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Bridgette L. Rallo200Professional PMC:

Ice Pendant
by Bridgette L. Rallo
 

Use Shape, Texture and Sparkle to Create a Perfect Holiday Pendant

Ice575

Advanced Level

Who doesn’t love a snowflake?

I can’t think of anyone who hasn’t marveled at least once at the beauty and symmetry of a perfect snow crystal. It’s a natural masterpiece.

Snowflake jewelry has always been a staple of the winter jewelry market; think Faberge, Tiffany, Cartier and countless other legendary jewelers. But over the past several years, snowflake designs have become stagnant and new, young jewelers have yet to take up the challenge of creating a modern design that resonates in today’s market.

In this lesson, I’m going to up the ante on a holiday classic by combining all of the elements that make snowflakes so unique into one dazzling pendant. I began with the basic, round shape common to snowflake pendants but I’ve infused this design with dimension by using the lentil as a starting point. Lentil beads are favorites with PMC artists and metalsmiths, as well as with polymer clay and bead artists. Even African paper mache artists love the curvaceous lentil.

Next, I’ve added plenty of texture. The background I chose has a marvelous, icy look to it and adds an overall, wintry punch to the snowflake design that’s stamped over it. For the “piece de resistance,” I’ve added a stone that regular readers will recognize: a sparkling one-third carat diamond simulant that just dazzles the eye. This particular simulant is made by a terrific American company, Diamond Nexus, and is the best lab created diamond I’ve ever seen. I use them in place of white CZ’s wherever a design calls for it.

So let’s get started! I guarantee that you’ll enjoy making this one, as it’s not the most complicated design and it’s very forgiving. And best of all, I’ll bet that you’ll be buried in compliments when you wear this sparkling snow crystal to your next holiday party.

Notes:

Lentil construction in PMC is fairly consistent so, if you’ve made them before and are happy with your method, feel free to assemble your lentil in any way that you choose. My method works well for me but it’s probably true that any other construction method will work just as well. There can only be a few minor differences anyway, as the shape dictates how the bead is put together.

When you make the setting for the diamond simulant, you’ll need to have a little bit of thicker than normal slip on hand to paint the paste coils around the stone. It’s a always a good idea to keep a little jar of thicker slip around but if you don’t, mix some up before you start so that it will be ready when you need it.

I’ve included a photo of my hairdryer box set up, something that you’ll need for drying lentils. It’s made up of an ordinary shoe box with a hole cut in the top for the hair dryer nozzle and a chicken wire shelf stapled inside, then supported in the middle with cardboard drink coasters. I also painted mine with metallic paint for heat reflection but that’s not necessary.

 Finally, there are a lot of different things you can use as a neck chain for this pendant. I’ve chosen an 18-inch long, 3mm-wide sterling mesh chain but you could use a different style btn_downloadebookof chain, a black leather thong, a silk cord or even a ribbon and the piece will look just as good.

Bridgette L. Rallo150About The Author

I truly believe that jewelry is wearable art and I approach each of my pieces that way. The color and form of my stones, the compatibility of stone and metal type with the piece I have in mind, the “wearability” of each piece, all of these things are in my mind as I work on a particular composition. My work is strongly tied to the environment because I understand that Nature is the ultimate artist.

From my earliest memories, I have been in love with handmade art jewelry. My affair began in earnest during high school, when I started making pieces for myself and my friends. Visiting Italian artist Paula Wolfson noticed the quality of my design and my attention to detail and accepted me in an offhanded apprenticeship in painting for three years. Thus I absorbed the fundamentals of abstract art from one of its celebrated European proponents. Next, I studied and worked for East Hampton potter and sculptor Frank Pereira. There I met the next generation of 1960s jewelry artists, many of whom sold their work through Pereira.

But I was also a talented writer, and, after college and marriage to painter and architect Harry Rallo, I began a career as a newspaper reporter in Florida that lasted until 1999. Tired of the hectic pace of news writing, I decided to begin a new career handcrafting jewelry. My first step was to immerse herself in the mechanics of my craft: I studied advanced wire wrapping techniques with Amy Duloff of Ft. Lauderdale, FL; metalsmithing techniques with prize-winning jewelry artist Susan Lewis at the Boca Raton, FL, Museum of Art; and Precious Metal Clay (PMC) techniques with Vera Lightstone of Lightstone Studios in Manhattan. In June of 2005, I became a certified PMC instructor and, in January of 2006, a certified Level 2 instructor.

Visit Bridgette’s website, www.greenwoodsstudio.com,

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