95
Gold Club Price: $14.21

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Liver of Sulphur Gel, 2 Ounce Bottle

SOL-610.02

SOL-610.02
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $12.95
Gold Club Price: $9.71

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7 Piece Mini TruStrike Hammer Set with Stand

HAM-520.70

HAM-520.70
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $140.54
Gold Club Price: $105.40

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Instructions

Step 1

Use the photo to draw out the stencil/template for the bail. Consider using the portion cut away as a stencil.

Pro Tip: I prefer to use a stencil, which you draw inside of, rather than a template, which is seen here, to trace designs on sheet metal. When cutting, I cut outside the drawn line. That way, I have an idea of how much needs to be filed away to get the exact design. If I cut inside the line, as would be needed with a template, the design outline would change slightly because it is easier to cut more off than necessary, which might affect the finished project. I then would have no reference lines for refining the edges of the piece.

Step 2

The bail was purposely cut out before texturing so it would be obvious why this is not the thing to do. Texture lines going across the bail using the narrower side of a Mini TruStrike Sharp Designer Hammer. Notice that the bail expands in size and curves when it is textured. The design then needs to be re-traced and cut out again. It would be easier to cut a piece of sheet metal ½" x 1½" and texture across it. Trace the bail design onto the textured metal and cut it out. Note: Draw a line down the center of the sheet metal if the texturing hammer does not have a wide enough face to go completely across it. Texture on either side of the center line. Center the template on the center line and draw around it. The line on either end of the bail does not need to be centered.

Step 3

Anneal, pickle and dry the piece.

Pro Tip: Squeaky clean metal equals successful solder joins. Every time you use a torch to fuse, solder or ball wire ends or work on sheet metal, fire scale develops. It is necessary to pickle these pieces to remove the fire scale so each succeeding solder join is successful. If pickling is not necessary, rubbing alcohol can be used to remove finger oils, etc., from finished pieces before soldering.

Step 4

The piece must be perfectly flat. Place it in the center of a bench block. Place another bench block on top of the bail strip, catty (or kitty) corner. Doing this makes it easier to pick the top block up with the fingers of two hands. Pick the block up a half inch or so and evenly, forcefully and quickly push the top block down onto the metal piece. Flip the it over and repeat the process if needed.

Step 5

Clean, straighten and cut a 1-3/8" long piece of 18 gauge wire. If it is not perfectly straight, straighten it by rolling it back and forth between two bench blocks.

Pro Tip: Leave a little wire hanging over the edge of the bench block so you can tell if the wire is rolling or not. If it is not, you may need to hand straighten it a bit, then roll between the blocks again. If the wire was handled too much, it may need to be cleaned again.

Step 6

Use a clean titanium solder pick to place small amounts of easy paste solder down the center of the bail. Place the wire on top of the solder, making sure it is centered in the wider section of the bail and towards the front, the longer of the two ends. The wire will hang over both ends of the bail.

Step 7

Use the butane torch to evenly heat the piece, moving the torch around the piece, until the solder flows. Immediately remove the torch.

Step 8

Trim off the excess wire hanging beyond the ends of the bail. File the wire ends down flush with the sheet metal. Use a file to round the ends.

Step 9

If desired, use the sharp texturing hammer to make a few dents along the wire for added interest.

Step 10

Place the bezel on a raised surface, long end out. Slide the pendant on the end. The edges of the bezel need to be filed back until the pendant can be pushed in to a distance of 3/8".

Step 11

Refine the filed edges and wire with 320, 400, 600, 1200 and then 2000 grit sandpaper.

Step 12

Use the larger of the two outer sections of the 6-step barrel pliers to make a loop on this end. Be careful to not squeeze the jaws too tightly. This is a relatively heavy bail, so it may be desirable to attach an unfinished pendant before closing the loop. Use a soft jaw pliers to close the loop. Or, leave this loop slightly open to attach to different pendants over time.

Step 13

Bend the bail over the smaller of the two center section of the 6-step barrel pliers. Be careful to not squeeze the jaws to tightly. Close the gap using soft jaw pliers to avoid scratching the metal. Or, leave open to attach to a pendant at a later time.

Step 14

This step is better done after the bail is attached to a pendant and closed. Start as close to the bottom of the bail as possible. Grasp the bail with two flat nosed pliers, the tips directly across from each other and pushed tightly against the center wire. Bend both pliers up. Keep moving up the bail until close to the top curve. Switch to narrow jaw chain nose pliers to bend the curved portion. Round nosed pliers can also be used. The metal can be easily scratched and dented, so be careful.

Step 15

Tumble the bail in steel shot and water with a drop of dish liquid to bring up a nice shine and work harden the piece.

Step 16

Leave the piece bright and shiny or use liver of sulfur to patina it. Buff with 0000 steel wool to bring out the dimension of your texturing.

Step 17

Buffing with steel wool creates a satin finish on the metal. Tumbling for 30 minutes will bring back the shine

Reviews

Judy Larson

My philosophy has always been "I will never live long enough to learn everything I want to learn, go everywhere I want to go and see everything I want to see!" So, what I make and how I create it is always changing and evolving. I was born shortly after WWII to parents who grew up during the Depression. They always had a "we can do it, we can make it" attitude which rubbed off on my two younger brothers and me. My brothers are amazing and can make and do ANYTHING! When I was a little girl, my mother gave me an old carved cigar box, which I cherish, filled with pop beads, wooden beads and yarn for stringing. That was the beginning of my jewelry making journey.

On a visit to the Grand Canyon when I was a young woman, I was fortunate enough to help a Native American silversmith sand cast my first silver bracelet and bezel set a large turquoise nugget on top. I was in love, hook, line and sinker! While working full time and having a family here in northern Minnesota, my artistic endeavors slowed down but never stopped. I am an artist, scrapbooker, seamstress, woodworker and jewelry artisan. Now that I am retired, I am able to indulge in all my hobbies. However, there just never seems to be enough time in the day to do it all, but I try!

I have been teaching community education beginner and intermediate jewelry making classes since my retirement. Many of my students have been bitten so hard by the jewelry making bug that they say I have turned them into monsters-they just can't get enough. Making jewelry, seeing something take shape from small bits and pieces, is so rewarding that I hope it brings out the "monster" in you, too!