Jewellery Design
The art or craft of solderless wireworking is currently known by a number of different names.

I learned this craft in England where the medium used is 12kt rolled gold wire which is normally referred to as “rolled gold wireworking.” Obviously, any kind of wire can be used and I occasionally work in silver or 14kt gold.

Wireworking is a very ancient craft, no doubt going back to the time that man first fashioned metal into strips of wire. Many very fine examples of wireworking were found in Egypt dating from the time of the Pharaohs, some of which can be seen in the British Museum. Amazingly, the technique and style are much the same as we are using today.

After the first World War, wireworking was used as a form of occupational therapy. It was ideally suited for many disabled ex-servicemen who learned the craft whilst in hospital. In later years, it became quite common to see these same men working in department stores and holiday resorts. It was through watching one such wireworker that I first became enthused with its possibilities. This was in 1937 and I have been a wireworker ever since. I consider myself still learning and have not yet explored its full potential.

The personal qualities needed to succeed in this craft are patience and the desire to make jewellery. As in learning many other things, if you try to make an advanced project before mastering the basic steps, the result will be mangled wire. A poor result could lead to disappointment with wireworking. However, if you have the patience to master the basic steps by tackling the easier projects first, you will be delighted with your results.

When a person acquires some proficiency, they begin to express their own personality in the work that they do, and this often results in completely new designs or interesting variations of existing ones.

One of the first questions that I am asked when giving demonstrations is “What is rolled gold?” The easiest way of answering this is to give a brief description of its manufacture.

First, the manufacturer obtains an ingot of 12kt gold which is fashioned into a tube and filled with a base metal that is identical in colour to gold. This bar of metal is drawn down through diamond draw plates to the desired gauge and shape. The resulting wire has an attractive mirror finish with the outer surface being gold and, therefore, looks and wears like gold.

Rolled gold and gold-filled wire is available from many sources but, at the time of writing, the quality and finish of the English wire is the best that I have seen. This is understandable when it is realized that the English manufacturers have produced t h s especially for the wireworker for over 60 years (to my knowledge). As the craft gains in popularity in North America, no doubt the manufacturers here will improve the quality of their product. I am always pleased to hear from manufacturers and to test samples of their wire.

Wireworkers and potential wireworkers are welcome to write to me with any questions or problems and I will give whatever advice or assistance I can. Also, I make occasional tours of Gem Clubs, Gem Shows and Craft Groups in order to give displays, demonstrations and lessons in wireworking. Details of these tours will be discussed with representatives of any such groups.

James Llewellyn
1969

Introduction to the books: Jewellery Design, Ring Design and Chain Design

Ring Design
For the benefit of those who may come into possession of this book without having had my fast book, “Rolled Gold Wire Jewellery Design”, some of the essential basics have been repeated.

The use of the term “Rolled Gold Wire” is simply a carry over from the days before World War I1 when I learned this ancient craft of solderless wireworking in England. At that time, the only material available was 12kt. rolled gold wire, so this was the name the craft was known by. Nowadays, I do use silver, gold and white gold filled as the occasion demands, but I still like and use the original rolled gold wire for most of the work I do.

Solderless wireworking can be a very satisfying and relaxing hobby once the basics have been mastered. It can also be a good spare or full-time business. This was proven by a good number of the people who acquired my first book and have been earning good money as wireworkers ever since.

As with any other craft, how good the individual becomes depends entirely on themselves. Patience and practice are necessary for first class results. All of the designs in the book are  capable of many variations which in turn can lead to completely new designs. Many of the wireworkers who I have taught have now developed their own individual styles and original designs.

Regardless of whether a person takes up wireworking for business or for personal satisfaction, it is a mistake to work with the eye on the clock. No one is going to be impressed with how quickly you made a piece of jewellery. However, they will be impressed, and will value more highly, a neat, well made item, free of kinks and scratches.

I recently saw a professional wireworker make a bead ring in 55 seconds. The result - well all I can say is that it looked like a 55 second ring - but, to each his own. The main thing is that you should be satisfied with the results you achieve.

Whenever time permits, I attend gem shows and gem clubs with a display and demonstration of wireworking. On these trips, I usually manage to give a few lessons. If they are required, details will be discussed with representatives of Clubs and Shows.

James Llewellyn
1974

Introduction to the books: Jewellery Design, Ring Design and Chain Design

Chain Design
The increased interest during recent years in the craft of solderless wireworking has resulted in many requests for a greater variety of chains to complement the unique pendants that are being created by wireworkers.

The designs that we are illustrating here are not new, they are all designs that I have used for many years and none of them are difficult. Although the application of solderles s techniques to c hainmaking imposes certain restrictions, because chain designs often depend on the soldered link for their effectiveness, these are by no means the limits of solderless chainmaking. As in other things, in this craft you are limited only by your imagination. All the links we show can be used in a variety of combinations such as in plain or twisted wire or even altered in size and shape to create new designs.

The gauge of wire I use most often for chainmaking is 22 gauge square hard and the sizes given in this book are based on the use of this gauge. Of course, any other gauge can be used depending on how heavy or how fine the chain has to be. Suitable adjustments would have to be made in the wire measurements.

Practising with a reasonably cheap wire such as copper wire is always advisable before venturing to make a chain in rolled gold, gold-filled or silver wire. None of these chains are difficult but time should be taken to master each move correctly if practical and good looking chain is required.

James Llewellyn
1977

Introduction to the books: Jewellery Design, Ring Design and Chain Design