Category Archives: Wire & Stone

Platonic Fire

Fire 17
Swarovski Elements, Beads and Copper

I collected a lot of these Swarovski shapes in tones of Magma, Crystal Copper, Crystal Golden Shadow and Bronze and mated them with hints of Tanzanite and Provence Lavender.  The various effects and finishes combined to create a color palette reminiscent of flames.  The Copper wire shape is a concentric triangle, which is meant to symbolize the stately tetrahedron.  The tetrahedron, more commonly thought of as the “pyramid”, is one of the five Platonic solids that has been theorized, by Plato, to correspond with the “fire” element.  Hence the name Platonic Fire.

Here is how the design came together.  Looking at the elements, I decided how I wanted to arrange them.

Fire 01 Fire 02

  • How dense did I want the large elements to be?
  • What kind of structure could support that density?
  • How should the elements be arranged to best show off the variety of their colors and shapes?
  • What other colors and finishes and bead shapes and sizes would help bring it all together?

Fire 05

I formed a rough version of the concentric triangle design in 14 gauge copper wire.  Once I was confident that the shape was what I wanted, I hardened it with a hammer and anvil.

Fire 07

In the end, I arranged the rich red tones at the bottom, going up through the copper, topaz, and gold tones at the top.  The icy shades like Provence Lavender, Tanzanite AB2X and Violet Satin really looked great with the cool silver/blue/violet of the AB and AB2X finish.  Light Smoky Topaz AB2X looks like a blue/violet bead unless you look through it, into the light, where the subtle metallic brown of the bead can be seen.  Ceylon Topaz AB2X is a breathtaking color, like a champagne with frost.  Topaz with Glacier Blue is richly gold with occasional flashes of pure violet, a truly magical effect when seen in real life.

Fire 08 Fire 09

I wanted to incorporate this chain as an added support for these odd shaped elements.  The wire on the other side is 26 gauge antiqued bronze finish.  It is delicate and beautiful but not sturdy, and not likely to hold up against movement.  I did not know, at this time, whether I’d be able to pull it off, but that was my “plan”.

Fire 10 Fire 11

The red rectangle is being held with a temporary wire on the bottom to support it during construction.  I can replace it with the chain later.  The chain is held simply by threading it on to the 26ga wire before the wire is coiled onto the large copper triangle.

As you can see, the plan changed constantly during construction.

Fire 14 Fire 15

The triangles are not straight.  They are an organic, freeform shape, like the curves of a lick of flame.  This allows the design to shift as needed to accommodate the elements.  It is easier to make freeform designs look good than it is to make a rigid or straight design look good.  The roundness of the Swarovski Organic Triangles and Organic Squares were a great intermediate between the more symmetrical Swarovski elements and the freeform triangular base.  The 26 gauge wire is often curled in circlets and whisps to emulate the coils of smoke that rise from an open fire.

Fire 16

The final design turned out better than I had anticipated.  I liked the chain.  I love using the 3mm bicones.  Those are the smallest diamond-shaped beads.  They provide the just-right flash of contrast and the perfect tiny size to make those little adjustments.

Fire 17

 

In case you were wondering, I’m planning to do The Ether Element next.

White Cherry Tree

WhiteCherry 08

This is a picture-by-picture explanation of how I made the above wire and gemstone tree.  Inspired by the flowering cherry trees with their big white flowers and subtle hints of pink, I designed this to be light and airy and full of bright spring energy.

Let’s start at the beginning with the copper hoop and a small selection of beads.  The copper hoop was made by hammering a length of 12 gauge copper wire until it was flattened (somewhat) and hard.  Hammering hardens the wire so it can keep its shape.

WhiteCherry 01

The square flat beads are moonstone.  The faceted beads are all Swarovski rhinestone beads in various colors including:

– Fire Opal AB2X, Fuchsia AB2X, Light Rose AB2X, Province Lavender, and Rose Water Opal

– All Swarovski bicone beads in 3mm and 4mm sizes

WhiteCherry 02

The branches are made with 26 gauge brown wire, but copper wire works too.  The wire for the branches should be about 4-1/2 times as long as the diameter of the hoop.  I take a length of wire, measure out two hoop-lengths (plus some extra), bend the wire at the measured point and consider that this will be the center of the length of wire.  Fold it back on itself and cut when you meet the tail end.

WhiteCherry 03

Join the branches together as you build down, alternating between branch designs to keep an organic feel.  Eventually, they will all come together to form the trunk.

WhiteCherry 04

Add some shorter branches to the middle of the tree.  They will keep the design from looking sparse.  Here is one that I created, first by making a long loop of wire to decide how long the branch should be…

WhiteCherry 05

Then I added the stones and twisted the wire back on itself to form the branch.

WhiteCherry 06

Continue adding branches, joining them together and building down.  The more variety you can include in the planning and architecture of your tree, the more organic the design will be.

WhiteCherry 10

If you notice an empty area, or if something isn’t coming together in a way you like, you can un-twist and un-join the branches and try again in a different way.  This generally works once or twice.  Any more redesigning and you risk breaking the wire.

WhiteCherry 11

The more you manipulate wire, the more brittle it becomes, until eventually it will break rather than bend.  For this reason, you should make gentle but purposeful twists.  Don’t twist too tight.

WhiteCherry12

As larger branches are twisted together, it gets a little more challenging to make them blend together naturally.

WhiteCherry15

I tend to spread out the wires of the individual branches and massage them together with my fingers as I twist the two bundles together.

WhiteCherry13

In the end, it should look like one branch turning into 2 branches, not like unraveling rope.  You can avoid this challenge by always joining unequally sized branches.  The smaller one will tend to fall into the larger one.  But I tend to like the look of two big sections joining together.

WhiteCherry14

On this tree, I created a strip of wildflowers across the horizon.  It was done with a single piece of wire, like this:

WhiteCherry16

The strip was long enough to go across the width and coil at the sides of the hoop.  I twisted one root to the right side and one to the left side to stabilize the tree to the horizon.

WhiteCherry17

I then started to spread out the roots in a radial pattern.  Some of the roots were coiled around the hoop and cut off.  Some were twisted around the hoop and back up and into the trunk.

WhiteCherry18

Those are cut off and tucked into the trunk to make it thicker at the bottom, like an actual tree trunk.

WhiteCherry19

And here is the end result!

WhiteCherry 07

 

Also posted in DIY Projects

Zalia Dawn

Zales and Rhodies by Laura Ockel 2

My newest copper and rhinestone sun-catcher.  See it come together step-by-step…

2

Picking out the color palette.      4

The frame is made with 4 lengths of 14 gauge copper wire, hammered for texture and hardness.  The squiggly design inside the frame is made using 1 long length of 18 gauge copper wire, also hammered.  Hammering the metal makes it hard enough to retain its shape.

Use leftover wire snips to temporarily hold the design inside the frame as you secure the four corners.

5

Use 26 gauge copper wire to secure the corners.

76

 

 

 

 

 

 

 

The 26 gauge wire is also used to attach the beadwork.  I work with 1 and 1/2 ft of thin wire at a time, zigging and zagging it back and forth through the areas of the design I want to fill with colored beads.

8

In this design, I envision a flower with petals that range from soft pastel purple tones out to vibrant fire hues at the outer edges.  The squiggly wire outlines the petals and defines the center of the flower.

As the wire attaches the beads to the outline, it is also used to attach the outline to the 16 gauge frame.

9

Every so often, I look at the bead colors against an illuminated light background to make sure the colors transition perfectly in any lighting.

Once the design is complete, tie off the last of the wire strands by twisting them tightly around the outline.  Then cut the excess thin wire flush with the thick wire outline, and use your pliers to push the end down flat.10

The light pink/purple beads are Alexandrite.  Depending on the light, they may range from a soft lilac pink shade to a icy blue violet.  Alexandrite is one of the few color-changing beads available on the market.

The magenta bicone beads are Swarovski AB2X in ruby and light siam.  The AB2X finish gives them a blue/purple luminescence that ties them in with the Alexandrite beads in the center.

Most of the rest of these are inexpensive rhinestone beads that I’ve acquired over the years from various bead shows and craft stores.  The wire is easy to find on Amazon, or you can substitute 16 gauge for the 14 and 20 gauge for the 18.

 

Sun Daisy

Sun Daisy Rhinestone & Wire Wrapping

Sun Daisy by Laura OckelThis is my latest (and new favorite) wire wrapping project.  I’m going to post it on Pinterest because I’m curious to see if people like it.  If I get some pins, I’ll write up a tutorial with pics of the work in progress, the metamorphosis of the concept and the development of the color palette. This started out as a very abstract design, but the lower area started looking very organic, like a flower.  I was planning a speckled gradient from hot pink through fire opal and lemon into lime and hints of teal.  As the daisy emerged, I saw the upper right design as a sun and the rolling curves in the center as cumulonimbus clouds.  The sun has a pointy motif with an excessive quantity of Swarovski AB2X  bicones radiating like sun beams. The beads in the clouds were added more as a support than as a design element.  The piece looked good without them.  However, once I saw those round pave beads separating the sun from the daisy, I fell in love.  They really add dimension to the piece.  They set a clear separation, and their roundness somehow creates the illusion of depth.

Sun Daisy2 by Laura Ockel

Also posted in DIY Projects