The Creation of The Quickening

How to Mount Objects in Metal Frames

De-oxidized Sterling Silver Alloys

Hermann Jünger: German Goldsmith

Helen Shirk: Patterns of Growth

Dirk Van Erp: Arts & Crafts Coppersmith

A Replica of the Sutton Hoo Sword

Ancient Etruscan Metalsmiths

Richard Reinhardt: Discontinuous Continuity

Lois Betteridge: Stretching Material Limits

Learning Metalwork from Shumei Tanaka

Recent Sightings: Metal Book Art

Mary Lee Hu: The Purpose and Persistence of Wire

Heat-Induced Web Textures on Anodized Aluminum

Designing Contemporary Flatware

The Representation in Contemporary Metals

Fads and Fallacies: Pocket Knives

Hiroko Sato Pijanowski – Artistic Research Into Spiritual Expression

The Contemporary American Custom Goldsmithing

The Metal Shop Tin Men

How to Repair a Hollow Rope Chain

Roll Printing Technique

Contemporary Applications of Area Inlay

Damascus and Pattern Welding

Technical Briefs: Dealing with Firescale

Bi-Metal Casting to Titanium

Master Metalsmith Robert Montgomery

Aluminum & Aluminum Anodizing

Anodizing Aluminum

The Art of Doublée Making

Master Metalsmith Alan Adler

Gary Griffith’s Jewelry and Constructions

Metal Spinning Part 3: Tooling

Toolmaker’s Tools of the Trade

Master Metalsmith Robert von Neumann

American Holloware Changing Criteria

Jonathan Bonner: Whimsy and Vision

Rendering Design and Process

Gorham Masterpieces in Metal Exhibition

James Evans Jewelry & Small Objects

1984 Metals Invitational Exhibition

Randy Long: Works in Metal

Doneghy Collection of Southwest Indian Silver

Exhibition of Contemporary Japanese Metalwork

Masterpiece in Metal by Adolphe Himmel

Martha Glowacki & Fields of Reference

Metal Spinning Part 2: Techniques

Towards a New Iron Age Exhibition

The Seven Korean Metalsmiths

Master Metalsmith Dorothy Sturm

Alternative Metalsmith Pat Flynn

Master Metalsmith John Prip

Claus Bury Architectonic Propositions

Making a Metal Brooch Frame

Tips and Tricks for Scoring Metal

Organic Geometric Bracelet

Alishan Halebian’s Imperfect Perfection

The Creation of White Gold

Jewelry Designs: Raindrops Pendant

Jewelry Designs: Maya Pendant

Forged Ring Shank

Jewelry Designs: Hope Pendant

Laser Welding Channel Repair

CAD/CAM: Creating a Class Ring – Part 1

Jewelry Designs: Titan Pendant

CAD/CAM: Creating a Class Ring – Part 2

How to Make a Plique a Jour Fairy

The Plique a Jour Technique with Torch

CAD/CAM: Modeling Project in JewelSpace

How to Resize Platinum Rings

Jewelry Designs: Athena Pendant

Resizing Damaged Rings

Metal Conversion Chart

Dealing with Fire Scale

Basic Chasing Tools

Scoring and Bending

All About Jump Rings

Basic Jewelry Construction and Soldering Principles

Small Scale Double Making Procedures

Learning Metalsmithing Process

Carat Gold Solders for Jewellery Making

Fit to be Sized

Precious Metal Refining

Benchtop Hydroflux Welders

Fine Silver Granulation – Part 2

Fine Silver Granulation – Part 1

Michael David Sturlin’s Two Strand Crocheted Chain

Multi-Metal Lamination

Copper, Brass and Bronze Advanced Etching

Understanding the Working Titanium

Avoiding Melting Soldered Seams

The Art of Gold

A New Platinum Sterling Silver

Bladed Sargasso Server by Andy Cooperman

The Work of Michael Boyd

Art Toys for Adult Toddlers

Firescale Prevention During Vacuum Casting

Argentium Sterling Silver

Book Review – Beginner’s Guide to Enamelling

The Jewelry of Steff Korsage

Metal forming is a basic jewelry making skill. Our articles cover topics from calculating the amount of metal a project needs to hammering techniques.

Metal Forming

950 Palladium: Custom Made Components

Platinum Alloys – Features & Benefits

3 Ways to Use 2-Part Epoxy Resins

Textile Techniques in Jewelry Making

Introduction to Weaving Metal

Basic Filing Techniques

950 Palladium Bench Guide

The Art of Anticlastic Raising

Additive Manufacturing in the Jewelry Scene

Platinum Jewelry Advanced Joining Techniques

Manufacturing Mokume Gane Jewelry

Chain and Bracelet Catches 1

Scoring and Bending Procedures

Basic Sawing Techniques

Casting an Orchid Flower

950 Palladium: White Metal Alloys

Steps on Making a T-Fold Boat Fold

950 Palladium: Setting Fabrication

950 Palladium: Fabrication and Assembly

950 Palladium: Selling Points

How to Make a Pewter Sake Cup

How to Hammer Metal

950 Palladium: Manufacturing Tips and Techniques

Making Silver Whistles

Manufacturing a Free-Form Pendant

Bypass Shank Ring Assembly

950 Palladium: Laser Welding Techniques

Architectural Portraits of Vicki Ambery-Smith

Key Metal Forming Terms

950 Palladium: Manufacturing Methods

Pat Pruitt’s Stainless Steel Jewelry

950 Palladium: Finishing Procedures

Tricks for Hollow Rings with Miniature Stakes

950 Palladium: Successful Design Considerations

950 Palladium: Superior White Color

950 Palladium Bridal Jewelry Manufacturing

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6 Basic Wire Skills to Make a Necklace

Metal Engraving Tools Explained: How To Choose And Prepare Gravers For Jewelry Work

Jeweler’s Torches Explained: What Kind Do You Need?

Hollow Ring Project

How to Make Open Huggie Hoop Earrings

Tube Setting a Faceted Stone

How to Make a Filigree Bail

How to Make and Set Bezel for a Faceted Stone

Master goldsmith <a href="http://www.brainpress.com/LewtonBrain.html">Charles Lewton-Brain</a> trained, studied and worked in Germany, Canada and the United States to learn the skills he uses. Charles Lewton-Brain is one of the original creators of Ganoksin.

Charles Lewton-Brain

Mechelle Lois is a professional bench jeweler who was classically trained in jewelry making and repair at the highly regarded North Bennet Street School in Boston MA. Now based in her hometown of Pittsburgh PA, she enjoys stone setting, repair work, and creating custom designs. When not making jewelry, Mechelle enjoys traveling and spending time with her family.

Mechelle Lois

Cynthia Downs

Alessandro Aria

Chris Ploof

Gerry Davies

George W. Fischer

Kelly Jean Conroy was born in 1983, in Sheboygan, Wisconsin. Growing up in New England and being raised by an artist mother who emphasized making and painting, eventually led her to attaining her BFA from Syracuse University in art education and painting. She completed her MFA in Jewelry Metals from the University of Massachusetts Dartmouth in 2013. She is currently teaching metalsmithing at Lincoln Sudbury Regional High School and Metalwerx. She has previously taught Continuing Ed Jewelry courses at Massachusetts College of Art, Haystack Mountain School of Crafts, Peters Valley School of Craft, Snowfarm, and the Worcester Center for Crafts. Her personal work focuses on life cycles in nature within a jewelry format. Her specialties are enameling, working with natural materials: carving bone, piercing mother of pearl, laser cutting, and casting.

Kelly Jean Conroy

Pattie Parkhurst has been pursuing jewelry craft since she was a young child.  This passion led her to pursue metalsmithing in college.  After graduating, she worked as a jeweler and continued her education by taking a multitude of workshops taught by master metalsmiths, which expanded her skills tremendously.  By 35, Pattie became part owner of a metalsmithing school that specialized in master workshops.
After college, Pattie served on the board of The Colorado Metalsmithing Association (COMA) where she learned the anticlastic raising metal technique.  This process involves hammering different metals, over and over on an antler-like form.  By immersing herself in this ancient technique, she combines her love for nature and metalsmithing into cohesive nature inspired metal forms.
Her work is mastered and constantly evolving through observational learning, a continuous process that comes from having many jewelry-related businesses.  Pattie loves outdoor adventures, guest lecturing, and teaching.
Richard Sweetman is an artist and teacher with a BFA degree from Colorado State and an MFA degree from the University of Oregon.  He worked as a goldsmith for George McLean Goldsmith in San Francisco.  Richard then taught for many years and has the distinction of starting the Jewelry and Metalwork Program at Arapahoe Community College near Denver.  Several summers he continued to learn and sharpen his skills at Haystack Mountain School of Crafts in Deer Isle, Maine.  He currently teaches workshops at his studio and for other guilds.

Pattie Parkhurst and Richard Sweetman

Milt Fischbein is an independent metal artist and educator. He is a professional engineer who discovered his love of working with precious metals almost 30 years ago, while taking an introduction to jewellery class at the Alberta College of Art and Design.
He is one of only a handful of metal artists in North America whose primary focus is the design and fabrication of filigree objects. Milt has been fine tuning ancient filigree fabrication techniques in his Calgary, Alberta studio, creating a body of contemporary and gold filigree jewellery. Milt has been passing on his knowledge of filigree techniques through in person and online workshops and lectures. He is a professional member of the Alberta Craft Council.
His works have been published in Edmonton’s Where Magazine, Alberta Craft Magazine and in Victoria Lansford’s 2019 Update of her Russian Filigree DVD. A write up on his studio was featured in the July 2017 issue of the MJSA Journal.

Milt Fischbein

Metal Forming - Ganoksin Jewelry Making Community

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