Typically jewelers and other metalsmiths harden metal via working it. Hammering, twisting, or bending have the effect of compressing the atoms within grains, relocating defects to grain boundaries, and generally hardening the metal.
It's also possible to use heat to harden metals, in a process called precipitation hardening, whereby the composition of tiny areas within the metal shift as the different components of an alloy redistribute due to mobility of the atoms. The procedure for heat hardening conventional silver is well known, but leads to a relatively small amount of hardening and a correspondingly deep firescale that is hard to remove. However, using heat hardening for Argentium results in a significant hardening, up to twice that of unhardened sterling, with NO firescale, while also enhancing the tarnish resistance of the Argentium surface.
Ronda Coryell from Jewelry Studies International shared this video of the hardening process using a household oven at lower temperature for a longer time. I use my handy metal clay kiln with a schedule of preheated 570ºF kiln for two hours.
Find further information about heat hardening Argentium and the User Guide for Original Argentium on the Argentium Guild website.
Saturday, May 25, 2013
Heat Hardening Argentium Sterling
Friday, May 24, 2013
Fusing Silver Clay to Argentium Silver
I'm a little behind on plugging my recent tutorial that appears in the latest issue of Metal Clay Artist Magazine. The cover of the magazine calls it "One of our best tutorials," which certainly makes a writer proud.
The article discusses the desirable properties of Argentium silver: easy firing, lack of firescale, tarnish resistance, and heat hardening. But beyond that, I show how to easily fuse Argentium to itself and to metal clay components.
If you've ever fused fine silver, you know there's a bit of finesse involved. Argentium is much, much easier to work with. Combined with metal clay, it's a cost effective way to extend your expensive and precious clay and to creep slowly into the world of conventional fabrication by learning skills for handling wire and sheet.
Thursday, May 23, 2013
Fretz Bezel Forming Kit
The major tool purchase that I made at SNAG ties in nicely with my stone purchase. I ordered the new kit from Rio Grande that includes all the bezel forming tools produced by Bill Fretz.
After watching Bill demo for me how to form a bezel perfectly to fit an unusually shaped stone, I knew I would save time and money with this investment. The kit includes three hammers: planishing, narrow raising and double-ended with nylon inserts. Three different sets of forming stakes cover every possible bezel shape need, and a stake holder attaches to a block or bench to hold each securely. With a stand for the stakes and a video for how to use them, these goodies should have me producing beautiful bezels in no time.
Wednesday, May 22, 2013
New Gemstones and Pearls
One of my favorite parts of any conference, and SNAG (Society of North American Goldsmiths) was no exception, is the vendor area. I found some great new sources for gemstones and pearls to accent my upcoming work.
![]() |
| azurite geode pair |
![]() |
| larimar pears, dendritic agate triangle, cherry creek jasper oval pair |
![]() |
| pearls |
![]() |
| moonstone and aquamarines |
![]() |
| faceted pear-shaped citrine |
Tuesday, May 14, 2013
SNAG Pin Collection
![]() |
| SNAG pins 2013 - details |
Monday, May 13, 2013
The Value of Working Fast in a Series
After the prototype proved plausible, I decided to attempt to make at least 20 pins for the swap. I did modify my process a bit because of fit issues with the stones and the tubing, but overall it's still a quick and dirty approach. So I hope anybody who really trades with me doesn't judge me too harshly!
Playing with color has been my favorite part of the project, making me really want to rethink how to introduce color more frequently into my regular jewelry. I've also enjoyed the return to my fiber roots and including the occasional piece of glass. I need to devote thought to how to combine media more effectively.
Working in a series is so invigorating. The basic process is easily set down:
- cut tubing lengths
- set the stones
- reduce the tubing with the rolling mill and then shape
- cover with fabric and thread scraps
- add a feather and any other embellishments
- add the fibula
But within that process, there are lots of places for variation. I work the first three steps with sets of 5-6 pins, then I work the next two steps individually. Finally, I will do the fibulas all at the end.
I find that as I'm working on one pin, I have an idea for another. Since I know there are more to come, I feel no anguish over what to do with the current variation. I just make a quick decision and move on. The process moves faster because I'm not over thinking.
Thursday, May 09, 2013
SNAG Pin Swap
This year I will venture into a new world - the annual SNAG (Society of North American Goldsmiths) conference held in Toronto next week. I'm looking forward to an exciting education as the program unfolds with presentations and demonstrations. The offerings range from new to old: digital jewelry photography and CAD to historical context of jewelry and tools, sustainable materials to roller printing, sawing and riveting.
![]() |
I quickly cut a short length of tubing, cut the seat for the stone and set it in about a minute, then used the mill to step reduce the tubing size. Finally I wrapped with some of my quilting scraps, stitching on a feather and a steel fibula. Now, can I set up an assembly line to make a collection of these in some reasonable time? The part I really enjoy about this idea is the possibility to make each one totally different. Wish me luck.































