HİSTORY OF BYZANTİNE AND CHAİNMAİLLE JEWELRY Byzantine jewelry is a type and style from the Byzantine era. Authentic Byzantine jewelry was created during the Byzantine Empire, which was from the fourth century AD to approximately the mid 1400s. The jewelry is influenced by the art of the Byzantine civilization, which made heavy use of the Christian cross and other early religious symbols. The Byzantine time period was full of wealth and riches, so there was an abundance of gold metal used during this time. Byzantine jewelry is typically made from weighty gold with generous amounts of gemstones. Common gemstones used in Byzantine jewelry include garnets, pearls, corundum, and beryls, which were traded from the Eastern countries such as India and areas of Persia. The amount of gold that was used is one of the classical characteristics of Byzantine art and jewelry. Typical types of jewelry that were made during the Byzantine time period include necklaces, neck pieces, head pieces along with bracelets, rings, earrings, and other ornamental jewelry. Bangles were very popular during this period of jewelry art, and often people wore more than one at a time on each arm. Each of the jewelry arm pieces was very heavy due to the gold, so one amazing aspect of Byzantine jewelry is that they were worn in abundance as status symbols. Chainmail was the earliest form of metal armour and was probably invented before the 5th century by the ancient Celts. The name mail comes from the French word “maille” which is derived from the Latin “macula” meaning “mesh of a net”. The armour itself involved the linking of iron or steel rings, the ends of which were either pressed together, welded or riveted. Sometimes the rings were stamped out of a sheet of iron and these were then used in alternate rows with riveted links. The most common form of chainmail is the “four-in-one” pattern in which each link has four others linked through it. A few shirts have been found that appear to have been made of quilted fabric or leather to which were sewn rings and scales, and these shirts are not considered “true” mail. There are three major types of traditional chainmaille patterns used to create jewelry. JAPANESE This is one of the oldest forms of chain maille dating back about 3000 years, the Japanese weaves worked by linking rings in simplistic flat box structures or hexagonal grid patterns. Known as “kasuri, vertical links were generally oval rings connected with round rings. The rings were much smaller than those the Europeans would use, and were often lacquered to prevent rust before being sewn onto a backing of cloth or leather. EUROPEAN The basic European 4 in 1 is the most commonly seen flat maille weave. European maille, likely created by the Celts around 400 B.C.E., developed from initially sewing wrought iron rings edge to edge into leather armor to reinforce it. It was soon realized that more flexibility and strength could be obtained by linking the rings directly to one another in interlocking fashions. Early on the pattern alternated between rows of soldered rings and rows of riveted rings, but after 14th century all rings were riveted. When the Romans arrived they adopted the practice into their own armor. Other weaves in this family have been developed based on similar principals, such as Byzantine, although this was certainly used purely for decoration. Byzantine chain maille was probably invented in Italy, and the design is still very commonly seen in Italian jewelry stores. PERSİAN Another family of chain maille weaves, it is very hard to find historical support for their creation in the Persian empire. The suspicion is that this is a more modern family, named to suit the intricately beautiful patterns. There are plenty of other chain weaves such as the spiral or double helix and its variations, but again these are most likely common inventions. MODERN DAY CHAİNMAİLLE Artists have discovered that chainmaille can look extremely feminine when made in precious metals and delicate designs. It is also very durable and the only limitation an artist has is imagination. Precious items exist today that were fashioned from this ancient art. Today artists have utilized traditional patterns but have modified them to create unique patterns of their own. New metals have been introduces, old metals resurrected. Glass, metal, pearls or precious stones can be used to embellish any piece.

CHAİNMAİLLE TECHNİQUES The most impressive of the Persian family of weaves, King's Braid can be truly stunning on both men and women who want to make a firm impression of authority.

Byzantine is my most popular jewelry weave. It looks good in both open and dense patterns, and is one of the stronger weaves that I offer.

A four-sided variant of European 4-1, this weave creates a very interesting look by making a hollow box. Shown above in size small 12k goldfilled.

If you are looking for a slightly simpler piece, this elegant strand of 3-ring rosettes might be appealing.

Queen's Braid (also known as Half Persian) is an intricate chain with a rectangular cross-section. I find it makes excellent necklaces, bracelets, wallet chains, and belts.

The serpentine weave is the basic weave of the spiral family. When hung loose this weave looks like a pair of simple interconnecting chains, but when it is twisted it forms the beautiful spiral seen below.

For those who prefer a slightly simpler chain, I offer the European Simple Chain, also known as European 2-2. This is a great weave to hang a pendant off of, or to use for a charm bracelet. Pictured above is a 4mm titanium eyeglass chain.

The simple chain is the basis for the oriental family of weaves, and makes a very nice bracelet or choker for those who wish a slightly lighter, more open, piece.

CHAİN MAİLLE BASİCS: ASPECT RATİO Aspect ratio is one of the most important concepts of chain maille to understand, and can also be one of the most difficult to understand. Aspect ratio is important for selecting the right ring for the right job. Aspect ratio is the ratio of the Inner Diameter of a ring, shorthanded ID, to the Wire Diameter, WD. This ratio controls how tight or loose a particular weave will be, or if the weave can even be made, as all weaves have a minimum AR. This is because if the AR of the rings is too small, as subsequent connecting rings are added to a weave, the space necessary to complete the next connecting ring will shrink until the next ring can no longer be added and the whole weave binds up. Even though all weaves have a minimum AR, most weaves do not have a maximum AR, but, there will be a point where the weave becomes unattractive and loose, due to the excessive amount of space between connections. There is a point, or a range of points, between too small and too large where the weave will be the most aesthetically pleasing and is typically labeled ‘recommended’ or ‘preferred’ AR. Here is a fun little diagram demonstrating some important AR concepts.

At the top it demonstrates how to measure AR. Simply find your ID, and divide it by the WD. In the first row of rings the inner diameter of the rings gets smaller from left to right, while the respective wire diameter (.10″) stays the same. Because of this, the aspect ratio gradually shrinks from left to right. This means that any weave made with these rings would get smaller and tighter as you moved from left to right. Made with the leftmost ring the weave might look too loose, but made with the rightmost ring it might be too tight to even make, while the two middle rings might fall with the ideal AR range and be perfect for the weave. Aspect ratio helps a mailler to make the most aesthetic and practical choice. Once you have found the ring size that you like for a weave, through the use of aspect ratio you can scale the weave to be larger or smaller. How, you might ask? Because aspect ratio is a ratio, through some simple algebra you can choose a gauge of wire that you would like to make the weave from, and find the inner diameter that you need to achieve the same appearance as in the original ring size. Simply multiply the AR by the WD to find the ID needed to reproduce a ring with that AR in that gauge. In the diagram above you can see that the second row of rings all have the same aspect ratio, yet different wire and inner diameters. This means that weaves made with 19g Swg WD, 5/32″ ID rings will be a scaled, shrunk down version of the same weave made with 12g Swg WD, 2/5″ ID rings. This means that they will have all the same physical properties (except strength), such as flexibility, tightness, and appearance. In summation, any two rings with the same aspect ratio will act the same in a weave, and those close to the same aspect ratio will act close to the same. The opposite also holds true, the greater the difference in aspect ratio, the greater the difference between the same weave made with those rings. In short, choose the aspect ratio that best suits your needs.

Springback and Aspect Ratio: One very important thing to note when dealing with aspect ratio is springback. Springback is an increase to the inner diameter from the mandrel diameter the wire was wound on that is a result of tension produced by the wire as it is coiled. Metal resists bending to the shape of the mandrel, and as a result, when the tension of coiling is removed, the coil springs away from the center of the mandrel and has a greater inner diameter than the mandrel it was coiled on. As a result of this, you cannot use the mandrel size as the Inner Diameter measurement and expect an accurate aspect ratio, especially with harder metals (except with dead soft metals in which springback is negligible). To get accurate measurements of inner diameter and wire diameter (as there is some variance in thickness in even a single gauge number i.e. 18g SWG could have .048″ or .047″ or .045″) you should use a caliper.

Digital caliper A proper caliper should measure to the thousandth of an inch and have both “ends” like the one above, that allows for both pinching down on wire to find the wire diameter, and spreading out to determine inner diameter, as shown in the pictures below.

Measuring wire diameter.

Measuring inner diameter. This was wound on a 3/8" (.375") mandrel, notice the springback? Now that you have these up-to-date measurements you can find an accurate aspect ratio of the rings you are using. Springback and actual inner diameter due to springback are important things to note when purchasing pre-made rings or conversing about the aspect ratio of rings.

CHAİN MAİLLE BASİCS: WİRE GAUGE Knowing the thickness of your wire is very important in chain maille, and you need to be sure you understand its importance when it comes time to buy your own wire or rings. The thickness of wire is usually measured using a wire gauge system, which assigns a given number (e.g. 14 gauge) a specific diameter (e.g. .080″), typically measured to the thousandths of an inch or in millimeters. As if three different ways of stating the thickness of wire isn’t enough (in, mm, gauge #) there are two different wire gauge systems, the American Wire Gauge (AWG), also known as the Brown & Sharpe wire gauge, and the Standard Wire Gauge (SWG). A general rule for both of these wire gauge systems is that the larger the gauge number, the smaller the wire diameter, and vice versa. Despite this similarity, a given gauge number in AWG does not match the same diameter as the same gauge number in SWG. Its important when communicating to others about wire thickness or purchasing wire and rings to note the gauge system that the thickness is listed in, to avoid confusion to others and to ensure that you are buying the right wire. The best way to avoid confusion is to look for, or state when communicating to another, the diameter of the wire in an actual measurement system. Either the imperial system, in thousandths of an inch (e.g. .080″), or in the metric system, in millimeters (e.g. 2.0 mm). Whichever you prefer, either one is much less confusing than one of the gauge systems. As a rule of thumb, always measure the inner diameter of the ring, or the ring size, in the same system as you measure the gauge. This is important when considering Aspect Ratio, which is the ratio of the inner diameter of the ring to the wire size. Below is a picture of the most commonly used wire gauges, from thinnest to largest. each is labeled with the gauge number for both AWG and SWG, as well as the actual measurement in inches and millimeters. The smaller gauges, or thicker wires, are generally used for armor, while the larger gauges, or thinner wires, are generally used for jewelry. Gauges outside this range can, and have been used, but they typically lose practicality so are rarely used.

Be careful when dealing with wire thickness to be careful when purchasing, and clear when communicating with others. See my post on Aspect Ratio to understand the importance of choosing the correct wire gauge and inner diameter for a ring.

CHAİN MAİLLE BASİCS: WEAVES AND CLASSİFİCATİON Classifying different chain maille weaves (often called patterns) into different categories can be a difficult task, as opinions on how they should be classified vary among different maillers. I learned chain maille primarily from Maille Artisans International League (M.A.I.L.), and as such generally follow their way of classifying maille, although more along their older style than their newer style. A weave, specifically, as defined by M.A.I.L. is: A unique and indefinitely repeatable pattern of rings, characterized by the connections between rings, and containing only rings that serve to maintain the physical structure thereof or to connect an instance of the pattern to an adjacent instance. Within the chain maille community (primarily M.A.I.L.), there is disagreement as to if this is truly the correct definition of a weave, and what really constitutes a weave. To save myself, and the reader any confusion, it doesn’t particularly matter if something is in all technicality a weave. If it produces something aesthetically pleasing using unique ring connections, that could possibly used for a practical application such as armor, sculpture, or jewelry, it doesn’t really matter if it is a weave in the technical sense. Maille Artisans currently classifies a weave based on its Family, Structure, Form, and Attribute. The family that a particular weave is categorized into is generally based off of the types of connections between the rings and how the rings act as a whole. The type of structure that a weave is categorized into is based on the general way that the rings interact to form a general structure, such as a sandwiching structure or an inversion of a weave, this does not refer to the stability of a weave to stay in one state. The form of a weave defines how a weave naturally expands, the terms sheet, chain, unit, and three-dimensional or dimensional are used to describe form. All weaves have one or more attributes. Weave attributes vary from having doubled rings, referred to as “Kinged” on M.A.I.L., to how the rings are angled, to possibly having additional rings not necessary to the stability of the standard weave added to the edges for decorative effect. I will now cover my take on weave families, as well as weave form.

WEAVE FAMİLY: I currently view weaves as encompassing six different families; European, Japanese, Persian, Spiral, Orbital/Captive, and Hybrid. The family that a weave will fall into is generally based off of their connection style and ring interaction, although in some cases a weave may fall into more than one family. These are labeled as being part of the Hybrid family. EUROPEAN:

European 4 in 1 European weaves tend to have a “grain” due to the rings alternating direction every other row. The name comes from the region in which these weaves (specifically the weave shown) were used as armor.

JAPANESE:

Japanese 12 in 2 (or Japanese 6 in 1 with doubled rings) Japanese weaves are very geometric and have 90 degree ring connections. The name comes from the region in which these weaves (specifically the weave shown) were used as armor.

PERSİAN:

Half Persian 4 in 1 The rings in Persian weaves are oriented so that if a cross-section was taken they form an X, with the rings staggering in position. The name Persian does not denote origin in this case.

SPİRAL:

Spiral The rings in the spiral family have a helical form, or spiral form.

ORBİTAL/CAPTİVE:

Captive Inverted Round Orbital/captive weaves contain captive and or orbital rings. Captive rings are rings that are trapped in place by other rings, but do not pass through those other rings. Orbital rings are rings that are held in place by other rings due to the connection between those rings.

HYBRİD:

Elfsheet For those poor lost weaves that don’t belong primarily to one family, but to multiple families. WEAVE FORM: All weaves have a form, and only one form. There are four different types of weave form. The four weave forms are Unit (a weave that creates a single unit that cannot be expanded in any direction without linking multiple units together), Chain (a weave that expands linearly, or on one plane, indefinitely), Sheet (a weave that expands in length and width, or on two planes, indefinitely), and Three-Dimensional (a weave that expands in length, width, and height indefinitely). This is the most comprehensive way to identifying and classifying weaves, but doesn’t help much when searching for a specific weave, as the majority of all weaves fall in Chain. I hope that this information will help you in understanding the differences and similarities between different chain maille weaves, even if you disagree with my method of categorizing weaves. For more information on weaves and their classifications please visit M.A.I.L.. Another good site for weaves and their classifications is http://www.chainmailbasket.com.

CHAİN MAİLLE BASİCS

Small European 4 in 1 Sheet Sample. The most commonly recognized chain maille weave. Chain maille is an art of armor making that is thousands of years old, and is created by interlocking individual metal rings into one of many different “weaves”, or patterns. No one knows, or can agree on, exactly how old chain maille really is. Originating in Europe, it migrated as far east as Japan. Used as armor, and commonly recognized as such, maille retains some practical use today. Its often used to create intricate and beautiful jewelry in a variety of different metals, as well as shark suits, butcher’s gloves and lumberjack leggings, where maille’s original protective properties are still used. Maille continues to be used as armor in certain groups, and more commonly as decorative costume in role-playing and reenactment groups. The metal used in a piece varies based on the purpose, and even then can vary, but in general, armor pieces tend to be made from a steel, costume pieces from aluminum, and jewelry from a variety of materials ranging from stainless steel to gold.

From wire, to coils, to rings.

In a modern world, the tools, methods, and materials are far superior to those in ancient times. Rings begin their life as wire, in one of many different gauges, or thicknesses. Using a steel mandrel, that wire is spun into a tight coil around the mandrel and then slipped off and cut into individual rings. The cutters today vary from simple bolt cutters to elaborate mechanical setups using a jeweler’s saw that produce precision cut rings. However they are cut, these rings are the basis of all chain maille.

Half Persian 4 in 1, a distinct and beautiful chain maille weave. Just as important as the rings, is how the rings are joined together. The way the rings are joined together gives definition to a piece of maille and is what sets it apart, or makes it similar or identical to other pieces. Typically this distinct pattern of the way the rings are interlocked is referred to as a weave. There are numerous different weaves, with more being invented every month, each with its own distinct properties, as well as similar properties to other weaves, which allows them to be categorized into “families” (to a degree). Browse through more Chain Maille Basics posts or visit M.A.I.L. to learn more about this ancient, and addictive art.

CHAİN MAİLLE BASİCS: METAL TYPE Choosing a type of metal in a piece of chain maille can be a difficult decision due to the variety of types of metal, and the strengths and weaknesses of each metal. Some metals are better for some applications, and others not so much. GALVANİZED STEEL:

Galvanized steel is the most popular metal used by beginning maillers and in armor grade chain maille pieces today, because it is easy to find, relatively inexpensive, and easy to work with. Galvanized steel has a zinc coating that protects the steel beneath from rusting. The wire is a bright, shiny, silver color when new, but turns a dull gray over time as it is exposed to long periods of damp or oxygen that oxidizes the zinc. This is meant to occur, as the zinc oxidizes in place of the steel, but is the main issue with this material. The time it takes to oxidize varies based on environmental conditions and is almost impossible to reverse. Also as the zinc oxidizes it will begin to have a sort of metallic smell to it that will stick to the skin. Because of these issues, galvanized steel is not suitable for jewelry and is primarily used by beginners before they expand into better metals, and by beginning maillers and experienced maillers alike for armor pieces.

STAİNLESS STEEL:

Popular in all aspects of chain maille, from armor to jewelry, due to its high strength, corrosion resistance, and appealing color, stainless steel is the widely used big brother to galvanized steel. Stainless steel is made “stainless” by adding additional chromium to the steel. As a result, stainless steel is more expensive than most materials (several times that of galvanized steel), harder to find, and much harder to cut and work with. Stronger cutters are necessary to cut the rings, as well as better pliers to open and close the rings. Pliers with teeth are typically necessary when working with stainless steel due to its high resistance to bending. The trade-off to these inconveniences are its long-lasting properties that will yield a low maintenance, long-lasting piece of chain maille, that will only rust in the most extreme of conditions. The most common alloys used are 304, 306, 308, and 316. 316 alloy stainless steel is also known as surgical steel, and is hypoallergenic. Stainless steel can also be colored different shades of brown by heat treating it. MİLD STEEL: For those looking to create a “period” piece of armor, or in other words, armor made in the same fashion, and or, material as the type of armor they are trying to reproduce from a certain historical period, mild steel is the material to use. Mild steel is plain steel with no additives, coatings, or plating added to the steel wire. It can be more durable than galvanized steel, is a light grey color, and is highly susceptible to rust. Mild steel is a high-maintenance material that requires special care.

INCONEL: Inconel is a high-end, super corrosion resistant material that tops even surgical stainless steel. It’s an alloy consisting mainly of nickel and chromium and acts and looks close to stainless steel. Expensive. TİTANİUM: Titanium is an expensive material with amazing properties. It is half the weight of steel, strong, and very corrosion resistant. In addition, titanium can be anodized to produce a variety of colors! Titanium can be anodized in two different ways as well. Heat anodizing can produce a variety of different colors by applying a flame to the titanium. Colors vary based on temperature, and length of time exposed to that temperature of heat. Electric anodizing can also produce a variety of different colors by applying a different voltages to the titanium in a certain setup. The color varies based on the voltage. It is important to not that the anodized layer is a colored oxide of the titanium, but has no negative properties. NİOBİUM: Niobium is a strong, corrosion resistant and hypoallergenic metal. It weighs slightly more than steel and has a dark, silvery grey color. Like titanium, niobium can be anodized to produce a variety of colors, but in niobium’s case, more vibrant and metallic in appearance. Niobium is anodized electrically in the same fashion as titanium, but isn’t often heat anodized (I’ve only heard of black being produced this way). Because anodized niobium has such beautifully vibrant colors, it is a very popular material to use with silver to add unique color to a piece. The anodized layer is not permanent and can be worn away. ALUMİNUM:

he primary feature of aluminum, and one of the reasons it’s one of my favorite materials, is that it is very light weight. Aluminum is a bout a third the weight of steel which makes it great for making larger jewelry that weighs much less than if it was made from other metals, and is great for making much lighter chain maille armor. The trade-off to aluminum is that it is not very strong and will oxidize, leaving a black residue on the metal and whatever it touches. Aluminum oxidation is not a bad thing for aluminum, like one would think, though. Instead the oxidized layer is close to transparent and forms a non-reactive layer over the

aluminum that prevents further oxidation of the aluminum. Oxidation speed, color, and other properties of aluminum varies based on the alloy. A typical 5000 series aluminum (aluminum-magnesium alloy) is a grey color and rather dirty. Etched aluminum is aluminum that has undergone a process that chemically cleans the aluminum, but leaves it a dull grey or white color. Bright aluminum, my preferred aluminum alloy, a common alloy of which is 5356, is aluminum that is typically used for welding applications. It has been drawn into wire with a very smooth surface and chemically cleaned. This makes it much more shiny and will oxidize much less and much slower, if at all. Another cool property of aluminum is that it can be anodized. ANODİZED ALUMİNUM:

Anodized aluminum is aluminum that has been colored by creating a porous surface that is then dyed and sealed, producing a clean, colorful surface. This layer is harder than normal aluminum, as corrosion resistant as stainless steel, and the variety of colors is nearly endless, as it is based on a dye. But you are limited to the wire or rings you can find available in certain dyed colors.

BRONZE:

Bronze is a dark copper-colored alloy of copper and tin, that is slightly more corrosion resistant than brass. It will turn a darker, duller color over time, and even green if it gets damp. It is relatively strong and close to the same weight as steel.

COPPER:

Copper rings, partially oxidized. Copper is a beautiful, red-toned metal that starts off. When new, it looks like a bright new penny, but won’t stay that way long. It corrodes easily and over time copper will darken or turn a green color as it oxidizes. Copper is softer than most metals and is easily marred by pliers. It can look beautiful as jewelry pieces, but with the downside that it can leave a green residue on your skin as the copper reacts with sweat and acids on the skin. Copper can be cleaned a variety of ways including lemon juice outside of commercially available cleaners and is an interesting material to use. Copper plated wire consists of a layer of copper plated onto mild steel, typically used in welding applications. The coating is slightly darker and can wear off over time. Copper can also be enameled to produce wire with a variety of colors. Enameled copper, also known as artistic wire, is soft copper coated in a layer of flexible, durable, enamel. The enamel coating can come in a huge variety of shiny, beautiful, colors and provides for a great selection of colors. Silvered enameled copper is copper that has been plated with silver before being enameled, which produces, lighter, brighter colors. Overall enameled copper is a weak material typically found only in smaller gauges, and is only good for jewelry.

BRASS:

Jewelers Brass Brass is an alloy of copper and zinc. two common types of brass are yellow brass and jewelers brass. Yellow brass is more yellow in color, while jewelers brass is a more gold color. Brass will oxidize and can turn a dark yellow color, and can range from a weak, soft wire, to a harder, stronger wire that depends on the temper. NİCKEL SİLVER: Nickel silver, also known as German Silver is not to be mistaken as silver, and actually has no silver content. It is an alloy of copper, nickel, and zinc with fairly high corrosion resistance. It has a color similar to stainless and will darken with time. This is a bad metal if you are worried about allergic reactions, as it causes more allergic reactions than most other types of metal due to the nickel.

SİLVER:

Sterling Silver, likely a bit tarnished. Silver is a beautiful material for high-end pieces of chain maille jewelry. There are different grades of silver based on % content with their own properties. Fine silver is 99.9% silver. It has higher corrosion resistance than sterling and fuses cleaner. Sterling silver is 92.5% silver, with the other 7.5% being copper. It will tarnish over time, but can be restored with a chemical silver polish. Argentium Sterling Silver replaces the copper in the alloy with germanium that makes it very white, highly tarnish resistant, fuse easily, and eliminates fire scale, among other properties. Silver is a softer metal and the rings can be soldered closed if that is an issue for the application.

GOLD:

Most people are familiar with gold, but I’m going to talk about gold-filled wire, which is more affordable. Gold filled wire is typically 5% by weight of the wire and is a tube of 14 karat gold filled with brass. It is much better than gold-plated wire as it will almost never wear out, whereas gold-plated wire typically will. CLOSİNG: Hopefully all this information will help you in choosing the metal that best suits your needs. For beginners I suggest starting with galvanized steel, as it is easily found at a variety of places. I have even seen it in Wal-Mart (although a low temper) for hanging up clothing. Thank you for reading, and I hope you will look at more of my Chain Maille Basics posts that I have made and stay posted for new ones as I make them! Some information used from theringlord.com, a wholesale chain maille supplier, as well as chainmailbasket.com, a great chain maille site from which I have modeled some of these Chain Maille Basics posts after. Browse through more Chain Maille Basics posts or visit M.A.I.L. to learn more about this ancient, and addictive art.

ORİENTAL 5-1 BALLS Difficulty: Novice (easy) Materials Needed:(96) 14 gauge (.08") 3/8" ID Rings (if two colors, 36 inner and 60 outer) Tools Needed:(1) Pair needlenose pliers (1) Pair other pliers Weave Knowledge Needed: Step One: These instructions will be written as if you are using two colors. If your using only one color it should be very easy to alter them to your needs (feel free to e-mail with any questions). Open all 36 inner color rings. Open 24 outer color rings. Close the remaining 36 outer color rings. Now, string 10 closed outer rings onto an inner ring. Close that ring and add two more inner color rings through all 10 outer rings.

Step Two: String 4 closed outer rings onto one inner ring, and weave that ring through two of the outer rings from step 1. Close that ring and add two more inner rings to the set. As you may be noticing, all inner rings will be trippled when we are finished. Now, repeat this process for all 10 of the outer rings from step 1, creating 5 new sets of inner rings, each going through 6 outer rings. From this point out, pictures will be clickable for double sized images.

Step Three: Now take an open outer ring, and weave it through two of the 5 sets of inner rings from the last step (a total of 6 rings), above the hanging rings. Add another identical ring next to it. Continue this all the way around the ball-to-be, such that each set of inner rings from the last step has a total of 10 outer rings connected to it, two from the top, two from each side, and 4 from the bottom.

Step Four: Now string an inner ring through 2 closed out rings. Weave that same ring through 2 of the hanging rings from one set, and two from the set next to it. Close it an triple it. This new set of inner rings should go through 6 outer rings. Now, goign aroudn the ball, make two more such sets. This should leave a total of 8 unattached hanging rings. Repeat the previous process to create two mroe sets from these rings, but make them WITHOUT the additional closed rings. Meaning each of these 2 new inner sets will go through only 4 outer rings, and have none hanging from them. Notes: The second picture is what the ball-to-be looks like after this step when laid flat. The deviation from the pattern that occurs at this step may seem a bit odd, but if you ever try to make one of these with a very tight ring size you will see why I do it this way.

Step Five: Add an outer ring that connects two of the sets of inner rings from step four. Double it. Continue this all the way around the ball-to-be. This should remind you of step three. When finished, three of the inner sets from step four will have 10 outer rings through them, and two of said inner sets will have 8 outer rings in them.

Step Six: Add one last set of 3 inner rings through the 6 outer rings at the bottom of the ball-to-be that currently go through only one other set.

Step Seven: Almost done! Add 1 of the remaining 4 outer rings that connects the inner set from last step (six), and one of the two inner sets from step four that has only 8 rings connected to it. Do this again with the other set from step four.

Step Eight: Now, just double the rings you added in last step, and your done!

BEADED CLUSTER EARRİNGS

Difficulty: Journeyman Materials Needed: (74) 20 gauge (.032") 1/8" ID Rings (2) 18 gauge (.048") 7/32" ID Rings (4) 4mm rounds beads (with 20-22 gauge (.032"-.025") hole) (2) 1" pieces of 24 gauge wire (any material that goes with the rings) (2) 1.5" pieces of 30-34 gauge wire (same note as above) (2) 2" pieces of 21-22 gauge wire, same material as the 1/8" ID rings. Tools Needed: (2) Pairs of toothless needle nose pliers (1) Pair of Round nose wire bending pliers (1) Small wire cutters or nail clippers Weave Knowledge Needed: • European 4-1

Step One: Weave a short 3 row band of European 4-1 from the 1/8" ID rings. This band should be 7 rings long in the middle row, and 6 rings long in either of the outside rows.

Step Two: Create a triangle of European 4-1 off either side of band. The first row you add should be 5 rings long, followed by 4 rings, 3 rings, 2 rings, and then 1 ring. Leave the other side of the band alone for now.

Step Three: Now, set the piece you just made aside while we prepare to place (saturn) the bead in the large ring at the top. Take one of the two 1" pieces of 24 gauge wire, and, using the wire bending pliers, create a small loop on one end. The loops should have an ID just slightly large than .048" (18 gauge wire).

Step Four: Next, string one of the 4mm beads onto the piece of 24 gauge wire, until it butts up against the loop. Open one of the 7/32" ID rings, and run it through the loop. Now, (and this is the tricky part) position the wire so that it lays over the widest part of the ring, loop on one side, straight wire on the other. Bend the wire opposite the loop 90 degrees over the edge of the ring. In the opposite direction of the previous loop.

Step Five: Take the wire where the 90 degree bend is, and (using your wire bending pliers) create a loop just slightly larger than .048" (18 gauge wire). Make sure this loop goes in the opposite direction of the first one, and even them out so that they run parallel along the wire (see picture from step 6). Make sure the piece fits on your ring. If it doesn't, either adjust it or try again.

Step Six: We now have to add a small coil on one side of the finding we made to position the bead where we want it. To do this, take one of your pieces of 30-34 gauge wire, and string one end through either of the loops about 1/4". Using 1 pair of needle nose pliers, clamp the wire to the loop. Now, take the other end of the wire in your other hand, and wrap it carefully around the finding. Wrap it until bead is close to the loop on the other side, but leave it a little bit of room. Now, snip the ends of the wire on both sides of the coil, and use your pliers to make sure the ends are coiled aroudn the finding and not sticking out.

Step Seven: Find that piece of 4-1 you set aside earlier. You are going to take the 7/32" ID ring and run it through the

first 3 rings in the top row of 6. Next, the end of the finding with the coil onto the 7/32" ID ring. String the 7/32" ID ring through the last three rings of that row, such that the finding is now trapped in the middle of the 6 rings. Place the other end of the finding onto the 7/32" ID ring. Close it. Add two more 1/8" ID rings onto the 7/32" ID ring, one on either side of the finding.

Step Eight: Set the earring aside. Now, take one of the 2" pieces of 21-22 gauge wire and make a small loop in one end with the round nose pliers, the loop should have an ID of roughtly .06". Bend the wire back slightly with the round nose pliers so that the rest of the piece runs straight out from the loop.

Step Nine: String one of the 4mm beads onto the piece of wire you just bent until it butts up against the loop. Position the peice in your hand such that your thumb is against the thin side of the loop, and the nail of your index finger is at the top of the bead. using your other hand, bend the wire back against your nail about 45 degrees. This should lock the bead in place, you might want to check and make sure it won't slide up past the bend. If it does, bend the wire back more, creating a sharper bend.

Step Ten: Using the larger part of your round nose pliers, create the loop for the top of the ear wire. Cut end to an appropriate length, usually so that it comes down about 1/8" farther than the small loop. Take one 1/8" ID ring and run it through the two rings at the top of the earring, and the small loop of the earwire, such that when worn the coil on the finding is in the front. Repeat steps 1-10 to make the second earring.

HELM CHAİN TUTORİAL

A finished bracelet made from the Helm Chain weave, identical to the bracelet version taught in my classes. Finished with a hook clasp attached using the smaller rings. These are the instructions given out for the chain maille classes I teach. I strive to provide the most comprehensive instructions that aren’t unnecessarily long. If you have a particular weave you would like me to provide, send me a message and I will do my best to create one. Otherwise, expect about 1 to 4 new weaves a month for the foreseeable future as a byproduct of my classes. Helm Chain, also known as Parallel Chain, is an appealing, simple weave. Helm chain creates “orbitals”, or rings not linked to any other rings that are trapped inside the weave due to a sandwiching affect. These instructions are geared toward a beginner. The rings used in these instructions are 19 gauge (.04″), 5/32″ ID (Inner Diameter), and 18 gauge (.048″), 1/4″ ID bright aluminum rings, so the AR’s used are approximately 4.1 and 5.5 after springback. This is a beginning level weave with an ideal AR of the two rings of 4.0 and 6.0. To visit my etsy shop, click here: metalandmineral.etsy.com. Enjoy!

Step 1: Close four large rings and open two small rings. Loop the two small rings through the four large rings one at a time and close them. Be sure that you don’t loop them through each other. Lay the rings as shown. (if you have difficulty getting four large rings onto two small rings, reverse it, and close the two small rings and loop the four large rings through them).

Step 2: Open a large ring. This will be an “orbital” ring, so it will not pass through any of the other rings. Instead, loop it around the small rings laying between the large rings and close it. To do this, the ring will need to be opened relatively wide in comparison to typical ring openings.

Step 3: With the large ring now “orbiting” the smaller rings, take the doubled rings to each side and flip one in each set, to each side; one to the right, and one to the left, so that they are positioned as shown in the lower picture. This can be a hard step to understand so here it is in other words: There is a set of two rings to each side. If you look, on each side there is one on top of the set, and one on the bottom. You are going to be taking those rings on top and pull their ends towards each other so that they almost meet, sandwiching the orbiting ring between them. You will do the same with the bottom rings, essentially splitting the pairs down the middle.

Step 4: Open two small rings and link them onto the two right large rings as shown.

Step 5: Open one large ring and loop it around the two small rings you added, and between the two large rings they’re joined to, and close it. It will not pass through any other rings. This ring will need to be opened a bit wider than usual to slip it through.

Step 6: Open two large rings and loop them through the two small rings as shown, one above the large ring, and one below.

CELTİC VİSİONS TUTORİAL

A finished bracelet made from the Celtic Visions weave, identical to the class taught version. Finished with a toggle clasp attached using 18g,1/8 ID rings. These are the instructions given out for the chain maille classes I teach. I strive to provide the most comprehensive instructions that aren’t unnecessarily long. Celtic Visions forms a great chain for bracelets and necklace, and modifications to the weave, such as joining the ends together and adding certain rings, can create different things from stars, referred to as Celtic Stars, to complicated sheets of maille. Celtic Visions looks a lot like Celtic Knot work, hence the name! These instructions are geared toward a beginner. The rings used in these instructions are 18 gauge (.048″), 3/16″ ID (Inner Diameter), and 16 gauge (.062″), 5/16″ ID bright aluminum rings, so the AR’s used are approximately 4.1 and 5.2 after springback. To visit my etsy shop, click

Step 1: To start the weave, close two small rings and slip them onto an open large ring, and close it.

Step 2: Close three small rings and slip them onto an open large ring. Slip that large ring onto one of the small rings from the previous step, and then close it.

Step 3: Lay the pattern as shown, with the two bottom-most rings bottoms facing each other. Another way to look at it is that the rings are bowing out, away from each other. Open two large rings and slip one through the two bowed rings at the bottom, going up through one, and down through the other. Repeat with the second ring.

When done, it should look like this.

Step 4: Be sure the weave is laying as shown in the previous picture. Take the top large ring of the two that were just added, and flip it over so that it is laying on top, as shown below. The small ring will appear as if it is “trapped” inside the larger ring.

Now flip the other large ring under, so that it looks as shown below.

Step 5: Open two small rings. Arrange the weave as shown below or the previous step*. Take the two open rings and link them through three of the large rings that are stacked together in a “sandwich”, one to each side. You are duplicating the pattern that you see at the top of the weave, in order to form a diamond, or “H” shape.

If done correctly it should look like this.

Step 6: Now that you have completed one unit, expanding is pretty simple. Simply repeat Steps 2 through 5 as detailed. Below is a set of pictures displaying those steps carried out.

Step 2 repeated

. Step 2 repeated (continued).

Step 3 repeated.

Step 4 repeated.

Step 5 repeated. Now two units long. Pair of small rings left are for continued expansion of the chain.

To end the chain, simply close only 1 small ring and then join the large ring. This will make it so there is not a pair of rings left like shown above.

EUROPEAN 4 İN 1 TUTORİAL These instructions are almost identical to those used in the chain maille classes I teach, so enjoy! These instructions work for anything from a bracelet to a chain maille hauberk (shirt). European 4 in 1 is the most commonly known and recognized of the chain maille weaves. In these instructions I will show you how to make this popular weave! The rings used in these instructions are 18g (.048″), 3/16″ Inner Diameter, with an Aspect Ratio of 4.1. To visit my etsy shop, go here: metalandmineral.etsy.com . Enjoy! Step 1: To start this weave, close 4 rings and slip them onto an open ring. Close the ring and arrange the rings as shown.

Step 2: Close two rings and slip them onto an open ring. Pass that ring through the bottom left ring, coming up from underneath, and then down through the bottom right ring and close it. It may be easier if you wait to slip the two closed rings onto the open ring until you’ve slipped it through the two bottom rings.

Step 3: Arrange the rings as shown and repeat step 3 until you reach the desired length. If you do not repeat this step properly you will expand the weave in the wrong direction or create a convoluted mess. Be sure to come UP through the bottom left ring, and DOWN through the bottom right ring when they’re positioned as shown above. Once you have successfully repeated this step, you shouldn’t need to worry about the weave falling apart, as it will become “stable”.

Step 4: To expand the chain in width (can also be considered length depending on how you view it), close two rings and slip them onto an open ring. Pass that ring through the bottom two rings on the left, either by coming DOWN through both rings from above, or UP through both rings from below, and close it. Once

again, it may be easier to wait to slip the closed rings onto the open ring until after you have slipped it through the bottom two rings already attached to the weave.

Arrange the rings as shown below.

Step 5: Close ring and slip it onto an open ring. Pass that ring UP through the bottom right ring from below of the previous step and DOWN through the next two rings as shown. Closed ring can be slipped on later as in previously noted steps.

Repeat step until desired length.

You’ve learned how to make European 4 in 1! *To expand farther in width, repeat steps 4 and 5.

FULL PERSİAN CROSSES

Difficulty: Apprentice (simple, semi-difficult) Materials Needed: (43) Rings. Recomended sizes: 22 awg (.025") 1/8" ID, 20 awg (.032") 5/32" ID, or 18 swg (.048) 1/4" ID. Tools Needed: (2) Pairs of toothless needle nose pliers Weave Knowledge Needed: • Full Persian 6-1 Original Design by Barry Woodham a.k.a. Sydney075 Step One: Make a strand of Full Persian 6-1 with 6 complete units. Add 2 rings on the end as if starting a 7th unit, and then 1 ring onto those 2. This should take a total of 27 rings.

Step Two: Now, counting from the bottom (the side without the extra rings), find the 4th unit and add a ring on each side (see picture), do the same on the 5th unit from the bottom.

Step Three: Now, add 2 rings to each side, hooked through the 2 rings added in the last step. The left side of the picture shows these rings just after being put on, the righthand side shows them fliped back towards the center as you will do in the next step.

Step Four: Now, flip the 2 rings from the last step back towards the center as seen on the right of the above picture. Add two rings on each side, running through the two rings from last step, in between the rings from step two.

Step Five: Last step! Your goign to add two more rings on each side. They will each go through the two rings from last step, and the two rings from step two. They fit in an identical manner to weaving a strand of full persian, and it is best explained by the picture. I recomend placing them through the rings from step 2 first, because it is a tight squeeze and sometimes you can't get them in if you put them in the rings from step 4 first. And thats it!

BEADED BYZANTİNE NECKLACE

Overall Ranking: Beginner Physical Difficulty: 1 Complexity: 1-2 Fickelness: 1 Pattern Visualization: 1 Weave Knowledge: 1(ish) Expected Time: 2 hours Materials Needed: (182+) 18 gauge (.048") 3/16" ID Rings (12+) 6mm round beads (with 20 gauge (.032") or slightly larger hole) (13+) 2" pieces of 20 gauge (.032") wire, same material as the 3/16" ID rings. Tools Needed: (2) Pairs of box or chain nose pliers (1) Pair of Round nose wire bending pliers (1) Diagonal cutters or end nippers, capable of cutting the 20 gauge wire. Weave Knowledge Needed: • Byzantine (It is partially explained in the pictures) Related Instructions: Making a Clasp Adding a Bead Note: The minimum materials numbers given should make an 18" chain. The pictures for this project use stainless steel rings/wire and hematite beads. I recomend this combination for beginning mailers who want a nice piece of jewelry that does not cost very much to make. However, any metal and stone type can be used as long as they are the right size.

Step One: Take 10 of the 3/16" ID rings and weave them into a 5 unit long European 2-2 chain, as shown.

Step Two: Now, according to the byzantine weave pattern, flip over the last two rings on either end of the chain and add two more 3/16" rings. Pretty simple eh? :-)

Step Three: Next, put you chain down for a moment and grab one of the 2" pieces of wire, the round nosed pliers, and the cutters. Use the round nose pliers to create a loop in one end of the piece of wire as shown. This loop should be 0.1" in diameter or slightly larger (large enough to fit comfortably around the two 3/16" rings you just wove).

Step Four: String one of the 6mm beads onto the bent piece of wire.

Step Five: Now, this is slightly more tricky. Take your round nose pliers again, and make another loop of the same size in the other end of the wire. Note, you will need to start this loop a bit away from the bead to leave room for the wire to come back around. You will also want to make sure this loop goes in the opposite direction of the first (think elongated figure 8)

Step Six: Now you are going to want to cut off the excess wire. To do this, you may want to twist the loop out slightly with your pliers so that you can get to the wire with your cutters. Once the wire is cut, take your pliers (not the round ones, the other ones) and twist the loops closed. Make sure the loops are in line with each other and the wire is not twisted at a funny angle.

Step Seven: Okay, we now have a bead on a piece of wire. Back to the maile! Flip the two rings at the end of the OTHER side of that 2-2 chain you had into the byzantine pattern. Now, take two more 3/16" rings and weave them through one of the loops on the bead, then into your chain. If that didn't make much sense, the picture should help.

Step Eight: Now, repeat steps 1 and 2, but when you add the rings in step 2 also weave them through the other loop on the bead. This should give you two sections of byzantine with a bead in between them as shown.

Step Nine: Repeat, repeat, repeat! From this point you are going to keep repeating steps 1-8, lengthening the chain each time until your chain is of the desired length. When you stop the two ends of your chain should be different and look like the ones circled in the picture.

Step Ten: Last step! Take the last piece of 20 gauge wire and use it to make a clasp according to the instructions in Appendix A. Flip back the last two rings on the end circled in black above and use two more 3/16" rings to attach your clasp. Now, pick up the piece and stare at it in amazement because you just made a necklace!

JUGGLİNG BALLS

Difficulty: Novice (simple) Materials Needed (per ball): (51) 14 gauge (.08") 3/8" ID Rings (galvanized steel) (68) 16 gauge (.064") 5/16" ID Rings (stainless steel) (34) 16 gauge (.064") 1/4" ID Rings (nickel silver) (34) 16 gauge (.064") 1/4" ID Rings (brass) (68) 18 gauge (.048") 3/16" ID Rings (bronze) (2) 16 gauge (.064") 7/16" ID Rings (brass) Sufficient Cloth, Leather, etc. to stuff the ball. I use simple cotton. Tools Needed: (2) Pair of pliers Weave Knowledge Needed: • European 4-1 Step One: These instructions are for creating 1 juggling ball. If you can juggle more than one ball, just repeat them multiple times! I recomend doing each step for all the balls you are creating before moving on to the next step, as I find it to be faster. First, make a three row wide strip of European 4-1 from the 14 gauge 3/8 ID rings. It should be 17 rings long (16 rings in the middle row). This should take 50 of the 51 rings, make sure to save the last one for when we attach this strip into a loop later. The same goes for all the extra rings you should end up with as we engage in the first four steps.

Step Two: Now, on each side of the strip from step one add two more rows of European 4-1, this time using the 16 gauge 5/16 ID rings. This should take 66 rings, leaving 2 extras.

Step Three: Now, on each side of the piece add another row, this time using the 16 gauge 1/4" ID (nickel silver) rings. This should take 32 rings, leaving 2 extras. Now add one more row on each side of 16 gauge 1/4" ID (brass) rings. This should take all 34 rings.

Step Four: Noticing a pattern? Well, this is the last time. Add two more rows on each side, this time using the 18 gauge 3/16" ID rings. This should take 66 of the 68 rings.

Step Five: Okay, now that we have the bulk of our ball made, we just need to close things up. The first step in this is to add the end rings. Take 1 of the 16 gauge 7/16" ID rings and put it through all 17 of the 18 gauge 3/16" rings on one side of the ball. Close it, and repeat on the other side.

Step Six: Now, we need to use some of those extra rings from before. On each side, connect the 18 gauge 3/16" ID rows into full circles. Repeat this for the 16 gauge 1/4" ID rings. This should leave a hole in the middle of your ball.

Step Seven: Now, taking advantage of the oppotunity, stuff that hole with the cloth, or whatever stuffing material you're using, until a nice full ball shape is formed.

Step Eight: Almost there! Just take those last 3 extra rings and connect the last rows and close up that hole, with the stuffing inside, and you're done!

BEADED BYZANTİNE TİE CHAİN 1

Overall Ranking: Beginner Physical Difficulty: 1 Complexity: 1 Fickelness: 1 Pattern Visualization: 1 Weave Knowledge: 1 Expected Time: 1-2 hours Materials Needed: (154) 20 gauge (.032") 1/8" ID Rings (4) 3mm round beads (perferably 2 each of 2 different stones) (1) 6mm round bead (1) 2-2.5 inch piece of 22 gauge (.025") wire. (1) 14-18mm Bar end from a toggle clasp. Tools Needed/Recomended: (1) Pair of round nose pliers (2) Pair of chain nose pliers (1) Pair of small diagonal cutters or end nippers Weave Knowledge Needed: • Byzantine Note: The pictures here are done with 12k goldfill rings. The beads used are natural mother of pearl, tiger's eye, and amber. However, any metal and any stones can be used. There are also two different ways to do the back of the chain. These instructions are for the first method, see Beaded Chainmaile Tie Chain 2 (work in progress) for the second. These instructions are made to fit a tie of width 3-3.5", if you are making the chain for a different size tie, lengthen or shorten it accordingly. The overall length should be just over twice the width of the tie.

Step One: Ready to make a tie chain? Lets start. The first step is easy; take 148 of your 154 1/8" ID rings and make two 2.75" strands of byzantine. Each strand should be finished (have ends as shown) and use 74 rings.

Step Two: These next few steps will teach you how to add the beads. Put down your two strands of byzantine for the time being, and find your round nose pliers and the 2-2.5" piece of 22 gauge wire. Because we are using such thin wire for this, we are going to make the finding slightly different than the ones on the adding a bead page. Take your piece of wire and grab one end in your round nose pliers, about 1/4" back from the tip (will vary based on your pliers, you want the diameter of the cone where you are holding the wire to be about 3/32"). Now, begin by twisting the pliers 180 degrees around to fold the wire back over itself and create a loop. Next, remove the pressure from the wire, turn your pliers back to where they were, grab the wire again, and repeat. Instead of a normal single loop, this should give you a loop that is halfway doubled for extra strength. If you have not done much beadwork before and find you are having trouble with this step, a single loop will work fine, it will just be a little weaker (so don't abuse your tie chain!).

Step Three: Now, looking at our piece of wire ______O the side towards the top of your screen with the loop in it is the top, and the flat side towards the bottom of the screen is the bottom. Place one cone of your round nose pliers into the loop, and the other on the bottom of the flat wire, righ at the edge of the loop. Pull downwards (towards the bottom) slightly on your wire until the straight part is coming out of the middle of the loop instead of the bottom, ------O. See the real pictures if my ASCII drawings don't make sense. :-) Once you have the loop made and in place just string on the beads as shown in the picture, small ones on the outside, large one on the inside.

Step Four: Now we have to make the straight side match the loop side to hold the stones in place. Make sure the beads are right against the first loop, then grab the straight side of the wire with your round nose pliers, again about 1/4" back from the tip. There should be about 1/16" worth of space between the edge of your pliers and the first bead. Now, rather than turning the pliers, grab the end of the wire away from the beads in your other hand, and pull it around the pliers towards the beads, making a loop. Now, continue around for about another half circle, then cut the end off the wire so that the loop matches the one made in step 2. Next, just bend this loop back as you did to the other one in step 3, and your done with the beadwork.

Step Five: Things should be fairly simple from here on out. The next thing to do is switch back to your chain nose pliers, and attach the byzantine strands to the loops in the ends of your bead finding. Just re-open the two rings in either end of your first byzantine strand and place them through the hole in one end of the finding, then close them back up and repeat on the other side with the other strand.

Step Six: Last step! Take two more of your 1/8" rings and connect together the two ends of your byzantine strands that are not attached to the beads. Both rings will run through the two rings on the end of each strand. When you do this, try and make sure that the weave lays straight and is not twisted. It looks better that way. Next, lay the piece out flat and figure out which side of the rings you just added is on the far side from the beads when the weave is not twisted. Add a 1/8" ring on that side. Now, add 1 more ring to that ring, and a 3rd ring to the new ring, creating a short 1 to 1 chain. Finally, take your last 1/8" ring and use it to attach the 1 to 1 chain to your bar (from the toggle clasp), and you're done! Just place the bar into one of the upper button-holes of your shirt as shown here, button it, and place your tie through the loop of chain and you're all set.

CABOCHON PENDANTS

Difficulty: Journeyman Materials Needed: (1) Cabochon (instructions are for an 18mm by 13mm oval) (36) 22 gauge (.025") 1/8" ID rings (1) Oval Jump Ring Clear Jeweler's Epoxy Tools Needed: (2) Pairs of toothless needle nose pliers Weave Knowledge Needed: • Half Persian 3-1 Step One: Make a strand of Half Persian 3-1 17 units (34 rings) long. Both ends should be finished off with the final rings all going through 2 other rings.

Step Two: This is probably the hardest step in the entire process. You have to turn your strand of half persian into a continuous loop. To do this, pick up the strand in your left hand, pliers in your right hand. With the top side towards you (the small side that you see in the picture in step one), and find the ring that runs downwards to the left. Take this ring in the pliers of your right hand, under the other ring at the end of the strand, and open it such that your pliers trap the other end ring and keep it from goign through the now opened ring. (wordy isn't it?) Now, bring the other side of the strand around, and attach the open ring to the end ring that is set slightly back, below the forward end ring.

Step Three: Now, we have to attach the second ring and complete the connection. This should be simple if we did the last step right. Look at the second picture from step 2. See the ring in the bottom righthand corner that only connects to two other rings? See the one right above it that also only connects to two rings? You need to open one of them and connect it to the other, without running through any other rings. This way they both connect to three rings and the weave is continuous.

Step Four: Next, we have to put our border onto the stone. You can do this however works for you, but here is how I do it. Take the stone in your hands such that the flat back is facing you. Now, take the persian circle and bring it to the front of the stone, with the open side (the side that is up in the picture from step three) against the stone. Now, using the index and middle fingers of both hands, pull back on the wrapping while pushing gently on the middle of the stone with your thumbs. This takes a bit of finesse and should be done slowly and gently. You should pull it back until the bottom of the persian circle sets itself along the edge of the stone (this will probably take a couple tries). Hopefully it will be doable but fairly tight. You may want to move it around a bit and get it even. Your also going to want to make sure one of the units of half persian 3-1 is directly at the top of the stone where you're going to attach it to your necklace. once you've done this just follow the directions on the epoxy and spread it on the back to secure the wrapping, let it set, and attach the jump ring to one of the two rings at the top.

CANDLE HOLDERS

Overall Ranking: Advanced Physical Difficulty: 3 Complexity: 3 Fickelness: 5 Pattern Visualization: 4 Weave Knowledge: 4 Expected Time: 2-4 hours Materials Needed: (80) 16 gauge (.064") 5/16" ID Rings (handmade nickel silver) (140) 16 gauge (.064") 5/16" ID Rings (handmade stainless steel) (20) 16 gauge (.064") 1/4" ID Rings (machine made stainless steel) (40) 18 gauge (.048") 3/16" ID Rings (machine made nickel silver) Tools Needed/Recomended: (2) Pair needle nose of pliers (1) Pair of box nose pliers Weave Knowledge Needed: • European 4-1 or Snakeskin • European 6-1 • Half Persian 3-1 • 3/4 Persian Read this first: This is just a reminder, in case you didn't see it above, that this can be a difficult project. First off, this means you shouldn't be trying this as the first thing you do. Second, you will need not only knowledge of how to make the weaves above, but also some of the concepts behind why they work, because you will not be using them in their most traditional form. Third, you will notice the 3 under physical difficulty, that label is there because many of the things you will do, mainly adding the last ring to a loop,

will likly be physically difficult, and may require you to bend, twist, and weave rings differently then you are used to. Hopefully you've learned some of the tricks to adding tight rings along the way. Fourth, ring size is critical in a sculpture style piece like this one. Different metals with different spring backs, whether your rings are handmade or machine made, etc, may effect the success of this project, and in fact whether or not it is even possible. Fifth, I expect an advanced understanding of making chainmaile in these directions, so I'm not going to cover how to weave each single ring, and every minor detail, nor teach the weaves themselves as I do in some of my novice level instructions. If you have a question, or something is unclear, try to figure it out, check your ring sizes, look at the pictures, and if you still can't make it work, toss me an e-mail and I'll see what I can do for you. Sorry this sounds so harsh, but better to get this stuff out of the way upfront then have an inexperienced mailer try something they arn't ready for and give up on maille because of it, right? :-) That, and I remember stabbing myself twice in the chest with a pair of needle nose pliers trying to get a ring into one of these, and it hurt, chuckles. Now, on to the acctual directions! (Notice: The original design for this type of candle holder was developed by Spider at www.spiderchain.com) Step One: First, you need to make a strand of 16 gauge 5/16" ID Nickel Silver 3/4 Persian, 20 units long. Warning, my picture is short one ring on the end at the lefthand side.

Step Two: Now, the first semi-difficult part of the piece (didn't take long did it). You need to attach that strip of 3/4 Persian into a loop. This should be nice and tight, because if it isn't your candle holder is going to sag. Let me give you a couple tips on how to connect the ends. For explanations sake, this weave has two side rings and one top ring (whereas full persian would have an additional bottom ring). The top rings on both ends of the strip should connect through 4 other rings. Take the top ring from one end, and connect it to the two side rings on the other end as seen in the first picture. Make sure the weave is running in the same direction mine is. Now, take the last two side rings and connect them up through the top ring in the other side, between the two side rings. This might take a little bit of work, but it is the easiest way I've found (for me) to make a tight loop of 3/4 persian.

Step Three: Next, add a stainless 16 5/16 ring through two rings of the loop, as shown in the first picture. Repeat this all the way around the loop, adding a total of 20 rings, until it looks like the second picture.

Step Four: Add 2 rows of stainless 16 5/16 European 6-1 off of the row of rings added in the last step. This should take 40 rings.

Step Five: I love making the middle of these things. But only because the ends are such a pain... Now, add another row of 16 5/16 stainless European 6-1, followed by a row of 16 gauge 1/4" ID stainless, also European 6-1. This should be another 40 rings.

Step Six: Now, add another row to our growing column. This time it should be 18 gauge 3/16" ID nickel silver European 4-1. 20 rings.

Step Seven: Time for three more rows of European 4-1. The first is 16 5/16 stainless, the second 18 3/16 nickel silver and the third 16 5/16 stainless. That's a total of 60 rings.

Step Eight: TIme to test your knowledge of half persian 3-1. I want you to add a row of half persian 3-1 trim, in 16 gauge 5/16" ID stainless, to the top row of European 4-1. Take a look at the pictures if you need some help. This will take, you guessed it, 20 rings.

Step Nine: Okay so I tricked you, that wasn't the hard part, this is. I want you to finish off the trim with another row of 3-1 rings. These should be running vertically through that last set, on the outside of the candle holder, and should be made from 16 gauge 5/16" ID nickel silver. It's gonna be a tight fit, so have fun with that last one. Well, that's it! Hopefully everything worked out, and your rings were the right side so that it stands up nice and straight, and doesn't sag around the edges as they are known to do if your rings are too large. Hopefully it wasn't very complicated for you, just a bit difficult to acctually do. One of these days I'll get around to making some instructions for a masters level piece and is both difficult & complicated, won't that just be fun? :-) As for those of you advanced enough to find this project easy... well, I guess that means your ready to stop using directions and should go make your own! :-) And, one last thing I should address. You may be wondering by this point why I switched to 4-1 instead of keeping it 6-1 the whole way up (thus making it a bit straighter and tighter). Well, the reason I did this was to get the cupping effect you should see at the top. Why did I want that? Well, A) I think it looks good, and B) It should allow it to fit those machine made tapers with the shaped bottoms, whereas a straight 6-1 column cannot. If those things are not a concern to you, it works just as well with 6-1 for the entire column. Well, that's all from me I think; enjoy your candle holder!

2 BY 2 CHAİNMAİL PATTERN INSTRUCTİONS

2 by 2 Chainmail Pattern Instructions: Learn how to make a starter chain for other chainmail weaves like Byzantine and Box Chain. This chain maille weave is what is called a starter chain for many weaves. It can also be weaved into a chain to make beautiful jewelry. Add beads and you have beaded jewelry. The technique is simple. To make the starter chain simply join two pairs of jump rings into two other pairs of jump rings. To make a bracelet or necklace simply continue to join pairs of jump rings until you reach your desired length. Here, we'll make a 2 by 2 chain bracelet and add a charm. 2 by 2 Chain Bracelet Length Approximately 8 inches (20.3 cm) Jewelry Making Supplies

ninety eight 18 gauge 4.0mm ID (inside diameter) unsoldered jump rings one charm of choice one toggle clasp two pair chain nose pliers one twist tie

2-In-2 Chain Maille Weave Jewelry Making Instructions 1. Before you begin the weave, use the two pairs of chain nose pliers to open (How to Open and Close Jump Rings) about half of the jump rings. Use one of the chain nose pliers and grasp one open jump ring near one side of its opening. With your fingers place four closed jump rings onto the open jump ring.

2. Using two pairs of chain nose pliers, close the open jump ring.

3. With the chain nose pliers pick up one open jump ring and slide the same four closed jump rings from Step 1 on to it.

4. Close the open jump ring.

5. Spread two pairs of jump rings on each side of the two jump rings that you closed. You end up with three pairs of jump rings in a 2 by 2 by 2 pattern that make a starter chain. This starter chain is usually designated as 2-2-2 starter chain in chainmail instructions.

6. To make the chain easier to handle, thread the twist tie through one pair of jump rings on one end of the chain and twist it to secure it. These pair of jump rings become the beginning of the chain, or the first pair of jump rings.

7. With the chain nose pliers pick up one open jump ring and slide it through the pair of jump rings on the other end of the chain.

2 by 2 Chainmail Pattern Continued 8. Close the jump ring. With the chain nose pliers pick up another open jump ring and slide it through the same pair of jump rings. Close the jump ring.

9. Repeat Steps 7 and 8 until the length of the chain is within one inch (2.5 cm) of your desired length.

10. Use an open jump ring and attach one side of the toggle clasp to each end of the chain. Close each jump ring.

11. Use an open jump ring and attach the charm to one pair of jump rings along the length of the chain bracelet. Close the jump ring.

You're done...Your 2 by 2 chainmail pattern bracelet is complete! Now you know how to make a starter chain for more complex chainmail weaves like the Byzantine chainmail pattern and the box chain chain maille pattern.

BOX CHAİN CHAİNMAİL PATTERN | JEWELRY MAKİNG INSTRUCTİONS Use a box chain chainmail pattern to make beaded jewelry. Illustrated step by step jewelry making instructions! The magic number for the box chain weave is four - as in two pairs of jump rings. You will begin the weave with a 2-2-2 starter chain. Once you have completed one weave you will end with a pair of dangling jump rings. To these you will add another pair of jump rings. You end up with a 2-2 chain sequence to make another box-chain weave. These instructions teach you how to make a box chain weave. A link to a jewelry design idea to make a jewelry set appears at the end of these instructions.

Box Chain Weave General Jewelry Making Supplies

18 gauge 4.5mm ID (inside diameter) unsoldered jump rings (two colors used) two pair chain nose pliers one twist tie

Box Chain Chain Maille Pattern Jewelry Making Instructions Before you begin the weave, use the two pairs of chain nose pliers to open most of the jump rings (How to Open and Close Jump Rings).

1. Make a 2-2-2 starter chain. (To make the chain easier to handle, you can thread a twist tie through one pair of the end jump rings. Twist it to secure it.)

2. Grasp the starter chain by holding the first pair of jump rings between your thumb and forefinger. Fold down each jump ring of the third pair (amber color) of jump rings on each side of the second pair (brown color) of jump rings.

3. Spread open the second pair (brown) of jump rings.

4. Let the third pair (amber) of jump rings fall all the way down the sides of the second pair (brown) of jump rings. Now, pinch this pair (amber) of jump rings between you thumb and index finger. This pushes the second pair (amber) of jump rings upward somewhat to create an opening to add another pair of jump rings.

Box Chain Chainmail Pattern Continued 5. Pickup an open jump ring. Slide it into the opening just created, catching the two exposed closed jump rings.

Close the jump ring. Repeat with a second jump ring. You have now finished one complete box-chain weave. This last pair of jump rings is now jump ring pair #1 (brown).

6. To continue the chain, as done in Step 5 add a second pair of jump rings to the #1 jump ring pair. This last pair of jump rings is now jump ring pair #2 (amber). Note: Remember from above that 4 is the magic number for the box chain weave. These are the magical four jump rings. To lengthen a chain simply add two pairs of jump rings and continue as instructed below.

7. The moves are the same from the above steps. Let the #2 pair of jump rings (amber) fall all the way down the sides of the #1 pair of jump rings (brown).

Box Chain Chainmail Pattern Continued 8.Spread open the #1 jump ring pair (brown).

9. Pinch the #2 jump ring pair (amber) between you thumb and index finger. This pushes them upward somewhat to create an opening to add another pair of #1 jump rings.

10. Add another pair of #1 jump rings (brown). To end the chain, stop after adding a #1 pair of jump rings that dangle on their own. Add a single jump ring to this last pair of jump rings and attach a clasp to it.

Now you can make beaded chainmail jewelry. Here's a great box chain chainmaille jewelry design idea

MOBİUS CHAİNMAİLLE TUTORİAL | CHAİNMAİL ROSETTE TUTORİAL Mobius Chainmaille Tutorial: View step by step photos as you follow detailed jewelry making instructions to make chainmail rosette links and turn them into earrings! I received the following message from a visitor named Gail from Arizona asking about instructions for a rosette: "There is a chain maille pattern called Rosette. It is very pretty. I have been looking for instructions with pictures - cannot find. Your instructions for the Byzantine pattern are perfect. Thanks." In the jewelry making world a Mobius (which can be thought of as an object without a discernable beginning or end) is also called a rosette. Thanks for your inquiry Gail. I have been intending to post a page on the Mobius chain mail weave but somehow it got pushed to the back burner and never came off! Here are your instructions with pictures for each step. Jewelry Making Supplies and Tools

10 - 10mm unsoldered jumprings 2 - 6mm unsoldered jumprings 2 - 4mm unsoldered jumprings 2 earwires 2 pair chain nose pliers

It may be helpful to read through the instructions before beginning to make your jewelry. Mobius Chain Mail Tutorial

Mobius Rosette

Mobius Chain Mail Tutorial

Step 1 Using a pair of chain nose pliers, open all your size 10mm jump rings, except one. We’re using five 10mm jump rings to make each Mobius, or rosette.

Step 2 Using a pair of chain nose pliers (or your fingers), slide one of the open jump rings into and through open area of the closed jump ring.

Step 3 Using a pair of chain nose pliers, close the jump ring.

Step 4 Slide the jump rings close together. Notice how they intertwine and overlap one another.

Mobius Chainmaille Tutorial Continued

Step 5 Using a pair of chain nose pliers, slide an open jump ring into and through open area of the closed jump rings (a repeat of Step 2). When adding a jump ring, allow the just added jump ring to fall in the same direction as the first one did in Step 3. Don't let it flip downward. You want them all to flow in the same direction to create fluid looking rosette.

Step 6 Close the jump ring. Slide the jump rings close together. (This is a repeat of Steps 3 and 4.)

Step 7 Repeat Step 2.

Step 8 Repeat Steps 3 and 4. Mobius Chainmaille Tutorial Continued

Step 9 Repeat Step 2 once more.

Step 10 Repeat Steps 3 and 4. Now you have a five ring Mobius or rosette chain mail link. Make Rosette Chainmail Link Earrings

Step 11 Connect one link to another rosette link or other jewelry component to make jewelry. We’ll make a pair of earrings. If you didn’t already, open the 6mm jump ring (or one that has a large enough inside diameter to fit all of the rings of the rosette into it) and slide it into the open area of the rosette.

Step 12 Close the 6mm jump ring. If you didn’t already, open the 4mm jump ring (you could use one the same size as the jump ring used in Step 10) and slide it into the closed 6mm jump ring. Slide the loop of the earwire onto the open jump ring.

Step 13 Close the 4mm jump ring and you have an earring. Repeat Steps 1 -12 to make the second earring. Ways to Use a Mobius Chainmail Link

You can add jump rings until you almost close up the hole on the Mobius by repeating Steps 1 through 4.

Just leave enough room to fit a jump ring, beading wire or other stringing material through the hole. Remember, if you use a jump ring as a connector, it must be large enough to encompass all of the rings of the rosette. Almost any size jump ring can be used to make a Mobius. Try making several using smaller jump rings and connect them with other jump rings to make a bracelet. Thanks to Gail for asking a question on how to make a rosette. To all of my visitors: I hope that you will try this easy, 10 minute (or thereabouts) Mobius Chainmaille Tutorial. It's instant gratification! Do you have questions on making jewelry? Why not ask and get answers - see the link below!