No Rolling Mill- No Problem

by Judy Larson

You don't need fancy equipment to create eye-catching textures on metal. If you've got a hammer and a bench block, you're already in business! With a little creativity, everyday items around your house can stand in for a rolling mill-no expensive tools required.

Try pressing unexpected textures into sheet metal using things like burlap ribbon for an all-over pattern, or even a facial waxing strip (yes, really!) for a soft, subtle finish. Practice on copper or other base metals in different gauges to see what kind of results you can get.

After a recent hand surgery, I brought home everything from my paper gown to the foam strips used in the prep process-each one a new texture experiment waiting to happen. Don't be afraid to get a little weird with it-some of the most unique designs come from the most surprising materials!

Instructions

The sheet metal, which should be slightly larger than the item used to impart texture.

Even though sheet metal purchased for jewelry making is usually dead soft, for the texturing methods described here, annealing the metal is a MUST to obtaining a deep, crisp texture design.

After annealing, pickle the piece to remove the fire scale and dry the piece before continuing.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Impressing texture on top of the metal

Cut a laser-cut cupcake wrapper slightly larger than the piece being textured, first photo.

Or, use a punch to cut a design from card stock, such as the dragonfly in the second photo.

Consider using a Cricut to cut other designs and shapes, or letters for monograms.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Cut a laser-cut cupcake wrapper

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, use a punch to cut a design from card stock,

Following the glue stick directions, coat one side of the chosen design with a craft glue.

Immediately adhere the design to the sheet metal piece.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, coat one side of the chosen design with a craft glue

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Immediately adhere the design to the sheet metal piece

Place the metal on a bench block, paper design facing up.

Since hammering can dislodge the paper design, use wide clear packing tape to hold the metal and glued paper in place on the bench block.

Packing tape has the added advantage of protecting the piece a bit from minor dings on the hammer face being transferred to the metal.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Place the metal on a bench block

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, use wide clear packing tape to hold the metal

Use a hammer with a large, smooth flat face to hammer the design into the metal surface.

Use firm flat strokes.

The cupcake wrapper was not taped in place and parts came off during hammering which is why taping the unit in place is recommended.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, smooth flat face to hammer the design into the metal surface

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Use firm flat strokes.

The paper design should easily pull back from the metal when finished.

If not, it will come off with water and a bit of rubbing.

Rinse and dry the piece.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, water and a bit of rubbing

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Rinse and dry the piece

Cut a piece of 40 grit sandpaper slightly smaller than the piece of metal being textured. Use double stick tape to hold the metal piece in place in the center of the bench block.

Place the sandpaper texture side down on an annealed metal sheet.

Tape everything in place.

Hammer the sandpaper into the metal for an interesting texture.

The sand grit will go flying if the tape is not larger than the unit being textured.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, never texture metal with sandpaper in a rolling mill.

A zig zag wire (probably from a large street sweeper brush) found on a walk was hammered into an already shaped brass embellishment and on a brass scrap piece for an interesting effect.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, already shaped brass embellishment

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, a brass scrap piece for an interesting effect

Because fine details on many coins are difficult to capture, hammer an annealed metal disc onto a deeply textured coin.

Use double stick tape to hold the coin in place in the center of a bench block, desired texture side facing up.

Center a piece of metal to be textured (larger than the coin) over the coin.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, hammer an annealed metal disc onto a deeply textured coin

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, coin. Use double stick tape to hold the coin in place in the center of a bench block

Use clear wide packing tape to hold the metal piece in place.

Remember, the image obtained will be the reverse of the coin.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Use clear wide packing tape to hold the metal piece

Heavily hammer the piece.

Remove the tape.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Heavily hammer the piece

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Remove the tape.

If the coin is not easily removed from the bench block, push a razor blade scraper under the tape and coin to loosen the it.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, push a razor blade scraper under the tape and coin to loosen the it

Cut out and separate the butterflies from two cupcake wrappers.

Other designs will work, as well.

The general rule of thumb is that the design should be at least as thick as scrapbook craft paper.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Cut out and separate the butterflies

Since stick glue usually dries pretty fast, spread the glue over only a small area of typing paper at a time-first photo.

Align the craft paper designs and press them into place-second photo.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, spread the glue over only a small area

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Align the craft paper designs

Use a Scoth purple glue stick.

It is easy to tell when it is dry because it turns clear-third photo.

Cut the newly made texture sheets apart-second photo.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Use a Scoth purple glue stick

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Cut the newly made texture sheets apart

Place the texture sheet face down on the sheet metal.

Press the tape in place on the metal around the edge of the texture sheet.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Place the texture sheet face down on the sheet metal.

Place the assembly on a bench block, texture sheet side facing down.

Use packing tape to adhere it to the bench block so it will not move.

If more tape is added to hold the assembly in place, be cognizant of where to place the tape pieces as tape overlap lines will be transferred to the back side of the metal.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, 15: Place the assembly on a bench block,

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Use packing tape to adhere it to the bench block so it will not move.

Use a flat faced hammer, with the face held level with the surface of the bench block, to hammer the metal into the texture sheet.

When a ghost image appears on the back of the metal, the impression has been made.

24 gauge sheet was used here.

The image will be much lighter if the sheet metal used is thicker.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Use a flat faced hammer

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, hammer the metal into the texture sheet.

The area around the butterflies on the front of the piece took on the texture of the surface of the bench block.

Areas on the back side took on the texture of the hammer face.

Notice the line where the tape did not quite meet on the sheet metal back.

Because the back was not going to be seen in the project these were made for, I was not concerned about any hammer marks on the backs of the butterflies.

To disguise those marks, before removing the texture sheet from the front of the metal, lightly texture the back using a Mini TruStrike Designer/Texture Hammer.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, before removing the texture sheet from the front of the metal

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, lightly texture the back using a Mini TruStrike

After cutting the designs out and refining the edges, they are ready to be used as embellishments.

What will you create with yours?

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, they are ready to be used as embellishments

Added texture does not always have to be visible.

A fun designer touch is to add texture to the unseen surfaces of jewelry pieces.

Judy Larson's No Rolling Mill- No Problem - , Metalwork, Stamping, Stamps, Design, Added texture does not always have to be visible

Materials

Selection of sheet in variety of gauges and metals

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Variety of Metal Blanks

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WET/DRY PAPER 9 X 11 ASST- 20PC- 2EA GRIT 180-3000

ABR-500.90

Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $24.95
Gold Club Price: $18.71

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Tools

Butane Canister 8 Ounces

GAS-1-1PK

GAS-1-1PK
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $9.95
Gold Club Price: $7.46

Out of Stock

Handy Flame Butane Torch

SOL-315.00

SOL-315.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $29.95
Gold Club Price: $22.46

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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: $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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Copper Pickling Tweezers, Curved, Reinforced, 8-1/2 Inches

TWZ-959.00

TWZ-959.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $9.95
Gold Club Price: $7.46

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Flat Face Chasing Hammer with Wood Handle - Economy

G3-14

G3-14
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $11.57
Gold Club Price: $8.68

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Bench Blocks - 130 X 130 X 20

DUR-1187

DUR-1187
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $66.67
Gold Club Price: $50.00

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12x12 Inch Rubber Mat

MAT-500.00

MAT-500.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $24.95
Gold Club Price: $18.71

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Fire Brick

SOL-485.00

SOL-485.00
Lesson Quantity: 1.00 pieces
Purchase Quantity: 1.00 each
Price: $15.95
Gold Club Price: $11.96

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Category: Metalwork
Technique(s): Stamping, Design

Reviews

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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!