ai a\Ua bse a y ARTIST Sensuous Shapes elmo) opposing curves Integrate your Earwires simple, elegant, secure—— 6 MY TURN fiom the Editor 3 FACETS Your Turn, News, Innovations 12. ASK ‘THE EXPERTS. by Tom & Kay Benham (6 COOL TooLs Dy Helen L. Driggs Reader Roundup i SMOKIN’ STONES by Sharon Elaine Thompson Watermelon Tourmaline (9 WATERMELON PARFAIT PENDANT Project by Helen Blythe-Har UY -PRENDS: by Annie Osburn Pearls for Metalsmiths US 2 PEARL swine te EARRINGS Project by Rachel Sované 29 INTEGRATED EARWIRES OR READY-MADE? by Teri ag 2 34 visuno0K F EARWIRES 42 DESIGNS from Our CONTRIBUTORS 44 SQUARE, KR CusHION cut NXE Facet Design MEY by douglas m. tre. 6.4 46 ANTICLASTIC RAISING by Michael Good 56 CHALCEDONIES. FOR CARVING By Helen Seras-Herman ‘ABOUT OUR COVER: Michael Good's CLEF earrings. 22K gold and patinated bronze. Photo: Hap Sakwa. Anticlastic Raising, page 46, JULY 2007 Volume 61, Number 4 vase 56 re 64 TOWER RING h 5 Project by Hattie Sanderson 72 ROCK CORNER by Claus Hedegaard Cerrusite 14 PRODUCT NEWS 1S) MEDIA REVIEWS: Pear! Buying Guide by Renée Newman The Pearl Book by Antoinette Matlns 7S EVENTS 9B The Jewelry Anis DOER’S PROFIL J. Fred Woell SPECIAL ADVERTISING SECTIONS 50 Jewety Schoo’ Fee Mining Directory BB warketpace 90 website rectory 92 Classified Ads 7 Advertise ll Satine deaekie_ cedANTICLASTIC RAISING Curving metal in opposing directions yields oa os / stunning design possibilites by MICHAE GOOD Varna Pe cue ead en OI cs SON eer co Yan kc cca Editor’s Note: For centuries, shee : rimari- and expanded the technique in jewelry making so much sc ly concemed lastic as op clastic raising that his name has become synony with anticla and sinking because of its utilitarian advantages. The silver- This sequence gives only a basic explanation of th smith historically had functional uses for ke, hollow- clastic forming process ent for experienc form objects made with simple anticlastic techniques — like smiths or metalsmiths to spouts, handles, or lipped edges — but the anticlastic form did possibilities. The not predominate or have emphasis in the art until recently. metal and the Today, many metalsmiths have made a serious investiga- ariables that allow control over tion into anticlastic raising and sinking as a way of manipu- the f t. The combination of antic! lating sheet metal to find new forms, and ithas made inroads syn sing s provide unlimited potent into the realm of the goldsmith. Michael Good has developed creating exciting ne -like or mono-shell structur